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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Step into the enchanting universe of Isla de Luca, the rising (alt-)pop luminary from the heart of NYC. As they prepare to unleash their debut single, “i already am one,” on February 16th, Isla takes us on a spellbinding journey, intertwining Y2K sleaze, Pop Rock, and a fearless exploration of cultural dynamics. In this exclusive interview, we unravel the layers of their musical tapestry, exploring the vibrant nuances and unapologetic persona that defines their sonic realm.
Your upcoming single, “i already am one,” weaves together Y2K sleaze, Pop Rock, and cultural dialogues. Can you delve into the artistic alchemy behind this fusion and how it encapsulates your vision for the track?
The fusion of Y2K sleaze and Pop Rock in “i already am one” is a deliberate choice to evoke nostalgia while engaging with contemporary themes. The Y2K sleaze brings a sense of bold, unapologetic fun and freedom, reminiscent of the music I grew up loving. The Rock element adds an edge and depth, grounding the track in a sound that’s both familiar and fresh. It also reflects another core inspiration for this song– the whole glamorization of the “rockstar’s girlfriend” aesthetic, which I wanted to comment on.The cultural dialogues woven throughout the song reflect my interest in ongoing societal discussions about femininity, empowerment, and the breaking of conventional norms. This fusion is my artistic signature, encapsulating a vision that’s both reflective and forward-looking, inviting listeners to explore the complexities of identity and empowerment with me.
The persona you adopt in your songs is that of a hedonistic, ultra-confident, maybe-evil siren. What led you to embody this character, and how does it contribute to the overall narrative and atmosphere of your music?
Embodying this persona is a way for me to explore and express power dynamics, allure, and autonomy in a hyperbolized form. She allows me to navigate through themes of empowerment, desire, and rebellion against societal norms in a theatrical and immersive manner. It contributes to the overall narrative and atmosphere of my music by providing a lens through which listeners can question and redefine their perceptions of femininity, strength, and independence. It’s a reflection of my innermost fantasies and a critique of the roles traditionally assigned to women, serving as a vehicle for listeners to engage with deeper themes under the guise of entertainment.
“I already am one” draws inspiration from Cher’s empowering response to societal expectations. Could you expand on the influence of Cher in your work and how their bold spirit shapes your perspective on femininity and unconventional relationships within your music?
Cher’s spirit resonates with my perspective on femininity and unconventional relationships, inspiring me to craft music that challenges the norm, celebrates individuality, and encourages listeners to embrace their own power and autonomy. “Mom, I am a rich man,” is a rallying cry for self-sufficiency and breaking free from the confines of traditional roles. Her ability to navigate the entertainment industry on her own terms, constantly reinventing herself while staying true to her essence, mirrors the journey I aspire to take my listeners on—where the exploration of identity is boundless and the celebration of your truth is paramount.
In “i already am one,” you incorporate elements from the cultural conversations about femininity and unconventional relationships. How do these themes resonate in your personal experiences, and what do you hope listeners take away from the intersection of your artistry and these societal discussions within your music?
These themes are deeply personal, reflecting my own navigation through the expectations and constraints placed upon femininity and relationships. It’s like my diary, a peek into my world of wrestling with the “shoulds” and “musts” of femininity and love. They’re conversations set to melody, inviting you to see the world through my eyes, even if just for a song. It’s been a journey of self-love, coming out, and embracing the beauty in the unexpected. My music is my megaphone, hoping to echo the thoughts and struggles of many, offering a beat to dance to when the world feels a bit too heavy.
Your music is often described as a journey within itself. How do you go about creating this immersive experience for your audience, and what key emotions or themes do you hope they absorb from the sonic odyssey of “I already am one”?
Crafting “i already am one” was like building a world from scratch—a place where every note, every beat, and every word invites you into a story. It’s all about setting the scene for an adventure in empowerment, discovery, and the sheer thrill of breaking free. I wanted every listener to feel wrapped in a sound that not only moves but speaks, urging them to find their own rhythm in the chaos of life.
Find out more here.
Embark on a journey through the musical cosmos as we dive into the creative mind of Dom Ultra, the visionary artist behind the upcoming album. From inspirations to production insights, we unravel the mysteries behind the beats that define his unique sound.
Your music has a distinctive and captivating sound. Can you share some of the key inspirations that fueled the creation of your upcoming album, offering listeners a glimpse into the creativity at play?
I would definitely say that I feel like the music I wear my inspirations on my sleeve. Im a big Bon Iver and Kanye guy. But my favorite rappers are like Roc Marciano, Earl Sweatshirt, Theravada. People like that. I really enjoy the alternative scene. Especially like the Folk and electronic scene. I like James Blake a lot. I just sample the stuff I like for the most part.
Crafting an album is a labor of love. Could you shed some light on how long it took to bring this project to life and the artistic process involved in its creation?
It took about two years technically. But realistically since i started because I was tryna just find a unique style and sound. It really came together during a dark time. I was listening to my old demos and I found an album in that. Most of it at least.
Speaking of singles, could you walk us through the ones that have already been released and provide a sneak peek into what listeners can expect from those yet to come?
I just released a single called DAYSINBOSTON. It’s a lot of that kind of stuff. Folk and Rap. Just another alternative rap album basically.
Your previous EP ‘Ill get to you later’ showcased a unique sonic identity. How does the upcoming album build upon or diverge from the themes explored in your last EP, and what can fans anticipate in terms of musical evolution?
If you heard the last song Southside, I really delved further into those kinds of sounds. Just a more polished version you could say. My raps are a little different now as well. Different stories I want to tell.
Can you take us behind the scenes and share some details about the production process, collaborations, or unique techniques that contributed to the distinctive sound of this upcoming album?
I have been clearing samples and getting the last touches done on the album. We’re almost there! I didn’t do a lot. I just used what I had. Next album I wanna do more around samples and try experimenting more on the next. But this album here is my healing journey so I hope it can relate to people in a similar way.
Find out more here
Diving into the indie pop scene with a nostalgic twist, Giant Killers, are set to release their long-awaited debut album, “Songs for the Small Places.” Originally crafted in the mid-’90s, this collection is finally seeing the light of day, packed with melodic tunes infused with a gritty lyricism and a nod to the iconic sounds of the ’90s. In this exclusive interview with Mike and Jamie, we unravel the journey behind the album’s resurrection, the band’s experiences, and their enduring influence on the music scene.
Your debut album, “Songs for the Small Places,” is a long-awaited gem that was originally intended to be released in the ’90s. Can you share the story behind the resurrection of this album and how it feels to finally bring it to the audience after nearly three decades?
M: For a long time, we considered ourselves to have been ground up by the Music Industry mill – we spent the entirety of our late teens and throughout our twenties in the back of a van, on the road, and in studios – we started our own label, then went on to have not just one but two major record and publishing deals in that period. Ultimately, we got unceremoniously dumped out of the business, essentially for not selling enough units. This was in an era with an unrecognisably different business model to that which exists today – back then, the expectation for any artist on a major label was to sell 100s of 000s of physical product in their first releases.
J: This whipping away of the carpet beneath our dreams triggered a period of reflection and re-evaluation, and inevitably disillusion. We changed our dreams, had lives outside of those narrow ambitions, had kids etc, in one sense we forgot about those older songs, even though we wrote many more new ones…
M: But this time just for the sheer pleasure of it, for the joy of creation. It was after a friend asked us to reunite Giant Killers for a birthday gig in Leeds that we were reminded of the power of those old songs when we played them live again. That was when we thought, hmmm… maybe it’s time to do something about this – to bring us to where we are now…
J: And we’re very excited to see how these songs will be received. But as we say in one of these songs, we’re older and wiser now, so we’re managing our expectations – our history in the business has imbued us with a deep layer of realism.
The ’90s sound is a significant influence on your music, and it’s making a strong comeback in today’s music scene. How do you see your sound fitting into the current musical landscape, and what elements from that era do you think still resonate with listeners today?
M: Undoubtedly, the present-day music scene, and to large extents, current fashion trends are skewed heavily to the 90s, but we wouldn’t say we are attempting to fit in with that. We’re big believers in the power of the song – the words, the melody and its combined emotive pull should rise above the way the song is produced, whatever producer, production techniques and technology were fashionable at the time a song was written or recorded.
J: Sure, the sound may reflect an identifiable era, but we truly believe a good song will always be recognised as that. We think the messages in the album, what the songs are about, and the melodies that deliver the emotive pull are universal and timeless; but we don’t want anyone to take our word for it. All we want, all we’re hopeful for, that these songs will reach the ears of the discerning listener and be given a fair chance to be loved, or otherwise, on their artistic and creative merit alone.
Your history includes opening for Blur and touring with Dr Robert and Nick Heyward. How have these experiences shaped your musical journey, and do you have any standout moments or lessons learned from sharing stages with such iconic artists?
M: Don’t trust them! Blur nicked our original keyboard player after we opened for them at a gig on Cleethorpes Pier as part of their Country House tour. A very talented musician called Diana Gutkind, who went on to tour the world with Damon and co for many years – I guess it was a valid career choice, so we don’t blame her, or Blur!
J: We also toured with Squeeze which was fantastic because we considered Difford & Tilbrook as the best song writing partnership since Lennon & McCartney. We once opened for Motown legend Edwin Starr, bizarrely with a whole host of boy bands; we also shared a stage with Boyzone at a Capital Radio Roadshow at Chessington World of Adventure!
M: This latter experience at the hilariously un-rock n roll backdrop of a theme park gave rise to a rude awakening: Our record label sent a Limo to take us to the show – the one and only time that happened to us. When we arrived at the back of the compound to slowly drive into the backstage area, it was full of screaming teens, who saw the Limo with its blacked-out windows and drew the conclusion that Boyzone were inside. It turned into pure chaos as fans started prostrating themselves on the bonnet and the roof of the motor. We got to appreciate, all be it very briefly and under false pretences, what it was like to be the subject of mass adulation…
J: But then we had to get out of the Limo! When we did, the deafening roar turned instantly to pin-drop silence, and after a couple of seconds, as we stood looking at the gathered multitude and they at us, a lone, adolescent voice enquired… who the f**k is that!? From such experiences it’s tempting to say we’ve learned valuable lessons in the art of live performance, and in the craft of song writing. That is true to some degree, but our biggest lesson has been in the cultivation of the quality of resilience.
The decision to donate a portion of Bandcamp sales to the Campaign Against Living Miserably is commendable. Can you elaborate on why this cause is significant to you, and how do you believe music can contribute to raising awareness and supporting important social issues?
M: In Brighton where I live, there seems to be a lot of young bands willing to stand up for good causes and to write about them in their work. There’s a great club night I’ve been to a couple of times called Agitation; it’s at the locally revered Green Door Store, and I’ve seen amazing young bands such as The Damn Shebang, and the fabulously named Joe Perfect and the Champagne Socialists giving their time and energy to raise money to help striking nurses with their food bills, or helping catering industry workers campaign for a decent wage. In my formative years there were campaigning movements such as Rock Against Racism and Red Wedge, in which mainstream bands were politically engaged, but that fell away for some time. I’d like to think we’re seeing a re-emergence of that kind of thing, perhaps as a response to the difficult times we’re living through.
As far as mental health goes, like CALM, we’re against living miserably – poor mental health is often an unwanted bedfellow with creative people. Look at the very public developments last year with Lewis Capaldi for instance. If people who need help, don’t get the right signposting, advice, or counselling, then that is potentially fatal. You know, 1 in 5 of us will harbour suicidal thoughts over the course of a lifetime – CALM is getting that fact out into the open, to destigmatise the conversation around suicide so that we can all talk about this at a societal level. Everyone should support that ambition.
With a diverse background that includes Glastonbury and Proms in the Park, what unique aspects do each of these musical experiences bring to your artistic expression, and how do they contribute to the rich tapestry of Giant Killers’ musical journey?
J: In one sense, they are a validation, because they are the sorts of experiences that you dream about at the outset of your journey as a musician, but at the same time, we didn’t do either as the headline act, but as jobbing musicians. For Glastonbury, we were both part of a dirty jazz, swing, big band collective called The Kingsize Five – as such we weren’t playing the Pyramid Stage but a collection of smaller stages there – multiple gigs over the course of the festival in both 2008 and 2009. So, while we didn’t get helicoptered into the backstage enclosure, we did stay in artists camping and got to use the open air jacuzzi they have in there (yep, its true), every night.
M: Proms in the Park is a great case study in the life of a jobbing musician and its pertinent to the tribute scene – which gets a lot of stick from so called serious musos, but the scene has undoubtedly kept the wolf from the door for a lot of talented musicians who may otherwise have starved! I opened as the sax player for the heavy gigging Madness tribute band, One Step Behind. We were the warm-up for Lionel Richie when he headlined Proms in the Park in Hyde Park – I think this was 2009. As we were on early around 530pm I wasn’t expecting a full house, but when I walked out there where 55,000 very enthusiastic people in front of that stage.
J: There’s a fabulous little story from when Mike was using the backstage gents, when who should join him at the adjacent urinal than the great man himself…
M: Ha yes, to break the silence, I made an enquiry as to which song Lionel would be starting his set with. When the former Commodore replied with his own question – what would you recommend, I made a lame attempt at wittiness with an observation that Dancing on the Ceiling should perhaps be avoided given it was an open air gig. Lionel left without saying a word, shaking his head as he retreated to his green room.
J: These experiences are a case of so near yet so far in terms of what our musical dreams were at the outset, versus what they actually where in real life. But it’s all an opportunity to grow as a musician, a songwriter and a human being!
M: Ha ha… maybe!
Support Giant Killers on Bandcamp here.
Dive into the ethereal soundscape of Wayne Wei’s debut EP, “Cloud Chaser.” In this exclusive interview, we unravel the intricacies of the creative process behind the EP, exploring the musical landscapes that inspired its conception and delving into the visual storytelling brought to life through two accompanying music videos released in the past few weeks.
Congratulations on the release of your debut EP, “Cloud Chaser”! Can you share the inspiration behind the title, and what it signifies for you as an artist?
The EP features four self-produced songs. Could you walk us through your creative process in bringing these tracks to life? How do you navigate the intricate balance between being the artist and the producer?
My writing process usually came first on an acoustic guitar or piano. Then the production and arrangement came second to finish the songs. Most of the songs on this EP were done in that way. However, the title song “Cloud Chaser” for me was almost a complete track without any melodies and lyrics being written beforehand. It was certainly the most challenging one for me as a writer to navigate back to the writing. I felt that I had gotten lost after producing the track, no words or melodies would come out of me. It took me the longest to really put myself back in where I first started making the track. At the end of the day, I think it is okay to take time to let the song sit for a little, then come back to it after your mind is clear.
Accompanying the EP, you’ve released two music videos in recent weeks. How do you approach visual storytelling, and how do these visuals complement the sonic atmosphere of “Cloud Chaser”?
I am a massive fan of the legendary director Wong Kar-Wai from Hong Kong. I surely took a page or two out of his book to make the music videos for this EP. His movies were my biggest influence growing up. While the subject love and toxic romance are constant themes in his movies, I thought the chaotic “chasing” theme in the songs would fit in the style of Wong Kar-Wai perfectly.
As a self-produced artist, what challenges did you face during the creation of “Cloud Chaser,” and how did you overcome them?
As a self-produced artist, I played and arranged most of the instruments on the recordings. However, the drum recordings on this EP were the most challenging for me. I think drums are one of the most important aspects in a song. It could completely change the course if it was not done right. Luckily I had the chance to work with great drummers. It was mainly about communicating with the session musician to let them understand what you want for the song and what the song truly needs.
With the EP now out in the world, what do you hope listeners take away from the musical journey you’ve crafted in “Cloud Chaser,”
I would love for the listeners to also let go of any emotional baggage or any self-loathing thoughts. And just let the music take you on a chaotic spiral like a merry-go-round. I hope we can all find something beautiful and worthwhile in a world that is often out of control.
Find out more about Wayne Wei here.
In the pulsating realm of hip-hop, Dejai emerges as a force to be reckoned with, bringing a unique blend of authenticity and passion to the stage. In this exclusive interview, we delve into the artist’s upbringing, the sparks that ignited their musical journey, and the driving forces behind their relentless pursuit of innovation in the industry.
In the pulsating realm of hip-hop, Dejai emerges as a force to be reckoned with, bringing a unique blend of authenticity and passion to the stage. In this exclusive interview, we delve into the artist’s upbringing, the sparks that ignited their musical journey, and the driving forces behind their relentless pursuit of innovation in the industry.
Can you share a bit about your upbringing and how it shaped your musical journey?
I spent a significant portion of my adolescence in a small town in Arkansas—a place where everyone knows everyone, and for generations, few manage to break free. Limited by both resources and entertainment options, my sister and I found joy in making the most of what we had. Raised by my grandmother, who had a deep connection to church and gospel, Sundays were filled with hymns that showcased her angelic voice. Inspired by her, I aspired to sing like her.
Alongside gospel, my sister and I explored various musical genres, delving into old jams from artists like Backstreet Boys, Eartha Kitt, Ella Fitzgerald, and Mahalia Jackson. Our musical taste was eclectic, and we paid careful attention to the lyrics. Meanwhile, my father, a talented musician himself, produced, wrote, and recorded his own music. He exposed me to a diverse range of sounds.
A pivotal moment in my musical journey occurred when my aunt Monica gifted me my first mp3 player for Christmas. Loaded with a variety of songs by my father, my attention shifted towards rap and R&B. Artists like 2Pac, Jay-Z, and Outkast became my new musical companions.
Music became my primary mode of communication and a means to connect with others. This profound connection, along with a desire for expression, fueled my passion for music. Motivated by a longing to break free from my small-town roots, I aimed to become someone who defied the odds. My goal is not just personal success; it’s about achieving something monumental leaving a lasting impact from where I come from, and eventually returning to rebuild my entire state on a grand scale.
What initially sparked your interest in music, and how did you find your way into the hip-hop scene?
I’ve had interest in hip hop specifically since the first time I had a whole catalogue of hip hop songs at my finger tips on my first mp3 player. From there I’ve always played with the idea of what if I can really be a rapper and do this for real. I really gave it a long thought the first time I heard a song by j.cole called “show me something” and I was like yeah I want to reach the people the same way he does. It didn’t happen until years later, but I created my first album at my home studio and released it because of that.
What motivates you to continue pursuing music today, and can you tell us about your most recent/upcoming projects?
What keeps me motivated to keep pursing my craft even when I feel like I’ve hit a wall is the thought of “what if” so many people burn out their flame early on because they face setbacks when trying to pursue their dreams then quit. Then later on in life they’re plagued with that “what if” and “where would I be” question. I don’t want to feel like that now or ever. I want to know that I gave it my all and if it just wasn’t meant to be it wasn’t on me it’s just that’s the way the universe intended it to be. As of right now I’m working on a mixtape called “The Greatest Yet” which is intended to be released on all major platforms in late March. I’m always taking my time because I always want what I put out to be great.
In your recent releases like “Wild Fire” and “All On Me,” we’ve seen a dynamic range in your style. How do these tracks represent your artistic evolution?
I think it shows a more vulnerable side of me which I struggled with when I initially started making music. I feel like I could always make “at your neck” music filled with word play and bars like battle rap but I couldn’t really comfortably put anything out that I actually exposed my feelings about things going on in my personal life. That kind of music is important because people relate to that.
What sets you apart from other artists in the hip-hop scene, and how do you believe your music contributes to the current hip-hop politics?
I care about how the things I say may impact people, especially people that look like me. The hip hop I fell in love with is no longer here, there is a whole new era and that’s fine, but I just want people to feel something when they hear my music. I’m not just making music to make noise and throw syllables together because they rhyme. I’m not here just focused on the revenue and just to sell the people something I’m here to make a difference. Everything is not always about turning up I got to provide a little bit of everything but more than anything my music needs to feel like a warm embrace of understanding for all kinds of people.
Considering the impact of music on the youth today, how do you think artists can do better, and what role do you see yourself playing in this responsibility?
I think we need to understand as artist we influence the masses with the things we say and we need to act as a beacon of light not darkness. It’s one thing to tell your story in your music but we need to stray away from glorifying certain topics and normalizing negative behaviour because we’re all someone’s role model. By encouraging certain actives and behaviours as an artist you’re painting a young minds canvas and distorting their image before they even get a chance to see the beauty in their canvas. I touch on that frequently in the music I make to try bringing awareness to the discussion.
Find out more about Dejai here
In the dynamic realm of Hip-Hop, some artists stand out not just for their beats but for the unique journey they embark upon. Tha Blaqsmith, a trailblazer since 2011, entered the musical scene with no formal composing background but armed with an unparalleled willpower and a penchant for vinyl records and drum breaks. Several releases down the road, he continues to infuse the new generation of Hip-Hop with his essential raw, dope, and chill essence. Join us as we delve into his journey, upcoming releases, inspirations, and an exploration of his impressive discography.
Your journey in music began in 2011. How did you navigate the initial challenges of entering the industry with no formal composing experience, and what motivated you to pursue a career in Hip-Hop?
I just learned and observed a lot of knowledge from reading and watching interviews on hip-hop greats. Google and YouTube was my actual mentors for music. I always had a knack for putting different sounds together, but I never played or used an instrument in my life. And living with my mom and my brother, we were lower middle-class people that often times could afford things but we didn’t at times especially when it comes to music equipment. And growing up, I never had an instrument. I will always make beats with my mouth or my hands Once I had my hands on a drum machine. It was a wrap. Having a drum machine motivated me to do this. The process of making a beat from scratch in your own creation, fascinate me.
With several releases under your belt, including “THE PATH TO SUCCESSION” and “The Last Days EP,” can you share some insights into the themes and inspirations behind these projects? How has your artistic vision evolved over the course of your discography?
The Path to Succession is basically whatever path that you’re on, don’t ever give up on that path because you never know, you might be closer than you think. So I tried my best to make certain instrumental beats that give you that motivated vibe to keep going forward. The Last Days, is whatever you’re doing in life, doesn’t matter what your profession, as long as you give it a 100% on it, even if it’s your last day on this earth.. my idea for the album was to be more precise and discipline instrumental album. I have a certain vision for my albums, because nowadays it’s not a lot of content with music, it’s just a lot of music with no meaning so I try to keep a good content with it to give the audience.
What upcoming releases can fans anticipate from The Blaqsmith, and can you provide a glimpse into the creative process or themes we might expect in your future projects?
I have a few upcoming releases coming out in 2024. I have a Beattape coming out pretty soon called “LOOPMANIA” just basically an instrumental album full of reoccurring loop instrumentals. Most likely it will be a series of LOOPMANIA going forward. I have a few remixes beat tapes in the works and more collaborations as well.
In the ever-evolving landscape of Hip-Hop, who or what are some of your primary inspirations? How do you incorporate these influences into your work while maintaining your distinct musical identity?
J Dilla is my all-time inspiration, but I have some on Honorary inspirations like, 9th Wonder, The Alchemist, Timberland, Dr. Dre. I’m a hip-hop head so I know what those guys bring to the table. I’ve always love that gritty, eerie underground, smooth sound. Those vibes are immaculate and that’s why I like implementing that into my sound.
Your discography reflects a range of collaborations and projects. Could you shed light on any particular collaborations or associations that have significantly impacted your artistic journey? How do these collaborations contribute to the growth of The Blaqsmith as an artist?
I did an EP with an artist from the inland empire and my closest friend “El Fuggins”. He’s very talented. Raps, sings, direct. At first, it was a little difficult to mesh with him but after a while, he motivated me to think outside the box, in the area where I was accustomed to. The name of the EP is called “Heel Turn” Heel is a term for a wrestler when he becomes a bad guy. “Babyface” is a term good guy. So we made this EP not only because we’re wrestling fans but to shed light on the comparison between wrestlers and musicians. There are so many musicians, releasing good music, that it never has the good following or fan base to support it and the artist normally goes rogue or gives up on the art. I typically don’t want to give up. Lol. The whole album process made me think more creatively and to be more unique around making beats and I like being challenged in those moments. Not only I learn, but I also evolve, musically.
Find out more about The Blaqsmith here.
Dive into the nocturnal soundscape with Mew Kardo as we explore the essence of his latest album, GAMK VOL2:ALLNIGHTLONG. In this exclusive interview, we unravel the artistic journey behind the project, the aspirations that fuel his creative fire, and the profound impact of his upbringing on the musical tapestry he weaves.
Can you take us through the creative process and inspiration that fueled the release GAMK VOL2:ALLNIGHTLONG, and how it stands apart from your previous works?
The creative process for this project was a lengthy one. After Volume 1 dropped in 2020, i was at a standstill creatively. I was still recording music but not having a plan for it. Dropped a few songs here and there but no project was in my mind. Then In 2022, I remember coming across a video on YouTube about Michael Jackson’s album “Thriller” and how it was created. In the video, they talked about recording over 50 songs for Thriller and then cutting it down to 9 songs. I took that mindset and ran with it. Recording over 70 songs for volume 2. My favorite thing about Thriller is how there is a song on there for every target audience, and I wanted volume 2 give that same feel. No songs sounding the same or being repetitive. What else helped with this project is that I started to produce more beats on my own and I also started working with a local band in Philly and they helped me develop my song writing, coming up with song structures, and finding my voice more. The difference in Volume 1 and Volume 2 is that volume 2 has more depth and personality to it. It also has more character to it. The songs show that I’m having fun with my craft.
You’ve mentioned that your upbringing has played a significant role in shaping your music. Could you elaborate on how your roots and personal experiences influence the themes and emotions embedded in your tracks?
My upbringing has such an impact on my music because philly is home of some of the best rappers.
So growing up here and doing music, I had to have that skill in my arsenal. Outside of music, Philly is a unique place because it’s not really mentioned with major cities like New York l, Atlanta, or LA, but has the same things those cities have to offer. Nightlife, street life, and everything in between. Being in this type of environment gives me the duality to write songs about partying and enjoying life but also the struggles of being from the inner city.
Beyond the music scene, you’ve expressed a passion for sports and fashion. How do these interests seep into your creative world, and do they influence your artistic decisions or aesthetic choices?
Music, sports, and fashion. That’s all I’ve been my biggest interest. The sports aspect of it is because I grew up playing sports and having that competitive spirit. I look at music the same way. It’s all about being competitive in order to put out your best product. And if sport’s represents the gritty, competitive nature of my music, then fashion represents the beauty and luxury of my music. My older brother would always tell me that I have to look the part of a rapper just as much as I sound like the part. Getting a compliment on your outfit from a random person and then telling them you do music and their response is “I can see that” is important just like somebody telling you they like the hook on one of your songs. Songs like “InTheField” showcase my love for sports and songs like “NEVERMETVIRGIL” showcase my love for fashion.
Dreams of touring and winning a Grammy are on your radar. Can you share some insights into your vision for live performances and what winning a Grammy would mean to you as an artist?
Touring is something I’ve always dreamed about doing. For live performances I think great stage design and great stage presence will have you on tour for the rest of your career. I always pictured a huge Mew (the Pokémon) on stage while performing. More than just being a rapper, I have always seen myself as an entertainer. As far as winning a Grammy, that’s like winning MVP. It reminds you that you’re doing the right things and putting in the work. Also my great grandmother before she passed, would ask me if she was going to see me on tv one day at the award shows, so winning one would have some more meaning to it.
Community holds a special place in your heart. How do you plan to utilize your success and resources to give back to your community, and are there specific initiatives or causes you’re particularly passionate about supporting?
Community is one of the most important things to me. My community kept me out of trouble and presented me with opportunities and so I want to do the same for the younger generation coming after me. On a small scale, I want to donate and provide resources to local schools and community organizations. Helping as much as I can. On a bigger scale, I want to open a school.
Find out more about Mew Kardo here
In the rich tapestry of musical expression, Alison Wahl stands as a versatile artist whose compositions traverse genres and instruments, aiming to foster genuine human connection. Her latest collaborative venture, “Christmas is the Right Time for Us,” alongside fellow songwriter Brian Berggoetz, encapsulates her ethos of bridging emotional gaps. In this exclusive interview, we delve into the creative minds behind the song and explore the diverse musical worlds Alison Wahl has inhabited.
Your music is known for its diverse range of styles and instruments. How did this eclectic approach shape the creation of ‘Christmas is the Right Time for Us’ with Brian Berggoetz?
We had so much fun recording this in the studio together, and I drew on lots of different types of vocal production techniques and colors as we worked towards the right sound. Between takes I’ll sometimes run scales all the way up and down my range and at full volume, so I can make sure I’m always really connected to my breath even when I’m singing in a more intimate or quiet style. I always lean on my training as an opera singer that way. We recorded three different versions of my vocals at different levels of volume and intimacy, and we ended up using the middle version that wasn’t full-voiced but wasn’t completely hushed, either. Our engineer Duncan Stitt played around with different types of microphones to capture my fuller sound better. My experience singing in lots of different unamplified and amplified styles helped me find just the right sound for our song.
The song aims to bring a sense of connection and healing. How do you see music playing a role in addressing feelings of loneliness and isolation, particularly during the holiday season?
Music has a central and powerful role in healing feelings of loneliness and isolation. Leonard Cohen said, “Songs don’t dignify human activity. Human activities dignify the song.” There’s a good reason we associate certain types of music and specific songs with the holiday season — they make us feel connected to our traditions and to the things and people we love. I like to think about all the holiday playlists that exist online, and think about people lovingly choosing the songs that make them feel cozy, joyful, warm, loved, and happy. Whether we’re attending a performance of Handel’s Messiah or the Nutcracker, listening to Ella’s famous Sleigh Ride, singing familiar carols, going to see young family members perform in their school holiday shows, or listening to new songs about the holidays, music remains a central part of our celebrations because it gives us a space to feel and be together. The way we engage with the music makes the music meaningful. I absolutely love sharing the immediate vibrancy and intimate joy of music as a performer and as a listener. If you’re listening to my recording, please know, I am so happy to be singing for you!!
Having been praised for your “bright, vibrant soprano,” you’ve performed with esteemed orchestras and ensembles. How do these experiences influence your songwriting, and did they play a role in the collaborative process of this festive tune?
What a great question, I don’t think I’ve ever been asked this before! Being onstage under bright lights, in a ball gown and shining jewelry, with the music of a beloved composer in my voice and body, is a thrilling and reverent experience for me. In those moments I feel myself to be the mouthpiece of the storytelling, even if I didn’t write the story myself. Songwriting is so much more intimate and private. I write songs like some people knit scarves — I make little things that I use to keep warm when I’m cold, based on what I’m feeling and needing in the moment. As a songwriter I accompany myself on the guitar, and that gives me a kind of cover I don’t have as a solo singer. When I’m a soloist under a spotlight, out in front of an orchestra, I am very aware that I’m the first point of emotional contact between the audience and the music, with numerous colleagues surrounding and supporting me. Performing as a songwriter I am the composer, orchestra, conductor, and singer all at once, and it’s on a much smaller scale. It’s a different kind of pressure — I don’t feel I need to represent anything other than my own human self, but at the same time I’m the only thing on display. The music I love to sing in the concert hall has absolutely influenced my writing. I like to use large leaps and melismas, which I learned to love in the music of my favorite composers, Handel, Schubert, Saariaho, etc. The way I think about form has been influenced by the classical music that I sing, too, and I think that has come through in this tune I wrote with Brian. We have a moment towards the end with some unconventional vocal harmony. There’s a dissonance between the voice parts but it has a formal role of expanding the spirit of the music at that point, so it sounds consonant and resolving even though we’re singing a 9th apart from each other. I do something similar with my ornamentation at the end of a Handel aria I often sing, and my songwriting ear has for sure been honed and influenced by my training improvising in the style of 18th-century composers.
Brian Berggoetz, as a collaborator, brings his own unique perspective to the song. How did the synergy between your musical backgrounds contribute to the overall sound and message of ‘Christmas is the Right Time for Us’?
Our collaboration was so wholly supportive and creative. Brian started with the chord progression and began by sending me some lyrics that he described as “just an architecture,” sort of place-holder as we workshopped the words. I took some of his ideas and added my own, focusing more on specific images of moments that I love about being with my family and friends during the holidays. I thought about some of the holiday songs that haven’t aged well, or that have problematic elements, and what I’d like to hear about instead. Brian has an amazing ear for style and color, and that comes from his experience and expertise as a singer-songwriter and bandleader. When I first heard his ideas, I immediately thought the melody and hooks that he came up with were absolutely lovely. From my perspective, my role was to fill out the song like a metalworker creating filagree to set a stone — Brian had already provided the gem, and I helped shape the lyrical form around it.
The song’s title, ‘Christmas is the Right Time for Us,’ suggests a special significance. Can you share the inspiration behind the song and how the holiday season influenced its creation?
When I first pitched the idea of a holiday song, Brian came back with a re-working of an unfinished tune that he had in progress. The chorus was all his creation. But to me, the holidays can often come with so much pressure and pain, especially if we’ve lost a loved one, if we’re struggling or lonely. I wanted to get behind the message that whoever you are and however you are, you deserve to feel warmed and welcomed fully by the spirit of the season however that works best for you. You deserve to enjoy the simple, good things in a meaningful way. There’s no wrong way to express and cherish the love in your heart if it’s genuine and tender. I hope and wish for a right time for all of us this season, and to trust that we are more connected than we know.
In the mesmerizing world of music, solo artist A.L.I.A.S emerges with a compelling narrative woven into the notes of their latest album, “Intoxicated Feelings.” This interview delves into the artistic process, the profound meaning behind the album, the artist’s career evolution, and a glimpse into the personal journey that shaped A.L.I.A.S into the musician they are today.
The title “Intoxicated Feelings” suggests a deep emotional journey. Can you share the inspiration behind the album and how your personal experiences influenced its creation?
Intoxicated Feelings is an album that shows a number of emotions. The album explains a series of emotions, I go through as a artist, and person. The reason I titled it “ Intoxicated Feelings “ was simply based on the different emotions I went through as an artist. Mostly, about love, life, and mental health. It shares a story in order, starting with the first track “I Do”, to the last track “Burn It Down”.
All tracks explain my admiration for toxic love, but later in the album, I discuss how it affects my mental health, and love life. Intoxicated Feelings was different emotions into one project.
Walk us through the creative process of developing “Intoxicated Feelings.” Did you face any challenges, and were there specific musical or thematic elements you aimed to explore?
I faced a lot of challenges, I never saw coming. From having to dig deep, and explain my mental health. Also, walking listeners through my love life, and having to understand that I need to show the real me, in order to put out the best work. There were 3 themes I was aiming for with this album. Toxic love, mental health, and healthy love.
As a solo artist, how has your musical style evolved since your earlier work? What new elements or genres have you incorporated into this album to showcase your artistic growth?
My music evolved a lot personally. I started out doing Hip-Hop/Trap in 2020, when I was 19 years old. In 2021, I made the decision to switch to R&B/Soul. I learned how to write, and explain my personal experiences more. The music came easily, the more I got into it. This album, I wanted to show that I can be a versatile artist in any genre. This album contains R&B/Soul, TrapSoul, EDM, and Pop. I wanted the listeners to be able to grasp the set of emotions, and events, but also on some tracks, be able to dance as well. A lot of tracks, I wanted the listeners to just sit back, and listen closely.
Reflecting on your career, what pivotal moments or experiences do you feel have contributed most to your growth as an artist? Are there any challenges you’ve overcome that have significantly shaped your musical identity?
I would definitely say my love life, and mental health. Those two changed the way I make music. As far as events, definitely performing in front of thousands, and shooting music videos, helped my creative flow. Definitely a lot of challenges. There’s a lot of things I had to learn in order to make this album. My goal was always this sound I create now, but I never knew how to hit it on the head. The emotional events I went through as a person helped me along the way.
On a more personal note, can you share a bit about your background and how your life experiences outside of music have influenced your creative process and the themes explored in “Intoxicated Feelings”?
This album, I wanted to show that I belong in the industry. Starting out as a kid, my parents put me in dance school, and certain events in public school to showcase my talent. I always used to write music, but it didn’t come into play until I was 19, when I recorded my first track. Making that switch to R&B/Soul helped me shape this album. I wanted to bring back everything I did as a kid. I went through a lot of emotional trauma during my teenage years. I used to wonder how I appeared to people, and I was embarrassed. Now I realize that I can use all my talents for this album. That means, writing, dancing, singing all in one. Intoxicated Feelings explains exactly who I am. Explaining that I as an artist, and person would like to feel loved. Tracks such as For You, Who’s ?, Closure explains my love life, and lustful desires. Tracks such as I’m Fine, Don’t Let Me Go, Run Away, explains my abandonment issues, and emotional trauma. Burn It Down, explains all my emotional trauma, but also displays my trust issues in an individual. Also, explaining that I will always have my guard up for the rest of my life. Intoxicated Feelings was created, not only to put my life on display, but also relate to others who struggle with their love life, mental health, and other things.
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Get ready to dive into the minds of the dynamic duo from small-town Ohio, THE KB. As they gear up for the release of their latest album, “It’s A Party, Isn’t It?” on January 5, 2024, we caught up with the twin brothers to unravel the thematic depth behind their music and explore the influences that have shaped their unique sound.
Your new album, “It’s A Party, Isn’t It?” is set to release on January 5, 2024. Can you give us a glimpse into the inspiration and journey behind the album title, and what listeners can expect from this musical party?
As we began writing the music for this album, each song kind of felt like it bottled a deep feeling that we’ve felt since early 2020. Since then, we’ve been through the ups and downs of growing up, dealing with evolving relationships with people, and continuing the grind of spending time playing shows in different places, hoping our music will inspire anyone listening. We wanted this album to be a sort of time capsule of someone’s late 20s as they weave through similar feelings, as well as a project that people who have been through similar experiences before can listen to and connect with
Over the past year and a half, you’ve been releasing music consistently. How has this release structure influenced the thematic throughline of the album, particularly in exploring the complexities of ‘growing up’ and wondering if the good days are gone?
This all started with the release of the song Cliché. That song is basically about trying to live in the moment and be grateful for it, because soon, it’ll be a memory. After we decided we were going to release that one, we began sifting through songs we’d written to try and find some others that shared a similar vision. After we got a few released, we kind of looked at each other, both of us already knowing that we thought we could make a really cool and unique cohesive album out of these songs.
Your music has been described as “pop music for depressed people.” How do you approach blending pop elements with heartfelt themes, and how has the feedback from fans influenced your creative process?
Someone who had listened to our song “New Shoes” coined that term, and we’re now forever grateful for it! It’s somewhat of a funny phrase, but it kind of sums up how we like to do things. We love pop music and the way it can make someone feel when they listen, but we literally can’t help but add our life experiences and deep feelings into the lyrical aspect of each song. We think the mix of the two things usually ends up being a good one-two punch to someone listening. We may have less of a chance of it connecting with a mass amount of listeners instantly, but we think that the small extra specificity can connect 10x more impactfully to the right person.
A random concert goer once described your music as “like a mix between Hall & Oates and Daft Punk.” That’s quite a unique comparison! How do you feel about such descriptions, and do you actively seek to blend different genres to create your distinctive sound?
That quote was actually the first time we really felt like we were doing something cool. We liked it so much, we made it our Instagram bio. We never approach songwriting and performing with the goal of ‘creating a new sound’ or ‘blending genres’, so when that happens is all subjective to the listener. We just try to make things sound and look cool, interesting and entertaining.
You mentioned that this album is the best thing you’ve ever made, offering a cohesive, heartfelt trip through the late 20s of life. Can you share a specific track or moment from the album that you feel encapsulates the essence of “It’s A Party, Isn’t It?” and why it holds special meaning for you both?
In terms of encapsulating the essence of the album as a whole, I think the song “A Part of Me” does a good job. The reason we added it as the final song on the album is because it represents where we are now in life. It represents the belief that even if some things don’t go your way, and sometimes life can get stressful, it’s okay. This album means a lot to us both because, as twin brothers, we are kind of going through the same waves of getting a bit older, seeing life change around us, and trying to not rush through it all or get too bent out of shape about the little things. This album really is us trying to cope with how crazy life can be, and we hope it can help a ton of listeners cope too.
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