A&R Factory conducts exclusive interviews with independent bands, musicians, and artists from around the world. We converse with musicians about their upcoming releases, planned tour dates, and other topics that make them unique and stand out from the crowd!
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Join us as we sit down with NINIVE, the rising star of Alternative Pop, to delve into the inspiration behind her hit single, “Solo en Ti,” her partnership with producer Enrique Gonzalez Müller, the influence of her academic journey on her songwriting, the emotional depth of her music, and a sneak peek into her upcoming album. NINIVE’s artistry is a captivating blend of emotion and melody, and this interview offers a glimpse into the heart of her musical evolution.
Can you tell us about the inspiration behind “Solo En Ti” and how it reflects your growth as an artist?
“Solo en ti” was a particular song starting from the moment it was written. Usually for me composing a song comes as a flood, the music, melody and lyrics come together, rarely separate. “Solo en ti” was an exception and it wore a different disguise. I started with the just words and the thought of not wanting to write a “nice song, with nice lyrics, that talks about nice things”. I wanted to talk about the ugly, the uncomfortable and the unpleasant, but this song ended up being much more than that, revealing potent feelings and emotions I had hidden inside.
Solo En Ti focuses on my emotional labyrinth with music. The resentment I thought I felt while being in love with it at the same time. As an artist breaking this seal of what I thought was expected of me and being able to actually express myself and share, not only the nice parts but also the angry, the dissatisfied and confused part too, opened a whole new chapter for me.
Collaborating with Enrique Gonzalez Müller is a significant step in your career. How did this partnership come about, and how did it shape the song’s production?
As this project started to take shape, my team and I (Adrian Sanchez and Andres Vargas) decided we needed to take it to a new level. We wanted someone that could give it power and potent expressiveness while keeping its essence and DNA. We remembered of an unusual and impressive producer, Enrique Gonzalez Müller, which we had the pleasure to meet at a talk he gave a few years back at COM (College of Music de la Universidad San Francisco de Quito, Berklee Global Partner) With this in mind we began our hunt to find him and catch his attention, and luckily we got it. Enrique’s sharp ear for translating human emotion to physical sound is so unique and precise, it fulfilled the artistic vision I had for this project.
Your academic journey includes a Master of Music in Songwriting. How has your formal education contributed to your songwriting process and the depth of your lyrics?
Dedicating a large amount of time exclusively to songwriting allowed me to explore my ideas in- depth and experiment with various tools I learned along the way. A big part of the program was dedicated to research, learning about the work of other artists and collaborating with other musicians opened my mind. This exploration made me really think about what I wanted to do and how I wanted to express myself within my music.
The emotional journey in “Solo En Ti” is palpable ranging from frustration to reconciliation. Can you share more about the story or message you aim to convey through this song?
“Solo En Ti” talks about how resentful I thought I was with music at a point in my life when a lot of changes were happening. My experience throughout this project is described as an entering an emotional labyrinth, where the only way to heal and clarify these clouding feelings was by reliving the pain, admitting mistakes, and recognizing the beauty of a tough journey as well as acknowledging that life is an adventure.
As time passes, I have learned that the process of going through and feeling what is painful, harsh, and uncomfortable is a crucial part of learning and finding a better understanding of myself. A practice that is definitely out of my comfort zone, but has helped me process different events in my life.
What can we expect from your upcoming album, and how does “Solo En Ti” set the tone for this musical venture?
“Solo en ti” was the perfect opening track because it shows the heart of this project with its Andean roots, especially in its percussion and its Latin American narrative heritage. It is a time machine with the romance of yesteryear but using modern tools (the magic of technology with its Sonic filter and effects which allow us to modify sounds in almost supernatural ways!). Although the other songs of the project have the explosiveness of “Solo en ti”, they also bring different shadow-and-light nuances of equal depth and honesty.
Welcome to an exclusive interview with the rising stars of Florida’s alternative hard rock scene, Abyssal Voyage. In this candid conversation, we delve deep into their future goals, information on their upcoming releases, the electrifying energy of their live performances, the secrets behind their unique sound, the musical influences that fuel their creativity, and a few surprising facts they can’t wait to share with their devoted fans.
Can you share with us your band’s future goals and aspirations? What do you hope to achieve in the next few years, as Abyssal Voyage?
Our biggest goal as a band is to become an established, profitable business known for delivering quality entertainment to the fans we (hopefully) make along the way. We also aspire to one day provide employment and scaling opportunities within the entertainment industry for those with the same discipline, direction, and dreams that, we as a group, all share together. There’s no real idea what the future holds for us and we don’t want to set limits for ourselves. We’re just learning as we go and always try our best to navigate the obstacles that all artists, especially Independent Artists, tend to encounter.
We previously reviewed your track Time, What can fans expect from the new music you are creating, and do you have any future release upcoming?
We’re so grateful for what you wrote about ‘Time’. We took it to heart when you guys deemed us with such titles as “Juggernauts in the Hardcore Scene”! We just released our second single, ‘Step’, which is filled with nothing but groove during its 5 minute time span, and has also given our band a more prominent boost in our local area. We have another single coming out, hopefully, by the end of the year with the immediate goal for all of 2024 to really be pushing the brand of ‘Abyssal Voyage’ and prepping the public for our debut album. We don’t really write our music in any sort of conventional sense. It’s mostly riffing based on the vibe we have with each other during some random moments at practice, then tightening up and adding flavor to each song over weeks and sometimes months from inception.
Your live sound is known for being unique and captivating. Could you share some details about the type of equipment you use to achieve this distinctive sound? Are there any specific pieces of gear that are essential to your live setup?
From what we’ve been told by our fans, our songs or “sound” are all unique from one another and our energy live is unparalleled to most performances they’ve seen. Which you can imagine made us feel incredibly confident in our writing and performing abilities since their statements confirmed to us our ability to communicate the vision of our songs to the listener successfully! What makes our live sound so distinctive are all the elements each member brings to our live setup. Andres having such an animated and passion-filled frontman persona, Cory’s indie-ambient flare with mood shifting whammy bends and the rhythmic section being driven by Verb’s grooving low tones and sporadic mid-range bass scales that hold the balance around Dyl-Pick’s unique riffing style; all that’s powered by a 2 amp stereo setup, being complimented by Todd’s massive drum kit that holds every percussive tone a rock band could ever need!
It’s always interesting to learn about a band’s musical influences. Can you tell us about the artists or genres that have had the greatest impact on your music? How have these influences shaped your sound?
There’s so many artists to name, a few would be: Korn, System of a Down, Van Halen, Megadeth, Guns N’ Roses, Nas, and Modest Mouse. Each member has a large repertoire of influences ranging from Hard Rock, Metal, Hip-Hop, Rap, Indie, Pop, and even Dance music that they bring to the table respectively. This wide range of sonic ideologies gives us such a creative push that we feel adds to the unique reputation that Abyssal Voyage is starting to develop amongst fans.
Fans love to discover interesting tidbits about their favourite bands. Could you share an unknown or fun fact about Abyssal Voyage that you think your fans would find intriguing or surprising?
Every member in the group is playing/writing/practicing outside of their normal ranges. Our entire rhythmic section, for example, is playing their secondary instruments. As stated in the previous question, each member’s respective influences adds a semblance of musical and tonal progression that pushes each different member to dive head first into a new level of focus and creativity that, with continued effort, keeps transcending to new heights throughout the lifespan of Abyssal Voyage.
Ines Belayouni, the talented Tunisian singer, embarked on an extraordinary journey from Tunisia to Los Angeles to fulfil her musical dreams. With a deep love for Jazz and Arabic music, impressive collaborations, and a versatile language repertoire, Ines’s story showcases her unwavering determination to achieve international acclaim in the music industry. In this interview, we dive into her unique journey, exploring her musical influences and the pivotal moments that have shaped her career.
Can you tell us about your early musical influences and how your family instilled a love for Jazz and Arabic music in you?
My parents instilled the love of music since I was a toddler. My mother grew up in France, she used to play a lot of classical music and popular French songs from various artists such as Edith Piaf, Charles Aznavour, Jaques Brel and many more. My father on the other hand, loved Arabic Music specifically Egyptian, soon I found myself singing with him the songs he would play in the car and he noticed that I was learning fast and sang in tune. When it comes to Jazz music, both of my parents introduced me to it with artists such as Armstrong, Miles Davis, Sinatra.
“Ijik el Khir” was a significant milestone in your career. How did the opportunity to collaborate with Sabry Mosbah on this track come about, and what impact did it have on your musical journey?
Following the Tunisian revolution that occurred in 2011, our country and us as citizens, experienced violent and scary events for a few months, that changed the course of history. Ijik El khir is the soundtrack of a documentary produced by Coca Cola. This Anthem is an invitation to all Tunisians to express the solidarity found in each of us, which was much needed following the state of turmoil the country was in, and to be reminded that we should remain United. The song was a success, touched many hearts, brought some joy amid the chaos, and for us as artists brought fame, and exposed us to a larger audience through radio and tv appearances.
You were part of the project “Imraa Wahida,” the Arabic version of the song “One Woman,” which was produced for UN Women. Can you share your experience working on this project and performing at the Cairo Opera House on International Women’s Day in 2014?
It was an incredible experience and a memory dear to my heart. I met wonderful and talented artists, singers, writers, producers and musicians. It was my first trip to Lebanon as well. A year later we had the opportunity to get together again and perform at Cairo Opera house. I remember vividly the night we performed, how proud we were to be part of such an amazing and powerful project that aimed to spread a message of unity and solidarity.
You’ve had the opportunity to perform at prestigious events and on various TV and radio shows in Tunisia. Can you share a memorable experience from one of these performances or interviews that had a significant impact on your career?
One of the most memorable experiences was performing at the American Embassy for Independence Day in July 2016. It was such an honor, especially having met The Ambassador of the United States appointed at that time, who gave me great advice, encouraged me to move to the US and aim for an international career. Another memorable event was when I sang the Tunisian National Anthem A cappella for Europe day, I was contacted by the ambassador of European Union appointed in Tunisia back then, who also gave me amazing opportunities and never seizes to encourage me throughout my career till this day. I remain deeply grateful for both of these honorable men, who trusted me as an artist and believed in my potential.
Moving to Los Angeles is a major step in your journey to become an internationally recognised artist. What prompted your decision to relocate, and how has this move influenced your musical career and style?
Tunisia provided a great underground scene for me to evolve as an artist and reinforced my will to pursue a career in singing, but I always wanted more. As being an artist in Tunisia is not easy, I felt stuck, especially when you prefer singing in English. I have always wanted to move to the United States, since my first trip ever, back in 2004. I never lost hope, I have always believed in myself and my potential and wanted to make this dream come true. I was aware of the hardship ahead of me but that did not scare me. I had to get out of this comfort zone I was in, to embrace this adventure. I don’t think there is a better place to do it than the United States, it is the land of opportunities, I feel respected as an artist. I simply feel in my element.
You’ve mentioned your versatility in singing in multiple languages. How do you approach adapting your musical style and expression when singing in different languages, and do you have a favourite language to perform in?
I grew up speaking Arabic and French, I learned how to sing Arabic music from a very young age. Later on when I heard Whitney Houston, I fell in love with her voice and knew at that moment that I wanted to mostly sing in English. I have always been extremely curious of other cultures and languages. When I hear a song that I like, I will be wanting to sing it, thus adding Spanish and Italian to my repertoire. When singing in different languages, I make sure I understand the song even though I don’t speak the language to be able to convey emotions. Understanding the words you are singing is very important.
Could you share some insights into your current and upcoming projects? What can your fans expect from you in the near future as you continue to pursue your musical dreams in Los Angeles?
Last April, I released the first single of an upcoming Ep. The song is entitled “Attention” it is a pop rnb anthem that my producer Jamelle Adisa and I have worked on and co-wrote. We released a music video on YouTube and the song is available on all platforms. We recorded a few other songs and will be ready to release the EP by December hopefully. As I speak fluent Arabic and French I believe in music fusion, I am proud of where I come from and I consider myself lucky to be diverse and to be able to add a taste of my culture in the music I work on. Stay tuned!
For more information on Ines Belayouni visit her website.
Indie music enthusiasts and fans of emotive storytelling are in for a treat as singer-songwriter Kayla Friend gears up for the release of her second single, ‘Over,’ scheduled for release on September 22nd, 2023. Following the success of her debut single, ‘Valentine’s Day,’ Kayla continues to captivate audiences with her poignant lyrics and soul-stirring vocals. In this upcoming release, she delves deep into the themes of love, heartbreak, and the tumultuous journey of moving on.
Can you share the inspiration behind your upcoming single ‘Over’? How did the creative process unfold?
The song was inspired by an old iPhone note I had from years ago… a few quick thoughts I had jotted down when I realized that, after so many years, a prior relationship had reached a point of closure I’d been wanting for years. What sparked the note itself was when I received a “who is this?” text reply back to the number I had in my contacts for this person – we would still correspond here and there to share big life updates, send song recommendations, etc. The first words of the song are a direct lift from that original note – “you changed your number…I guess I understand, ’cause I always fall through any crack you leave open.” The words came with the vocal melody as I sat for an hour between errands in midtown, NYC, trying to get in a little piano time at a local studio. My fingers sat on F5/C until the rest came. Most of the lyrics and melody were written in that hour at Spectra Music Studios.
‘Over’ explores the aftermath of a passionate yet uncertain romance. How did you manage to infuse such personal emotions into the song’s lyrics and vocals?
I like to pull from real experiences that I had as a young adult adjusting to a new life in New York City – I wasn’t writing music at that time, I thought I couldn’t, so I’d just scribble these big feelings into little notebooks and iPhone notes whenever I got the chance, mostly just to get it out of my head and stop ruminating on it so much… It’s been such an experience years later revisiting these notes through the lens of music and putting melodies and words and a sort of “end” to these stories that felt incomplete. I’m able to do it so much more efficiently now with music and honestly, having the gift of time and distance from the events that sparked these thoughts has made it so much easier to be really honest with myself and create the songs from an authentic place without worrying if it’s going to tear me apart. I’m in a different place now, which makes revisiting these sad, vulnerable moments through music so much sweeter – it allows me to give myself some grace and be kind to my younger self in a way.
The verses in ‘Over’ are particularly evocative, painting a vivid picture of vulnerability and yearning. Could you tell us about your song writing approach when crafting these raw and relatable lyrics?
When revisiting old wounds, I like to be as honest as possible while still infusing the lyric with hope – however misguided that hope may be. The song is about not being able to ‘get over’ a relationship, yes, but in the verses I wanted to address that false sense of hope that made it drag on for so long: “I’ve kept my distance, and you’ve kept your secrets / we’re so good, insisting we’re strong at our weakest / just doing what’s right, never thinking we might be the fools.” This is about two people who are stubborn to a fault – even about doing the ‘right thing’ (whatever that means)… to the point of possibly missing out on great love because keeping the distance is the right thing to do. And even though they were both stubborn, they kept a sliver of opportunity open to keep that communication going – that’s where the hope is. There wouldn’t be that yearning without the sliver of hope, which is ultimately what makes it so tragic – the song is about the death of hope in that relationship.
The chorus of ‘Over’ carries a sense of self-reflection and introspection. How do you channel your own experiences into your music to create such a strong emotional connection with your listeners?
The more personal it is, the more relatable to others it becomes. I don’t know what it is about that concept that makes sense, but it works – I think anyone can relate to the feeling of wondering if ‘the one that got away’ misses you, even if you have both since moved on. Most of us are just afraid to be honest about it.
The upcoming music video for ‘Over’ draws inspiration from the indie film ‘500 Days of Summer.’ Can you share how this visual representation complements the song’s narrative?
500 Days of Summer was such a cultural moment for me as a young adult – the film came out in 2009, and I think that so many young people – myself included – immediately gravitated toward it because of the incredible storytelling, cinematography, and of course, the iconic performances. The story is told through the lens of Tom Hansen – a flawed, but relatable hetero cis male protagonist – and not long after the film reached critical success as an indie “sleeper hit,” grossing nearly 8 times it’s production budget in box office sales worldwide, some pretty harsh reviews began to come out from the public about the lead characters, Tom and Summer… Summer was thought to be purposely villainized by the film, which sat uncomfortably with some audiences and seemed to lean more into the ‘manic pixie dream girl’ problem. Nearly 15 years later, I think folks are coming around to the realization that Summer is not a villain – she operates like an unattached hetero cis man. She clearly states that she is not interested in a relationship with Tom, but leaves the door open to explore the grey areas between friendship and commitment. Summer is fiercely independent and acts out of her own self interest, not with the purpose of hurting other people, but with the conviction that she needs to do what is best for her – full stop. I find myself now having a lot of sympathy for Summer’s character and relate much more to her than I do to Tom these days. However, I think Tom’s narrative connects best to the ethos of this song for me – ultimately, Tom spends the majority of the film not being able to get over Summer, no matter how many times and how many ways she tells him ‘this won’t work.’ There is a kind of delusional hope that drives Tom to continuously leave that door open, always seeing the best in her, refusing to open his eyes to all the moments that were clear indicators of the relationship ending – I thought to myself, “what would it be like for my listeners to see this song through Tom’s eyes? Except Tom isn’t a hetero cis man – he’s me.” In a way I think the gender-swapped element of it peels back the filter we might have assigned to these characters as “hero” or “villain” – it forces us to admit that we each have our moments of willingly delusional hope when it comes to love.
As an indie artist, how do you hope ‘over’ will resonate with your audience, and what message do you aim to convey.
It’s always challenging to predict how new music will land with an audience for any musician, but especially challenging for an emerging indie musician – my hope always is for my audience to find a connection point, to feel somehow seen and understood by seeing themselves in my songs, and to help people feel less alone. Heartbreak, yearning, grieving – it’s something that is so universal and yet something we have all learned to skillfully hide or frame in a way that is ‘palatable’ to society. I want my songs to let people know that they don’t have to sugarcoat pain and they don’t have to be embarrassed by feeling big things. ‘Over‘ is something I think we can all relate to, as long as we are all being honest.
For the latest updates on Kayla Friend’s music and more, make sure to follow her on her official website, social media channels and get a sneak peak of the ‘Over’ video trailer here.
Get ready to dive into the uncharted territories of Americana Rock as we sit down with The Lethargics, a band hailing from Knoxville that’s rewriting the rules of the genre. With their guitars in hand and a fearless approach to music, The Lethargics stake their claim in the abandoned landscapes of Rock & Roll, reshaping it into something entirely their own. Drawing from the rich tapestry of influences including Dylan, Springsteen, and The Clash, they’re about to release their new 2-song EP on September 1st, 2023, featuring the tracks “Meteorite” and “Shelter In Place.”
Your music is often described as genre-averse Americana Rock. How did you arrive at this unique blend of influences, and what drives you to explore the unexplored corners of Rock & Roll?
The Lethargics have been steeped in music our whole lives and have absorbed sounds and influences from all over the musical map. When we play, all of that just blends – or maybe crashes – together. We hope listeners both like it and recognize that there is space for music that does not strictly fit a certain genre. Forcing songs or bands or people into easy definitions is lazy – and potentially hazardous.
Born amidst the beauty and history of Appalachia, how has your environment influenced the stories you tell through your music?
It is a beautiful geological region but can be a tough place to try to live. First, there are a lot of broad-brush misperceptions about the people that can be impossible to overcome. Second, the economic developments of the region have been generally deadly to the environment and the folks doing the actual work. There are other factors I am leaving out, but it all adds up to a lot of poverty and lack of options and hopelessness. This significantly drives the violence and alcohol and drug addictions that perpetuate the situations. The Lethargics have been affected in many direct and personal ways by all these things and tend to write a lot about it.
Your upcoming release on September 1st 2023 features the tracks “Meteorite” and “Shelter In Place.” Can you give us a glimpse into the themes and inspirations behind these songs?
Meteorite is pure Rock swagger come-on. There’s not a lot of deep message in it, just someone saying, “If you don’t want to, that’s cool – but are you absolutely sure you don’t want to light up the sky?”
Shelter In Place could apply to any group of people fed false promises that they really had no choice but to accept as true…but find that after all the miles and years the prizes in those promises may always stay just out of reach, The Plenty has been laid to waste, there is always another storm…and there’s nothing left but to shelter in place, wherever or whatever that is.
Collaborating with The Relapsing Remitting Hillbilly Choir on both tracks is an intriguing choice. How did this collaboration come about, and how did it enhance the sonic landscape of the EP?
Ah, the RRHC. They have been on a couple of our previous releases. They truly just show up when they want and grab a couple of mics if they like the tune. They are even more privacy-conscious than The Lethargics – which is saying a lot – so I won’t allow much beyond the fact that they exponentially multiply the sound and the mercurial energies in Holler Studio.
The upcoming release is just around the corner. What do you hope listeners will take away from “Meteorite” and “Shelter In Place,” and how do these tracks signify your growth as a band?
As a Broke-DIY-Indie band, we’ve had to learn a lot about how to make things sound like we want throughout the recording process, as well as song structure and the like. Our hope is that this 2-song EP is more accessible and relatable to more listeners than our earlier stuff – and therefore more popular. We want people to hear us and think The Lethargics are a band with great songs that don’t sound like anything or anybody else. But mostly we just hope a lot of folks enjoy the music.
In the realm of music, there are dreamers, and then there are those like Belle, who transcend aspirations and manifest their dreams through unwavering authenticity and dedication. Hailing from California, Belle’s journey is a testament to turning dreams into reality, and she’s achieved it by staying true to herself. A Grammy-nominated songwriter, Belle’s life story is a symphony of creative achievement, lived on her own terms. Currently sharing stages with Kanye West and the Sunday Service Choir. As she unveils her latest labour of love—a mesmerizing EDM/disco EP—we sit down with Belle for an exclusive interview that offers a captivating glimpse into her journey and artistry.
Your journey is a remarkable example of turning dreams into reality while remaining true to oneself. Could you share how your upbringing influenced your unwavering pursuit of a music career and the key factors that kept you grounded in your authenticity?
“Building Bops” is a heart-warming tribute to family and early education. Could you elaborate on the inspiration behind this project and how your role as a mother has played a pivotal role in its creation?
Your upcoming music video release for “Just Be Good to Me” has generated significant anticipation. Can you provide us with a sneak peek into the inspiration and creative process behind the video, and how it aligns with the song’s energetic vibe?
“Just be good to me” has been a favorite song of mines since I was a kid. It was made famous by the sos band an rnb soul sensation. The music video takes the audience into how I see the lyrics. It’s energetic, electronic with beautiful visuals. Just be good to me was released July 21,2023 and produced by Brad Grobler of big productions worldwide . It has an amazing future rave mix that was released august 18th (Here’s a sneak peek of the video) My album is filled with the influence from some of my favorite euro dance and house artist one of whom I sing Lead for Labouche famous for be my lover and sweet dreams. I’m so excited for the dance world to embrace me.
Your versatility as a songwriter has led to placement in Erica Campbell’s gospel album “Love.” How do you approach crafting music across different genres, and what were the highlights and challenges of collaborating with Erica Campbell?
I love working with other writers and singers. This song “trust and obey” came about from a situation that i knew wasn’t okay but it was so good that it made it hard to trust and obey. I wrote this song with a good friend of mine songwriter Gromyko Collins and the super producer warryn Campbell of my block resources produced the song. Each song is different most times you don’t sit in the studio with the artist and most times you do. There’s was no challenge working with Erica Campbell at all. She’s such an amazing and anointed talent. It’s my honor to be on her labor of “love”.
Talking to us about ghosts, It’s About Time and his whole life in a small town with so much love, Tracy Inman kindly tells us about his exciting life as a Paranormal Investigator and shall inspire many to follow their dreams. This is an interview to remember fondly.
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Hear this new music on Spotify.
Interview by Llewelyn Screen
Welcome to an exclusive interview with Andrew Whitehouse, a talented underground musician and songwriter who crafts original music inspired by the depths of his soul. Andrew’s musical journey is a testament to his dedication to creating authentic, culturally resonant tunes that defy the superficiality of modern trends. In this interview, we delve into his approach, struggles, and mission, exploring the essence of his singles “Landslide,” “Breathe,” and “The Darkness In Your Soul.” Join us as we uncover the true artist behind the melodies and gain insight into his plans for the future.
Andrew, your music emanates a sense of authenticity that’s rare in today’s industry dominated by clickbait and quick content. Can you share your personal philosophy that drives you to create music that goes beyond trends and focuses on culture and musical vibe.
I think about what made music special when I was growing up, and most of the things I remember where how music was more than just songs on the radio, it was part of our identity and crossed boundaries into other forms of art and culture. Music’s role has changed over time in part due to accessibility and output and it tends to be more background than culture. I think people miss that, along with the imperfection and authenticity.. and particularly as artistic output increases through technology I think people will crave authentic, human artwork and music again
The indie music scene often comes with its own set of challenges. Can you shed light on some of the obstacles you’ve faced while navigating the underground music landscape? How have these experiences shaped your artistic identity?
There’s both more opportunity and less chance of being heard at the same time, which is weird for sure. One of the biggest obstacles is that as an indie, everything is up to you. You have to learn to be a digital marketer, a video editor, a social media influencer, the list goes on! Since I want to stay true to my brand and be authentic and find a zone where I’m both accessible but different, this makes it extremely hard to navigate. Most examples of what you see work for other artists does not resonate with me at all, and a lot of the techniques/content strategies etc just feel wrong to me, and I don’t think I’m alone in this!
In an era where viral hits and viral marketing often overshadow artistic depth, how do you stay true to your mission and maintain a focus on creating music that resonates with genuine cultural and emotional significance?
I think the only choice I have is to stay true to my vision and to be the version of myself that I want the world to see. I can’t control what other people like and whether I’ll generate enough attention to make it into the attention spans of the people who will really love my work, only time will tell. Of course, I don’t get to decide what people find artistic or pleasing and that’s the nature of art, so what’s authentic and “real” to me might be derivative sounding to someone else. I try to keep in mind that there must be an audience out there for me, I just need to find them!
As we look ahead, could you share some insights into your plans for the rest of the year and beyond? How do you envision rising above the obscurity that indie artists often face? And where can your growing fanbase find and experience more of your captivating music?
My plan for the rest of the year is simply to continue to connect with people online and share my music in the lead up to an album launch towards the end of the year. Rising above obscurity is all about consistency and building a world online for an interested community. Anyone wanting to find me can connect with me on the usual social media channels or my website, I hope to see you there!
Today, we have the privilege of sitting down with the musical powerhouse behind IMMORTALIZER, a one-man heavy metal force that has been turning heads with his classic heavy metal sound and relentless dedication. From early vinyl inspirations to a DIY recording journey, IMMORTALIZER’s story is one of passion, perseverance, and a steadfast commitment to the art of music, lets dive in!
You credit your father’s Rock & Metal vinyl collection as a catalyst for your musical journey. Could you share a few of those iconic artists that left a lasting impression on you as a musician?
When I heard Black Sabbath’s Paranoid for the first time at 7 years old it truly changed my life. I was immediately drawn in and learned a great deal from Black Sabbath records. Alice Cooper was another artist that greatly influenced me. Same with Van Halen. I was mesmerized by Eddie Van Halen’s guitar playing in particular. Some of the others early on were Deep Purple, Nazareth, Pink Floyd and Led Zeppelin. I spent countless hours playing those records over and over. I knew without a doubt that music was going to be my path in life.
Your journey began with a modest drum kit, and now you handle guitar, bass, drums, keyboards, and vocals. How did you master these diverse instruments, and what drove you to become a one-person powerhouse?
Immortalizer | I was very driven as a young kid and I wanted more than anything to become a professional musician and tour the world. I was determined to make it happen. I got my first drum kit for my 9th birthday and played that thing into the ground. I would play until my hands blistered and bled. I’d stop to bandage my hands up and then I’d continue playing haha. I just couldn’t get enough. I was so obsessed with music that I wanted to learn other instruments as well, so I started learning guitar on my father’s old acoustic guitar. My parents had an upright piano downstairs, so I would mess around on that as well. I learned to play everything by ear. I played along to my favourite records and started writing my own songs. Over the course of 28 years I slowly developed each instrument by practicing all of them as much as I could. I never took music lessons but I learned lots of tips and tricks from family and friends. A big shift was my journey into recording. Home recording started being more affordable when I was a teenager, so multi-track recording was a total game changer for me.
My solo career was a bit unexpected. My best friend Jay and I started our first band when I was 9 and we went on to form 13 bands together. We both loved music and practiced in his parents basement every single day after school and even more on weekends. They were so nice to let us jam full volume during our formative years. It was considerably raw at first and always very loud. A few years later we started performing all over our home city and outside it as well. It’s not an easy business however, and after years of effort Jay decided to return to school. I couldn’t picture myself doing anything other than music however, so I decided to continue solo. I had already begun recording full demos at that point, so I just dedicated all my time and energy to my new project Immortalizer.
Creating a DIY recording setup in your basement is a testament to your determination. Could you elaborate on the challenges and rewards of producing your music independently?
I have improvised quite a bit in my home studio. For example, my vocal booth is made of a foam mattress wrapped in moving blankets and propped up with fence posts. It doesn’t get much more DIY than that haha. Though funny enough it does work quite well. I couldn’t properly record acoustic drums with the gear and space I had, so I decided to go with electric drums instead. I’ve spent the last 28 years slowly beefing up my studio and equipment, trying to get a decent set up for each instrument.
I think the main advantage is creative control over my work. I can create exactly what I hear in my mind and what I envision for the song. I also feel you can’t rush creativity, so I enjoy being able to decide when an album or song is ready. However doing everything myself means a lot more pressure and a lot more time. The biggest disadvantage of all is not being able to perform, tour and write with other musicians. That’s why I’m planning to find full time band members to be able to bring Immortalizer to the stage and tour around the world.
How did you develop your signature sound, and what were some of the influences that guided you?
When I started Immortalizer I envisioned fusing classic style Heavy Metal with contemporary Metal. I thought it would be fun to create something a little different. I only realized after my first tracks that I had pulled from other sources as well like Thrash, Prog Metal, Heavy Rock etc. I also realized that I wouldn’t really fit into any one category which complicated things a bit, but my focus has always been to just make the best music I can.
I’ve been greatly influenced by those first bands like Black Sabbath and Alice Cooper and many others along the way. Ozzy’s solo records were incredibly impactful on me since childhood. Another life altering band for me was Megadeth. I found out about them when I was about 12. I bought Countdown To Extinction and it completely blew my mind. Metallica, Pantera, Kiss, Symphony X and Black Label Society were all big influences as well. A year or so later I learned of bands from the New Wave Of British Heavy Metal like Motörhead, Judas Priest, Saxon and Iron Maiden and once again my life was forever changed! German Metal was an equally impactful influence on my evolution as an artist. Specifically Primal Fear and Helloween. I was blown away by their talent, powerful melodies, incredible performances and production quality. I began digging into more German and European Metal bands and found so many new favourites like Yngwie Malmsteen, Accept and Michael Schenker.
Collaborating with Ralf Scheepers of Primal Fear sounds like a dream come true. Could you share how this partnership came about and what it meant to have his involvement?
Absolutely! I’ve been a huge fan of Ralf’s and Primal Fear since I was a teenager. I consider Ralf to be one of the greatest Metal vocalists out there. I first reached out to him for help to further develop my vocal abilities and recording knowledge. I’d been singing for over 20 years but had no formal training of any kind. I felt I had hit a wall and wanted to expand my vocal range and learn from someone I greatly admire. We both live for music and got along really well, so we started becoming friends. Ralf has been very supportive and helped me in so many ways. He graciously created my new vocal sound, helped me with gear and shared all kinds of info and advice. Ralf kindly offered to mix and master one of my first singles (I’m Gone) and afterwards we began working on the entire album together. When I showed him We Were Born For Metal he really liked the song and volunteered to do some guest vocals on it. I was beyond thrilled! He did such an incredible job on the single and the album production. It’s especially impressive when you consider that he was working from home recordings. It’s been such an honour to become friends and work directly with one of my heroes. I’ll forever be grateful to him.
As an indie artist, gaining recognition and building a fan base can be a challenge. How has the response been to your music, and how do you feel about the support you’ve received from your fans?
The response from critics and fans so far has been incredibly positive! It’s been very encouraging and humbling to see so many people enjoying my music. I’ve received a lot of kind messages from fans. Their support has been really great as well, people from all over the world have reached out for CD’s, vinyls and merchandise. Digital downloads and streams being the most significant. I’m extremely grateful to all Immortalizer fans for their support! It’s definitely a challenge for indie artists though. I’ve tried to keep costs as low as possible for fans but the manufacturing and shipping costs have gotten so high that it’s hard to get albums pressed and released independently.
Finally, your dedication to music for nearly three decades is truly remarkable. If you could send a message to your younger self, just starting out on this journey, what advice would you give based on your experiences?
That’s a very good question. I think I’d say: never give up on yourself or your dream. Incredible things can happen when you work hard and stay true to yourself. Don’t let other people’s negativity discourage you and never stop reaching beyond your grasp.
Check out this fine new single on YouTube.
See more of this journey on IG.
Interviewed by Stefan Toren
Ripping a hugely likeable sound into our lives with a friendly kick to the soul and a smile to follow, Propter Hawk reminds us of that old-school sound that drives our hearts into doughnuts outside the local drive-through at 2 am. They tell us their debut self-titled debut record while sipping on sherry flips and might change your mood for the better. Real music with purpose still exists you see? You just have to look for it and dig a little deeper to find the treasure. Look no further.
Llewelyn: Hello Propter Hawk. Please take a seat on our cosy virtual couch (excuse the snoring cat there) and may we provide you with any snacks or beverages? Alrighty, let’s get into it. Firstly, how did you get this incredible name and who is the cleanest member of the band, who’s the most organised, the most serious, the friendliest and who is the messiest?
Andrew: I came up with the name a while ago and this question has been haunting me ever since. It’s a play on “Post Hoc Ergo Propter Hoc” which is one of Socrates’ informal fallacies. I often find myself trying to explain this to people in loud, packed clubs and it is the most difficult part of my entire life.
Malorie: I’m definitely the most organised, Alec’s the most serious and Jimmy is the friendliest person on earth. Andy and Brian can fight over who is the messiest. They’re both…you know.
Llewelyn: Secondly, we’re super thrilled about your upcoming debut release on the 18th of August 2023. You were kind enough to send us a pre-listen..and wow..we love it. Sherry Flip especially is special. How did the whole album come together and how would you describe the vision and your sound on this one?
Andrew: In many ways, the album came together because of Covid and lockdowns. Mal and I had a lot of song ideas going into the pandemic and we wanted to write songs that really expressed some of the feelings that, I think, a lot of people have been having for a long time. Since we couldn’t play shows, we really used it as an opportunity to work them out with the boys and by the time restrictions were lifted, we had a whole album of songs ready to go before we ever had the chance to play live.
Jimmy: We were toying with the idea of recording the album ourselves but when we got the opportunity to record at Pineship Sound in Toronto with Carlin and Mike of Zeus, that settled it for us. We grew up watching those guys in Zeus and it was a thrill to get the chance to work with them. They’ve contributed to so many records that we love.
Alec: There are a lot of overlapping influences between all of us, so musically we are all headed towards the same goal, but the album certainly showcases everyone’s individual approach and it became kind of our own unique take on rock and roll. For me, a lot of it came down to us recording live off the floor and making sure we kept things loose and organic. I think you can hear that rawness in the tracks.
Llewelyn: Please tell us all about your upcoming album release show at The Cameron House (408 Queen St W, Toronto, ON) on 18th August. Who’s on the lineup and what should fans expect, where can they buy tickets, why did you choose this particular venue, times etc?
Brian: This is a really special show for us. We’ve been sitting on this album for a while now and are really ready to get it out there. We’re playing with The Young Scones, a supergroup made up of some of our favourite Toronto musicians that we’ve been playing with right from the start. Moondoggy is the other act on the bill and another one we’ve played with before; they’re always great. We’ve played at The Cameron House a few times before and it’s always a really exciting spot to play. The room comes with a lot of energy.
Llewelyn: Toronto, Ontario is your hometown and is a place we want to visit. What parts do you love and where do you personally go and watch live music? Is the scene thriving and where do upcoming original solo musicians and bands head to perform?
Brian: I think the live music scene, especially for rock and roll, has changed a lot in recent years all over the world…but Toronto is still holding on like it always has. We grew up going to places like Lee’s Palace, The Horseshoe Tavern, El Mocambo and The Dakota Tavern, and all of them are still going strong and are still home to the best upcoming rock bands in Toronto. I don’t think a lot of these legendary clubs survived the pandemic in other cities. In fact, we have seen more clubs popping up here and there recently. Anyone looking to start playing in Toronto has a lot of options to choose from.
Llewelyn: Ah yes. How did the band form? We have a feeling this is an interesting story…actually…you have told us but we don’t want to spoil it. Please tell our readers about how your band actually got together and now makes beautiful music together.
Malorie: Well…I married a guitar player (Andrew) and he was in a band called New Commuters with Jimmy. I have been singing for years and wanted to start my own music project and Andy was an obvious choice. Since Jimmy is Andy’s most trusted musical collaborator, he was also an obvious choice. Our original idea was going to be the three of us and Andy was working on…a bass-playing robot. Not a joke. He actually got close, but the logistics were a nightmare. So we sent out a desperate classified ad looking for a bass player. Our only reasonable response was from Alec, who played guitar and had no interest in playing bass at all. For some reason, we invited him to come play with us anyway and after a few minutes, it was clear that we could exploit him for his outrageous talent. Shortly after, Alec brought in his seasoned musical collaborator, Brian, to play bass and sing harmony and he fit in right away. And here we are.
Llewelyn: What’s it like when you close your eyes and see that live crowd? Does it excite you and do any parts of the process scare you at all? It must be such a rush feeling the anticipation and seeing sweaty faces staring closely, singing your songs and rocking out to get work-life stresses out of their system.
Alec: It’s definitely a rush to get up there in front of people and give it your all. For me, once you play that first chord through a loud amp we’re off to the races and any nerves turn into excitement. Seeing people get into it and pass that energy back to us might just be the best part.
Llewelyn: Last one. Once again, thank you for your time today. What do you usually eat/drink before a show or is there a pre-gig ritual or do you just have a lil chat and get on with it? Also, is there one song of yours in particular that you all love wholeheartedly and can never get sick of playing?
Jimmy: We kind of do our own thing for the most part and we’re pretty low-key. Right before going on stage, Malorie, Brian and I find a quiet place somewhere and warm up our vocals. The Yawn-Sigh Technique, The Tongue Trill Exercise…lip buzz warm-ups…all of them.
We released Theatre Of The Whole World a while ago and it seems to have caught on really well in Toronto. It’s always a rush to see a crowd of people that you’ve never seen before singing along to every word.
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Do some warm-ups for the soul via the album link on Spotify.
See where they fly next on IG.
Interviewed by Llewelyn Screen