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Grimreepa Wields His Bars Like Blades in ‘THE EVILS’

Posted on 6 March 2025

Grimreepa raps with the force of someone who has fought too many battles to waste a single breath. ‘THE EVILS’ is a tirade against the deception and injustice that keeps stacking up, delivered with the conviction of an artist who has lived through the worst and come out swinging. His bars cut through the noise, fuelled by a decade of sharpening his craft and a refusal to let anything dilute his message.

Boger Beats’ production is built to hit hard. The stabbing piano keys keep the intensity honed to a razor’s edge, while the oscillating electronic motifs pull the track into the future without losing its 00s hip-hop backbone. The weight of the instrumental leaves room for Grimreepa’s flow to land with impact, sitting somewhere between Jay-Z’s precision and Xzibit’s raw energy, but charging ahead with his own firepower.

With insidious forces reaching new heights, ‘THE EVILS’ arrives as a necessary release for anyone who feels the weight of it all. It’s a rallying point for those who see through the smokescreens. If hip-hop is a battleground, Grimreepa is making sure his voice carries.

 ‘THE EVILS’ is available to stream on Apple Music and Spotify now.

Review by Amelia Vandergast

Beatdown Saints – All The Sinners: A Baptism in Blues-Soaked Rock

Posted on 5 March 2025

If you like your rock how you like your whiskey—unadulterated and smooth-pouring—you’ll easily acquire a taste for the low-down and dirty bluesy melodic grooves of Beatdown Saints. With a unique ability to tie your soul in knots when the vocal lines ascend atop of the guitars which pour gasoline over the tighter-than-a-straitjacket instrumental arrangement, All The Sinners is a reminder that rock doesn’t need a reinvention when it’s played with this level of conviction.

Taking cues from the Black Crowes, Grateful Dead, and Gov’t Mule, Beatdown Saints don’t just tip their hats to blues-driven rock—they make it their own with raw energy and jam-band spontaneity. The powerhouse trio of Mike Setzer, Todd Kasper, and Marc Berger deliver a sound that’s as unapologetically fierce as it is fluid, built for both smoky barroom stages and festival spotlights.

With Setzer’s road-worn experience alongside legends like Mike Pinera and Jack Russell, Kasper’s hard-hitting drumming pedigree, and Berger’s incendiary guitar work, Beatdown Saints refuse to play it safe. All The Sinners is a full-throttle showcase of their ability to walk the line between tight musicianship and the reckless abandon that keeps blues rock alive.

Save your rhythmic pulses from damnation and hit play—All The Sinners is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Leah Nawy’s ‘ordinary’ Turns Vulnerability into a Cinematic Spectacle

Posted on 5 March 2025

With all the intimacy of an impromptu demo recorded in a moment of creative ignition, ‘ordinary’ by Leah Nawy is anything but. The indie folk-pop progression is cinematically ornate, building crescendos that ooze the golden age of Hollywood while the duality running through the track keeps its emotional weight balanced on a knife edge.

With a vocal range that floats between seraphic and soul-stirring, she lets the narrative unfold syllable by syllable, pulling listeners deeper into an introspective world full of bitter-sweet, close-to-the-bone confessions. Within the abstract poetry of ‘ordinary’, tendrils of insecurity, uncertainty, desire, and regret intertwine, painting a panoramic view of what it means to be human in an era where meaning is something we have to define for ourselves.

A songwriter, producer, and multi-instrumentalist with deep roots in rock and classical music, Nawy’s ability to craft arrangements that feel instinctively right is second nature. From her time playing Jersey Shore venues to earning her Master’s at Berklee NYC, her refined ear and raw experience shine through in every note.

‘ordinary’ is the kind of song you hear once, feel your existence affirmed by, and refuse to let go of.

The single is now on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Goetia Served Up a Dish of Political Fire with ‘Pumpkin Ravioli’

Posted on 3 March 2025

With a track title like Pumpkin Ravioli, you’d expect a self-indulgent, hipster-friendly groove; what Goetia actually delivered is a sharp political broadside wrapped in a deceptively smooth instrumental package. The Brighton-based six-piece makes genre-fluidity their playground, pulling from jazz fusion, hip-hop, funk, and alternative rock to create something that transcends parameters.

Their sound thrives on tension and synergy in equal measure. Every element in Pumpkin Ravioli locks into place with the ease of an impromptu jam session, the instrumentals grooving towards a singular, almost hypnotic aim. But while the sonics may be silky, the vocals cut through with urgent intensity, proving that punk isn’t just about thrashing drums and knowing four chords—it’s about using music as a conduit for action.

Goetia’s philosophy of making music that is “unexpected yet easily received” couldn’t be clearer here. The track pulls together with an energetic sublimity that isn’t just a passive listen—it’s a call to get in the crowd, absorb every note, and feel the full force of their electric live presence. Pumpkin Ravioli subversively steamrolls expectations, leaving you desperate to indulge in more installations of groove-stirred alchemy.

Pumpkin Ravioli was officially released on February 20th and is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

From Ballads to Bold Anthems: Megan Wheeler on Her Artistic Evolution – An Interview

Posted on 3 March 2025

Megan Wheeler has always been a storyteller, but with Now That I’m Gone, she steps into a new chapter—one shaped by collaboration, growth, and a sharpened sense of artistic direction. The track sees her breaking away from her piano ballad roots, embracing an up-tempo sound that captures the strength in walking away and knowing your worth. In this interview, she discusses the influence of working with producer Channing Nuon, the challenge of sifting through hundreds of unfinished ideas, and the impact of her time in Nashville. From early inspirations to the producers she dreams of working with next, Megan offers insight into her evolving craft and the themes shaping her upcoming projects.

Megan Wheeler, welcome to A&R Factory! Your passion for songwriting has been evident from an early age, and it’s exciting to see how your music continues to evolve. Now That I’m Gone feels like a turning point in your songwriting, showing growth from your early work. What emotions and experiences shaped this track, and how does it reflect where you are now as an artist?

This track came from the inspiration of an artist and song I love. I came to the point in my songwriting where I wanted to try collaborating and also write something up-tempo compared to piano ballads. I wanted to write something that gave a sense of empowerment in knowing your worth and knowing not to go back to old habits. I would say this reflects a part of where I am now as an artist. I have a lot more range in my songwriting to continue to show.

This is your first time collaborating on a song. How did working with Channing Nuon influence the final sound of Now That I’m Gone, and did the experience change the way you approach songwriting?

Working with Channing Nuon was a great experience. He produced this track, and we co-wrote it, which is something I’ve never tried before, so he definitely had a big influence over this track. This experience gave me a new approach to try. It helped me become more comfortable in collaborating, sending ideas back and forth, and writing over a track already produced for the first time. I’m used to producing the tracks myself, so it’s incredibly helpful to have another person work on this project.

You’ve mentioned that storytelling has become a bigger focus in your music. What kind of stories do you find yourself drawn to, and do you feel like your songwriting process has changed as a result?

The kind of stories I find myself drawn to are ones I can relate to and also stories that make me think of things in a different way. I love songs with lyrics that make me think “I’ve never thought of putting it that way before”. Songs that are relatable to my life make me feel heard and my feelings validated so I automatically become drawn to them. I definitely think this has changed my songwriting process as now, I focus on writing lyrics that can make people really feel and relate to what I’m trying to say.

With over 200 unfinished pieces stored on your phone, how do you decide which ideas are worth developing into full songs?

There are certain ideas I feel drawn to more than others. I know I want to work on developing an idea if I find myself listening to it over and over again, feeling that sense of rush in writing something I love and think others will. There are some ideas I hear and think, it’s okay but I could do better. The more I write, the more I find ideas that excite me to develop them.

Your time at Belmont University and in Nashville must have given you a fresh perspective on the industry. Did your experiences there shape your vision for the kind of artist you want to become?

Being in Nashville and in a school surrounded by songwriters, I see the dedication and work ethic people put in and it inspires me. I have met professors that have done things in their careers that make me think my dream is possible to achieve. It instills confidence and inspiration in me to be surrounded by such talent. My vision for the kind of artist I want to become now is someone who takes the inspiration of others and turns it into motivation to reach my fullest potential.

You’ve expressed an interest in working with producers who have helped shape the careers of well-known artists. If you could collaborate with anyone right now, who would it be and why?

My dream producer collaboration would be with either Max Martin, Jack Antonoff, or Dan Nigro. These producers have created songs I’ve grown up listening to and inspired me to be like. They’ve created possibly some of my favorite songs with some of my favorite artists and I’ve always wondered what kind of songs I could create with producers like them.

As someone who started writing at a young age, how has your relationship with music evolved, especially since taking time to focus on your mental health?

When I was young, I used to write for fun as a hobby of mine before even knowing how to develop a full song. Over time, my relationship with music has evolved into something more fulfilling. There were times, especially when struggling with my mental health, when I questioned if this was something I really wanted to pursue. Taking time to focus on myself has taught me that this is something I really am passionate about, and if I didn’t at least try, I would regret it for the rest of my life. Now, I feel confident in the path I’ve chosen for myself.

Your music is deeply personal but also relatable to your peers. What kind of impact do you hope your songs have on listeners going through similar experiences?

I hope listeners feel validated in their feelings and in their thoughts. Hearing songs that are relatable yet personal can create a connection I hope to have with my listeners on a deeper level.

Looking beyond Now That I’m Gone, are there any themes or sounds you’re experimenting with in your upcoming projects? 

In my upcoming projects, I’ve been experimenting with more production ideas and instruments I haven’t used before. Something that can still feel authentically myself while expanding and creating my own sound.-

Discover more about Megan Wheeler via her official website; and listen to her sophomore single, Now That I’m Gone, on Spotify from February 28th.

Interview by Amelia Vandergast

horanVi Painted Romance in Sonic Sepia Tones with ‘Before It Lasted’

Posted on 2 March 2025

With a title that instantly wraps itself around poetically introspective thought, horanVi’s second single, Before It Lasted, is as evocative as it is luxuriantly cinematic. Packaged in a neatly consumable 3:30 runtime, it delivers indie pop hooks with a delicate dusting of jazz sophistication, cushioned by neo-soul grooves and a rich palette of harmonic textures. It’s the kind of track that seduces attention from your serotonin-firing synapses.

Some artists perform; others create sonic alchemy. horanVi firmly belongs in the latter camp, rolling out the welcome mat to listeners who crave jazzy revelations of soulful scintillation that leave an inexplicable mark

Every note in Before It Lasted feels instinctively fluid, as the gilded tones become a tonic for the soul. The interplay of jazz chords and a soaring guitar solo ensures the composition doesn’t sit still, while the time signatures shift just enough to make the heart skip in time with the notes left unplayed. But the pièce de résistance? That belongs to Violet’s vocals—honeyed yet untamed, delivering a liberated performance that turns the track into an effortless catharsis.

With their forthcoming 10-track album on the horizon, horanVi continues to resist easy categorisation, pulling from jazz, rock, blues, and neo-soul without bowing to convention. All too often jazz musicians solely serve to flex their technical chops, but when horanVi cut close to the bone, they do it in a way that affirms the mind, body and soul.

After launching on Valentine’s Day, Before It Lasted is out now on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Aric B. Sinks into the Shadows of Lost Love with ‘ALWAYS U’

Posted on 27 February 2025

There’s no rough to take with the smooth in this hazy dream of an old-school soul serenade. ‘ALWAYS U’, taken from Aric B.’s hotly anticipated LP, THINGS NEVER SAID, is a love song unafraid of its own vulnerability. Mellifluous layers of nostalgia meld around the teasing tempo of the beats, while reverb-soaked synths spill into every corner of the track, enveloping Aric B.’s voice in an atmosphere thick with longing and regret.

Unlike the polished bravado often found in R&B heartbreak anthems, Aric B. doesn’t play the victim here. He paints himself as a less-than-perfect protagonist, taking full accountability for the love that slipped away. That candid honesty makes every lyric cut deeper as he mourns the one that got away with no ego left to shield him. As the track swells towards its multi-layered harmonic crescendo, Aric B. broadens his vocal range with a skill that reflects the depth of his talent.

The Decatur-born singer, songwriter, and producer has been shaping his sound since childhood, influenced by gospel roots and an extensive career spanning jazz, pop, and soul. From singing at Fenway Park to collaborating with Grammy-winning producers behind icons like Beyoncé and Alicia Keys, Aric B. has spent years refining his voice—both literally and artistically. ALWAYS U is proof that he’s arrived at a sound that is unmistakably his own.

The single is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Heather Dolly Turns Back Time with her Retro Chamber Folk-Pop Ballad, ‘My Love’

Posted on 27 February 2025

Don’t be fooled by the wavy, lo-fi, tape deck-esque intro—‘My Love’ doesn’t linger in nostalgia for long. From the mind of one of 2025’s most authentic aural architects, the single unfolds into a euphonically intimate trip across the decades. Heather Dolly flits between the 60s and 90s with a sound that carries echoes of icons from both eras, yet her sonic signature remains unmistakable.

Between Beatles-esque chamber pop crescendos and the aching touch of Hurt-era Christina Aguilera, ‘My Love’ sells sanctuary to wearied lovers, embedding them in the tonal catharsis of a track classic in all the right places, innovative in all the rest. It plays out like an affectingly poetic diary entry, wrapped in orchestral swells and folk-pop warmth, with hints of jazz rock swimming in the underpinnings.

At just 19, the Welsh singer-songwriter—now based in Liverpool—has already mastered the delicate balance between timeless and contemporary. With influences ranging from Laufey and Faye Webster to Bob Dylan, she’s not just borrowing from the greats; she’s reinterpreting their legacies with a voice that could heal the deepest of emotional scars.

‘My Love’ was officially released on Valentine’s Day and is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Julia Powell Resurrected the Esoteric with Her Art-Pop Earworm, ‘LAZARUS’

Posted on 27 February 2025

In a world where mannequin heads and hypnotic light shows serve as the set dressing for Julia Powell’s sonic exorcisms, ‘LAZARUS’ arrives as the latest séance. Since her 2022 debut EP, Ephyra, fans have been left suspended in Powell’s void—unsure whether to dance, dissolve, or do both at once. With her upcoming album alchemically stirring for a late 2025 release, she’s already made it clear that her dominion over the avant-garde is absolute.

Between the stabbing ache of the piano keys, the chamber strings that oscillate beyond recognition, and the trip-hop-tinged middle-eight teetering on the edge of total chaos, ‘LAZARUS’ doesn’t just transcend—it disorients. Powell’s teasingly arcane vocal lines slither through the arrangement, twisting through histrionic motifs that claw at the psyche. The track is as much a fever dream as it is a statement: Powell has reached the epitome of art pop and staked her claim to supremacy.

If her live shows—described by fans as out-of-body experiences—are any indication, ‘LAZARUS’ is only the beginning of the next rupture in Powell’s hauntingly immersive world. The esoteric earworm is a sign of the seismic shifts to come.

‘LAZARUS’ is available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Jenna Louise’s ‘Safe’ Opens Wounds Just to Show How They Can Heal

Posted on 26 February 2025

Jenna Louise strips back the glossy veneer of love songs in ‘Safe’, offering something far more valuable than sentimentality—understanding. The North East singer-songwriter, whose reputation has been cemented through BBC Introducing and international airplay, takes the worn-out phrase you have to love yourself before someone else can and reshapes it into something more compassionate. The standing ovation-worthy piano-led ballad explores the weight of past trauma in new relationships, showing gratitude for the kind of love that doesn’t demand perfection but instead cradles scars with care.

The classic pop stylings in Safe are pulled into the present by the sheer emotional intelligence in the lyrics and the affecting maturity in Jenna Louise’s expansive vocal range. Cinematically seraphic harmonies rise between honeyed verses steeped in introspection, turning a deeply personal reflection into a universally resonant moment. Every note is delivered with the kind of conviction that makes the difference between a song that’s heard and one that’s felt.

With her debut album My Journey already making waves, turning heads at HMV in Darlington, and featuring collaborations with Carl Pemberton (Journey South) and Sam Haynes, there’s never been a better time to affix Jenna Louise to your radar.

Safe was officially released on Valentine’s Day and is out now on all major streaming platforms, including Spotify.

Review by Amelia Vandergast