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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mothshade’s debut album LIMINAL marks a bold shift in creative direction, as the award-winning composer brings vocals into the mix for the first time. Known for crafting intricate, atmospheric instrumentals, the artist has embraced lyrical expression while maintaining a raw, textured sound. In this interview, mothshade discusses the challenges of balancing industrial grit with programmed feminine vocals, the impact of artists like Nine Inch Nails and Hans Zimmer on their sonic choices, and the cathartic process of exploring darker emotions through music. They also share insights into their DIY approach to instrument-building, the role of science in composition, and how life as a stay-at-home parent fuels creativity.
mothshade, welcome to A&R Factory, thanks for sitting down with us to discuss your debut album, LIMINAL, which will be released under your new moniker on February 18th. We’d love to hear the story behind the spawning of your new project. How has your transition from purely instrumental compositions to introducing vocals influenced your creative style?
The transition was a very scary one, but a fun one. It was sort of terrifying to introduce lyrics and express things in that way instead of hiding behind only the music, but it was also extremely cathartic. I found the process very rewarding. In some ways, a voice is another instrument to enhance the puzzle of composition, but I think so many people resonate with vocals and lyrics that they immediately become the forefront of a song. It was a fun puzzle to work with; deciding when to focus more on the words and melody and pare back the instrumental, but still keep it true to the style that I prefer.
I tried for a long time to use my own voice and vocals, but I was never happy with how they mixed with the instruments. Maybe it’s just the introvert in me, but it just never felt right or how I heard it in my head. I had been listening to a lot of female-fronted music recently, and thought it might be interesting to explore that. I stumbled upon Dreamtronics’ Synthesizer V software, which works much like VST instruments that I’m used to working with – it works locally on my machine and all of their voice databases are licensed from the vocalists they portray, so it was a great solution for me. I was able to obsess over and micromanage things, and work in an iterative process, without having to subject a vocalist to doing 99 takes or something.
I absolutely loved the way the ‘softer’ vocals mixed with the gritty, distorted instruments. The challenging thing, I think, was to back off on effects a bit. There’s a lot of fuzz, distortion, or gritty character on the vocals along with gobs of reverb and delay – and I think it was challenging to find the right balance between the atmosphere I wanted and the audibility of the words. I tried to make sure the vocal synthesis felt natural by keeping intervals ‘reasonable,’ and modulating all of the performance parameters throughout each song. None of the instruments really have any reverb or delay and are very ‘up front’ in the mix, which helps with the separation between the two and keeps them from fighting too much in your ears.
I would sing the parts myself, in my natural range, to make sure I didn’t program something wildly difficult that a vocalist couldn’t reasonably perform. This helped me to sort of keep a reality check on my programming. The software has a lot of parameters for editing the performance – such as adding tension, breathiness, and changing ‘articulations.’ It was very similar to using an orchestra sample library – which I am pretty familiar with.
I listen to a wide range of music, but those artists (among a couple others) have been my core influences for a very long time. I really love film scores. I think they all have a tremendous impact on my musical decisions. I love how Nine Inch Nails can just have a cacophony of layers going on at the same time that all interlock – but also sometimes just a single instrument and still have that enormous weight. Same with Tool – utilizing odd-meters and crafting songs in an atypical structure, balancing emotional weight with sonic weight. Composers like Hans Zimmer, Harry Gregson-Williams, Johann Johannsson… They have massively influenced the way I approach adding texture and depth; sometimes focusing on just adding tension or utilizing a single motif in different ways. I think any musician should study a few film scores to learn how sound design can interlock with emotional messaging.
This was by far the most challenging aspect of the album. I fretted for a while before even letting my wife hear what I was working on. I wanted to express some deep feelings, and for this album, a lot of them are negative or sort of dip into the negative space a bit. It was difficult to craft words that could get these ideas and feelings across, in a blend of eloquence and directness. There was a lot of thought put into each aspect, and it all boiled down to how things affected the emotional pull of the track and the album. “How does this word affect the message? If the melody moves up or down on this word, or that word, does that affect the emotional pull? If I add a harmony, how does that change the feel?”
I loved the intricacy of it. Maybe there’s some thought I put into it that nobody else will ever notice, but I had such a fulfilling time doing it this way. I’m very proud of it.
Sure! There are five ‘homemade’ things I used on the album. The first is a percussion instrument I built for myself. I called it the ‘Industrial Greenhouse’ and it’s based on Folktek’s Luminist Garden. It’s a 3D printed enclosure with a metal bar and used guitar strings sticking out of it. There’s a microcontroller and some analog circuitry in it that takes the sound from two piezo-discs and amplifies and cleans up the signal, runs it through a delay, reverb, and filter, and sends it out through a ¼” jack. If you turn the delay’s feedback up to 100%, the delayed signal becomes an infinite loop. So I can set the tempo and tap on the box, or flick the strings, or hit it with some other object – and the sound will get picked up and start looping. It’s a very fun and interactive way to add some unique-sounding percussion.
The other items are effects: a transistor based fuzz that sounds wild, chaotic, and absolutely broken. I love it and used it a ton; a bass envelope filter based on Guyatone’s BR2, which is an old discontinued auto-wah that has a wonderful gritty character to it; another fuzz but with a voltage bias knob and extra diode clipping stage, using old-stock Soviet diodes; and a little box I made to replicate the lo-fi filtering and clipping of a 70’s cassette deck I’ve used before.
I was terrified when we had our child that all of my creativity would just vanish, or that I wouldn’t ever have time to accomplish anything on that front. Clearly those fears were unfounded, and I actually think it’s made me more creative. I feel more emotionally connected to myself. That was certainly an unexpected spark. It also just depends on the day. Some days are good days, and I feel very fulfilled and accomplished. Other days, I bang my head against an open Cubase project for a while and then delete it and go to bed. Something that does really help in those moments is taking the dogs for a walk around the yard, or playing with our child in between naps. It’s such a basic concept but for a lot of creatives I think it gets forgotten: sometimes you need to take a couple of hours and walk away; enjoy something non-musical and come back later.
I guess I hadn’t thought of it that way, but I suppose so! At some point, music is really just math, right? Sound frequencies playing at different intervals which can either sound pleasing together or displeasing together. I like the dissonance and unpredictability. The instruments on this album are almost all analog – guitars through mostly analog effects pedals, analog synths… And that brings a tiny bit of unpredictability. Sometimes the synths are slightly out of tune because they’re physically warmer than they were the previous day or whatever. For me, that’s a feature – not a bug.
There’s not much of it on this album but I also really love poly-meter stuff. Things that sync up for one measure and then drift apart, then sync up again… It’s like two orbiting bodies: mathematically, they’re going to pair up with each other in between passing each other.
I think these concepts definitely impact how I develop rhythms, but I haven’t really thought of how they might affect how I write melodies or harmonies.
Yes, I would absolutely say that. It was very satisfying to put together these tracks, and hopefully in a way that resonates with other people. At this point, I’m not sure exactly how mothshade will evolve but I know that it will. I have a few ideas of how to take things in a different direction and focus on different aspects of this sort of introspective honesty. I hope people will listen to this music and resonate with the overall message of reconciliation; and if they connect with some of the darker aspects, they will follow that journey to the release and acceptance of themselves.
Stream LIMINAL on all major platforms, including Spotify, from February 18th.
Follow mothshade on Facebook and Instagram.
Interview by Amelia Vandergast
Orayvia has been making waves since her 2020 debut, with her emotionally raw, sonically polished fusion of RnB, hip-hop and pop. In this interview, she discusses her upcoming album, which sees her embracing new stylistic elements, from drill influences to electronic elements, all while staying true to the vulnerability that defines her music. She reflects on the challenges of artistic evolution, the importance of fostering community through music, and how she stays connected with her fans despite being naturally introverted. With new collaborations on the horizon and a commitment to storytelling that resonates on a deeper level, Orayvia proves that growth and authenticity can go hand in hand.
Thank you so much for having me! This is truly an honor! Well a little bit about my sound, it’s a blend of soul, R&B, hip hop and pop with a modern edge. I like to describe it as emotionally charged and unapologetically authentic music that moves both the heart and the body.
The one thread that ties all my music together is vulnerability. No matter the tempo or the genre I’m exploring, my songs always come from a deeply personal place, and I think my audience can feel that honesty.
Right now, I’m working on an album. It’s practically finished but it pushes the boundaries of my sound. It’s more experimental, with influences from drill, and electronic elements, which feels like a departure from the more straightforward R&B/pop singles I’ve released in the past. The storytelling is also evolving it’s more introspective and layered this time around.
The biggest challenge has been maintaining balance staying true to my core while embracing growth. Sometimes, experimenting with new sounds feels like stepping into the unknown, but I remind myself that growth doesn’t mean losing who I am; it’s about adding new dimensions.
Life itself has been my greatest inspiration the highs, the lows, and the in-between moments of self-discovery. With my upcoming releases, I want to communicate the beauty of vulnerability, the power of resilience, and the importance of embracing your truth, even when it’s messy.
Absolutely! Collaborations are such an exciting way to expand my creative vision. I’m currently in talks with a few artists whose work I admire, and I can’t wait to share those partnerships when the time is right.
I make it a priority to interact with my fans regularly through social media and am working on new ways to be able to keep that foundation. A lot of people don’t know but I’m very introverted. I am working on doing behind the scenes content and storytelling around my music to give them a deeper connection to my creative process.
I think music has the incredible power to unite people. By creating fan-driven projects, I hope to build a space where listeners feel seen and heard. Whether it’s through shared stories or interactive content, fostering that sense of community is vital to me.
Artistic growth, to me, is about pushing boundaries and constantly challenging myself to evolve without losing sight of who I am. The progress I’ve made has taught me to embrace fearlessness, and that confidence has seeped into my new work. It’s a reflection of where I’ve been and where I’m headed a fusion of past lessons and future possibilities.
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Stream Orayvia’s discography on Spotify and connect with her via Instagram.
Interview by Amelia Vandergast
Saxboi Slick, a trailblazer in blending live saxophone with electronic music, recently sat down with A&R Factory to discuss his groundbreaking collaboration with ANNIKS on Take Me (The Russmerican Mix). The track masterfully combines Progressive House, Deep House, and Tech House elements with the unmistakable warmth of Saxboi’s live instrumentation. In this interview, he sheds light on the creative synergy between himself and ANNIKS, the challenges of balancing live and digital sounds, and how his personal experiences have shaped his artistry. From faith and resilience to his aspirations for sync licensing and live performances, Saxboi Slick’s insights offer a glimpse into a musician committed to pushing creative boundaries while staying true to his purpose.
“I started following ANNIKS about a year ago because I was amazed to see a female DJ making waves in the EDM genre—it’s inspiring! Her music choices are powerful, and her vibes really resonated with me. As I got to know her artistry, I discovered she wasn’t just a DJ but also a talented producer.
I had been trying to create EDM tracks that I could record my saxophone over for years without success—it just isn’t my speciality. When I heard ANNIKS’ original music on Spotify, I felt like I’d found exactly the kind of sound I wanted to integrate with my saxophone. Even though I knew reaching out was a long shot, given her large fan base, I decided to try anyway. To my surprise, she was open to the collaboration.
The track, ‘Take Me’, was one she created and asked me to add saxophone to. As I listened, I began to hear melodies and harmonies in my head that could complement her work. I approached her harmonic moments with my own melodies, aiming to enhance her track without overpowering it—and I think it worked beautifully.”
“When I listened to the original song, my goal was to complement what ANNIKS had created, not overshadow it. I focused on critical parts of the track and either harmonized with those key moments or left them untouched. The idea was to share the space naturally and let the saxophone enhance the music without forcing it. Her track is already stunning, and I wanted to add value without taking anything away.”
“Integrating live saxophone into electronic music is all about understanding the mood, tempo, and key of the track and finding ways to complement it. The biggest challenge was mixing the saxophone with a fully digital track. Analog sounds like mine can clash with digital audio, so the breakthrough came when I embraced the analog feel and treated the saxophone like a digital instrument in the mix. I used a parametric EQ to boost the mids and highs while keeping some warmth in the low end.”
“My journey taught me that perseverance and faith can overcome even the toughest challenges. I try to convey this in my music: don’t give up on who you are or what you’re meant to be. It’s not easy—many people abandon their dreams to fit into what society expects. Being homeless and facing bullying showed me that I could survive and still pursue my passions. These experiences fuel my drive and remind me to hold onto my faith in myself and in God.”
“When I lost everything, all I had left was faith. That’s where my journey truly started. Even when my faith in God was diminishing, it wasn’t gone, and in those moments, I found restoration—not just in my faith in God, but also in myself. Everything I’ve accomplished today is rooted in that faith, and it’s something I hope to share through my music and actions.”
“I’m honored to even be mentioned alongside those names, but the credit really belongs to ANNIKS for creating this track. I feel blessed to have contributed my saxophone to it. What I hope I bring is a unique fusion of live saxophone and electronic music that adds something fresh and soulful to the scene.”
“Playlist curators are invaluable. They know their audience and what resonates with them. If a curator thinks my track fits their playlist, it’s because they believe their listeners will enjoy it. That kind of exposure helps both the artist and the curator, and I hope to continue expanding my reach through more placements like this.”
“As a saxophonist, people often expect me to stick to jazz, blues, or smooth R&B. While I respect those genres and cater to them when needed, I don’t want to be confined to a single style. I aim to branch out and explore other genres, creating music that connects with a broader audience without losing my individuality.”
“I’m excited to welcome future collaborations with ANNIKS, SunGrass Records, and anyone who wants me to bring saxophone into their music. My ultimate goal is to be a full-time musician—to perform, entertain, and make a living from my saxophone. Sync licensing opportunities would be amazing because they allow music to reach entirely new audiences. I love what I do now, but my dream is to let my saxophone be my career.”
Make sure to visit Saxboi Slick’s website for the latest updates—the site will be kept up to date with all his developments, from new music to performances!
Interview by Amelia Vandergast
In this exclusive interview with A&R Factory, Suhaib, the Indian-American artist and producer, opens up about his debut single, All It Was, and the deeply personal themes of time, nostalgia, and lost love that shape his work. Known for his reflective songwriting and commitment to authenticity, Suhaib discusses how his jazz roots subtly influence his evolving sound and how lockdown shaped his creative process. From his shift to releasing music under his birth name to his thoughts on identity and fulfilment, Suhaib offers a candid insight into his artistry. With a profound understanding of music as both a personal outlet and a shared experience, he leaves listeners inspired to challenge their own perspectives through his work.
That’s a great question! To me, writing anything with other people in mind is the wrong approach; listeners appreciate art that feels personal to the artist, as it opens itself to a broader connection from there. So my goal is always to write something that’s true to me, whether I think other people will resonate with it or not. More often than not, just through the shared experience of being human, people will find something to connect to, even if it’s not what I expected. I always think about songs as building a set of emotional parameters that the listener can then feel whatever they want from.
Relatability is never my goal. I know what the songs mean to me, and I just hope that people appreciate that the art exists. I also hope that it challenges their own thoughts about the world and their own relationships. Listeners will resonate with a song even if it’s not in the way I expected, and that’s the beauty of it.
None hahaha. Actually, maybe a little for now and more as time goes on. Jazz has definitely influenced my taste in music overall, and given me lots of theory knowledge to help with production, but the goal with my artist project is to write songs that are personal first and foremost, then go from there.
There are definitely subconscious influences, like the use of real instruments stemming from my love of Stan Kenton’s “Cuban Fire!”, the melodic style of Stan Getz, and my insistence on extended chords. My future releases will hopefully incorporate more and more elements of jazz (I play trombone in the next single), but for now, my goal is to establish a personal voice and window into my thoughts.
I think modern jazz musicians tend to get very caught up in the harmonic structure and instrumentals of music, often at the expense of the meaning and heart of a song. Don’t get me wrong, I love secondary dominants, but what made me fall in love with jazz was how that harmonic complexity was used to deepen the emotion of a song. The goal for me is to find that balance, but for now, I’m just trying to put my thoughts into words and build from a more minimalistic approach.
I’m terrible with names. It takes me way longer to think of a name for something than to actually make the thing. I think I’m going to be one of those dads with a nameless baby for way too long. Before I released the music back in 2021, I was waiting for months to come up with a name, then decided on Osiris because I read it somewhere while I was eating alone at a restaurant. It’s an alright name, but I just didn’t think it fit me at all. I realized that deep down, I was hiding behind my art to an extent – I didn’t want to be associated with it so a nickname was my way of putting it out and divorcing it from myself as a person. But in the time since then, I’ve become much more comfortable identifying myself as an artist.
This new project is one that I can say is an extension of ME, and MY thoughts, and what better way to show that than to make it my own name. Also, my name is pretty different as is, so what’s the point of changing it to something inherently less unique? My grandpa did the work when choosing my name, so I have him to thank for increasing my visibility in the Spotify algorithm.
First I want to say that my family and I were privileged enough to not have had to deal with any of the very dire health concerns of that period, which was not the case for a lot of people. All of my college classes were virtual at the time, so I was able to sit down in my room and learn music production from scratch. I was playing regularly in jazz groups on campus, but once I couldn’t make music with other musicians because of lockdown, I figured that producing my own music could scratch that itch.
At the same time, the standstill we were in lent itself very well to self-reflection and reminiscence. I started to think about who I really was when all the institutions I lived by were rendered ineffective, and what version of myself I would be proud of. I realized how much our lives are dependent on places and people outside of ourselves, and how little we spend time understanding ourselves on a deep level. The only way I can make good art is to be brutally honest about my flaws, my insecurities, and my misgivings. Lockdown made me confront those, and I haven’t stopped since then.
That’s interesting, I never actually thought of my regional upbringing as having a role in my sound. Having moved around a good amount growing up, I never felt too attached to one place, which I think allowed me to look at things a bit less sentimentally. I guess I don’t romanticize aspects of my life, whether it be the past or present, but more just think about them as extensions of an idea with interesting implications.
Spending most of my life in environments I didn’t necessarily feel comfortable in definitely affects the way I connect to art, and the type of mood I’m going for with my own music. I don’t think it has much to do with my ethnicity as much as just my social habits and interests. In fact, I feel the same amount of discomfort with people of my own culture too, just in a different way. My hope is to talk about these themes on a personal level, not tying them to the specifics of race and ethnicity just yet.
India has some of the best music/musicians in the world, and I think having that background in addition to my jazz background made me push myself more as a musician. No one in my family plays music, but I think just seeing how important it is culturally and how much history there is made me inspired to make music myself. Also, I think growing up watching Bollywood movies that were carried single-handedly by the quality of songs gave me an idea of the power music can have on an audience.
I make art to get stuff off my chest, and sometimes, that’s not going to be accessible to an audience.
When I listen to a track, the uniqueness of storytelling is what draws me in in addition to the sound. With all the technology and musical capabilities we have nowadays, it’s pretty easy to make cool sounds that scratch an itch and pique commercial interest. Just like how it’s easy to make a movie with cool shots. The more difficult thing is to go beyond that by justifying those decisions through good writing. Audiences want to be challenged, and I truly believe that if something is made with intentionality and care, audiences will at least appreciate it, even if it doesn’t sound like something they’re used to. That’s all I can ask for.
I think form and intention are always going to be at war with one another, but that challenge is what makes doing this so fun. I used to produce with a sound in mind and then write from there, but as time has gone on, I’ve begun to do the opposite because I trust my taste. Making good music is always at the forefront, and that’s a given. Through my collaboration with Arthur, my co-producer, we’re able to strike a balance of staying true to the meaning of a song and letting cool musical ideas supplement that meaning.
One of my main goals with my music is to constantly change the experience of the song for the listener. No one who’s listened to only 30 seconds should think that they’ve heard the song. Maybe this comes from jazz, where no two performances are the same, and it’s all about using your own musicality to expand on a song through improvisation. I think we need more variation in production now, especially with the amount of loop-driven songs that come out nowadays.
“All It Was” is about cycles, so I always wanted to start and end it similarly, and have it become the most busy towards the middle, the way our lives are. I knew I wanted it to constantly build using strings and synths, and it was with Arthur that we decided on what exact synth elements we would use.
It definitely raised the standard of musicality for me. Being surrounded by musicians who practiced all day every day, I was constantly pushing myself to be better, almost to a fault. It started to consume me (in a good way) because I wanted to justify my presence in those rooms. Now as a solo artist, I want to bring that same thought process to songwriting, production, and hopefully one day, performance. I always feel like I have a good grasp on what to improve, and welcome criticism of any kind.
Unlike more classical settings, there’s an emphasis on individual mastery in jazz, since anyone can be chosen to solo at any time and will be in the spotlight. Personally, I need that kind of pressure because it forces me to take the music seriously and make the best music possible for listeners. I want people to be impressed with the music, but also make them feel something – the way I felt listening to records like Getz/Gilberto for the first time.
The last thing I want is for people to think they’ve wasted their time listening to my music. It’s a privilege to even make art. I’m not doing anything of value in the grand scheme of things. People who are much more needed in the world taking time out of their busy day to listen to my music is not something I should take for granted. I just want to make it worthwhile for them.
My only hope is that “All It Was” makes people think about their own lives, or other people in their lives, deeper. In what way is up to them, but if it makes them do that, that’s all I want. Same with the rest of my releases. I know what they mean to me, but how listeners perceive it is also part of what they mean.
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Stream All It Was from February 14th on SoundCloud.
Follow SUHAIB on Instagram to stay up to date with his future releases.
Interview by Amelia Vandergast
Dave Sereny brings an entirely fresh perspective to the singer-songwriter genre with his self-described “singer-songwriter on steroids” style, combining intricate guitar techniques, soulful melodies, and rhythmic innovation. In this interview, Dave reflects on the transformative experiences that have shaped his music, including collaborating with iconic musicians like Nathan Watts and opening for Gregory Porter. He also shares insights into his unconventional songwriting process, the challenges of self-producing his latest project, and the importance of staying true to the feel of the music. As he continues to release new material, including stripped-down acoustic work and exciting collaborations, Dave offers a candid look into his creative world and the personal triumphs that have defined his career.
The reason I call it singer-songwriter on steroids is due to the guitar style I have developed. Approximately 4 years ago, I figured out a new technique that allows me to play very strong rhythm guitar. It sounds almost like a B3 organ player. I’m able to play the bass lines and chords at the same time while grooving at maximum level. It sounds like a full band but it’s just me with no electronic gimmicks. People always ask me if I overdubbed the parts but the answer is no. I call it “groove and grind”, and anytime I have performed solo, I get the same result! An audience that’s either dancing or bopping their heads. It’s an amazing accomplishment that I’m very proud of, and I look forward to other guitar players trying to steal my sound and make it even better!
Nate Watts is my brother from another mother! We met at CES in Las Vegas. I was a guest of George Benson, where we were hosted by Monster Cable. We met there and have been best friends ever since. Our connection as friends and in music is extraordinary. There is no one better at holding down the bottom in music, and I am blessed to be able to share him with Stevie Wonder. My creative process is channelling and improvisation. I play and record my musings, then I review them and hope there is some nuggets of gold in the madness I create. I do not have the ability to take pen to paper and pre-script anything. My brain does not work that way. It has to be in real-time!
Opening for Gregory Porter was a miracle! The truth is that I never opened my mouth to sing until I discovered the guitar technique I mentioned earlier. If you asked me 4 years ago to take my guitar and sing a song, I would have said, “You are crazy, I don’t know how to do that”! So, the fact that I ended up in Atlanta singing before a legend is a miracle. I was able to sing clean and free, and it was effortless. I also felt at home on stage and was able to work the room, and I got a lot of positive feedback! I didn’t have to duck any tomatoes! The funny part was as I was singing and in my mind, I was thinking, ”Do they like this?” Thank God they did! I’m in shock about doing this but the truth is I have never felt this comfortable doing music as I do now as a singer! I’m able to do it without thought or anxiety!
As I said, the fact that I can perform by myself and get an amazing crowd reaction, actually better than any reaction I ever got just playing guitar in a band setting is a miracle.! I truly believed that I did not have the capability to do this. I never believed that I could actually sing a song from beginning to end. I was doing session guitar work and humming along to my guitar lines when the producer asked me to sing on the song we were working on. I told him, “I don’t sing, so don’t ask me again. He said you sound like Michael Franks and I laughed! He was adamant and connected me with a vocal coach. I took a few lessons, and he said, ”You sound like Michael Franks!” Ok, that’s 2 for 2! I went home still unconvinced and recorded myself, something I never could listen to previously as I would just cringe! But I heard what they were talking about and I realized the reason I struggled with singing was that I was starting too high in my register and that my voice already sounded high in my lower register! That’s when I realized that I actually have the ability to do this!
The funniest part was the first day in the studio recording. I went to sing my first take and Nate Watts had a very weird look on his face. I say, ”Stop the track what’s going on?” He presses the talkback button and says, ”Michael Franks!” So, the moral of the story is that miracles can happen because they happened to me! As for dreams, the truth is I never even dreamed about this because I had convinced myself that it was just not possible. I feel the greatest moments in life are when you have your perspective changed! You let go of your preconceived notions and hopefully, you become a better you!
The difference this time around was that I was self-producing. I used to engineer before but usually had another producer at the helm. This time, I outsourced the engineering part and just focused on playing the music and producing. I hired a young man named Corey Bernard at City Sounds studio. The issue for me was how to capture my sound because I play percussion with my feet, play the guitar and sing at the same time. That is very hard to capture together, so I had to record each part separately in order to get an optimal sound. Sonically, it’s way better, but there is a slight loss in that magic I can create with what I call my One Man Band!
I didn’t want to do it separately but in the end, I was happy as the sonic result was much better! The most rewarding part was being able to listen to myself and actually enjoying the sound of my voice! Also, I’m very happy about the musicians that participated Nate Watts on bass, Luiscito Orbegoso on extra percussions, Geoff Bournes on sax and Betty Beata on background vocals. The album has a great groove and a completely unique sound that is unlike anybody else music. For me, It’s a home run!
This new music is a complete change of style. Firstly, I am focusing on my singing and my new style of guitar playing. I’m working on new music now that is fully produced, unlike this project, which is stripped down. So, I am writing more songs, and it’s coming out, so I’m happy about that. Generally, the new music is way more mass market and not so niche. It also puts me more artist-focused and presents as active listener music as opposed to smooth jazz, which is kind of background music! I’ll still take some guitar solos, but definitely a lot less. The correlation between the old and the new is that it has to feel good, and you should be able to tap your foot to the music! It’s all about the feel, not the technique!
I never fashioned myself as a songwriter, and to tell you the truth, I don’t really hear lyrics. I hear melodies and harmonies. I get basic ideas from something I play on the guitar. I mesh that out into a structure. I’ll record the guitar, and after, I’ll turn on the microphone and improvise and sing. Wherever I mess up, I fix and find a part that fits the previous musings. I never pre-write anything. I have no previous experience as a songwriter, and I am sure my process is very unconventional! I heard George Michael did the same thing so I guess I’m in good company! I’m still learning and I like to learn cover songs but my biggest hurdle is remembering the lyrics. My memory for that is the worst ever. I can fake them perfectly!
I am a new artist who just found his true voice. I’m learning now how to do this, and it’s quite daunting. I am more introverted than extroverted, so going on camera on social media is challenging. My advice to any musicians is to only do music if you love it and not look at it as a career. I’d be playing the guitar even if there were no more people on earth! I just love the guitar and music, and If I’m lucky enough to have supporters, then I feel extra blessed! If you can find someone who is good at organization and marketing, than keep that person close by. I am unfortunate that I do not possess those skills. But I keep trying! Never give up, and be persistent! Miracles do happen!
I’m going to keep releasing my music! I have a kid’s album I did. I have another even more stripped-down album just guitar and voice. I have a larger catalog as a producer that’s being re-released with some amazing artists! Betty Beata, one of the greatest voices ever, Jay Keez, a new pop singer and rapper, Alexis Baro, Cuban trumpet virtuoso, Paul Lakatos, the greatest gypsy jazz guitar player in the world, Wade O Brown Detroit R&B sensation, the Dark Sons, Rock and Roll like it used to be! So I’ve done a lot, and the rebirth is starting with myself!
Stream Dave Sereny’s latest single on Spotify and keep track of his new releases via his official website.
Interview by Amelia Vandergast
Valley of Salt’s upcoming concept album, Voice of One Crying in the Wilderness, brings the story of John the Baptist into the sphere of progressive rock, combining vintage instrumentation with timeless themes of faith, resilience, and transformation. In this interview, the artist discusses the creative process behind the album, the influence of prog-rock greats, and the collaborations that shaped its organic sound. From recording with vintage guitars to layering intricate melodies, the conversation explores the personal and artistic ambitions behind the record.
Thank you for having me. Voice of One Crying in the Wilderness was inspired by the life of John the Baptist. I wanted to create a progressive rock opera and concept album using vintage guitars and equipment to capture an authentic, timeless sound.
I was drawn to John the Baptist’s story because it’s a tale of courage, purpose, and conviction. He was a voice for change, willing to stand apart from the crowd to speak truth and inspire others. His story reflects timeless struggles, and I believe it’s incredibly relevant today.
The overarching narrative of Voice of One Crying in the Wilderness is a journey of purpose, resilience, and transformation. It tells the story of an unwavering commitment to a calling, even in the face of doubt, isolation, and opposition. My hope was that the music and lyrics would weave his story into something both universally resonant and deeply personal.
Creating this album has been a dream come true. I’ve always wanted to combine my passion for storytelling and progressive rock into a cohesive concept album. This project represents my journey as an artist—exploring themes of faith, self-discovery, and redemption while using the tools and sounds that have inspired me since I first picked up a guitar.
The producer, Marty Willson-Piper, has an extensive collection of vintage equipment, and I’ve always been drawn to vintage guitars myself. Marty encouraged me to use vintage gear throughout the recording process. It truly influenced the direction of the album, giving it an authentic progressive rock feel. We didn’t use any plug-ins—it’s all vintage sounds, which made the music feel organic and timeless.
Working with Marty was a privilege. He brought a wealth of experience and creativity to the project, and his guidance helped shape the album’s sound. The musicians we recorded with in Dallas, Texas, were incredibly talented. Their expertise and passion elevated every track. It was truly a collaborative effort, and I’m so grateful for everyone’s contributions.
Faith, self-discovery, and redemption are universal themes that speak to everyone. I hope listeners can find their own connection with these ideas. Faith, to me, is about trusting in something bigger than ourselves, like God, even when the path isn’t clear. Self-discovery is a journey we’re all on, and redemption is a reminder that renewal and growth are always possible. These themes are central to my life and inspired much of the music on this album.
The album took two months to complete, with 12-hour days in the studio. Recording in Dallas with such talented musicians was a highlight. One standout moment was layering over 25 guitar tracks on various songs to create a rich, textured sound. While challenging at times, the process was incredibly rewarding. The musicianship and creativity in the studio made the entire experience unforgettable.
Progressive rock has such a rich history, and bands like Yes, Genesis, Emerson, Lake & Palmer, and King Crimson were major inspirations. The album Fragile by Yes, in particular, had a huge impact on me. I wanted to honor that legacy while creating something fresh and uniquely my own.
The release of Voice of One Crying in the Wilderness is a huge milestone for me, and I’m thrilled to share it with everyone. Fans can look forward to live performances, content on social media, and videos for several tracks to bring the songs to life. The album will be available on all major streaming platforms, and we’ll also share behind-the-scenes glimpses of the creative process. I can’t wait to connect with everyone and hear how the music resonates with them.
I think the themes of this album are incredibly relevant today. We live in a time of uncertainty, and John’s story reminds us that even one voice, guided by faith, can inspire hope and spark transformation. My hope is that listeners come away feeling encouraged and inspired.
Voice of One Crying in the Wilderness is a progressive rock opera and concept album that weaves powerful storytelling, intricate melodies, and timeless themes of faith, purpose, and redemption into a journey that’s as thought-provoking as it is musically captivating.
Stream and purchase Voice of One Crying in the Wilderness when it launches on Bandcamp.
Connect with Valley of Salt on Facebook and Instagram.
Interview by Amelia Vandergast
Italian-born, London-based singer-songwriter Daniela, known for instilling emotional depth into jazz-inspired textures, joined us for an intimate discussion about her latest single, Waiting. Daniela shared the personal experiences that shaped her track, reflecting on love, heartbreak, and life’s moments of anticipation before touching on how her Italian roots and London’s diverse music scene influenced her sound, how collaborations with accomplished musicians like Robin Banerjee shaped her vocal delivery, and the balance she strikes between honouring classic inspirations and exploring new sonic territory. Daniela also opens up about the vulnerability she aims to convey in her music, the contrasting energy of intimate jazz bars versus festival stages, and her ambitions for the future.
Thank you! I’m really excited to share more about Waiting. This song is incredibly personal to me, and it’s rooted in a relationship that had a strong impact on my life. I fell deeply in love with someone, and even though we’re no longer together, those emotions are still very present in this track. I’ve always loved intensely and fully, but I’ve come to realise that sometimes love feels like a luxury I can hardly afford. There’s a song I love called ‘You Don’t Know What Love Is’ and it says: “You Don’t Know What Love Is, Until You Know the Meaning of the Blues”, and that line really resonates with me because, in a way, that’s the essence of Waiting. It captures that bittersweet side of love—where the joy and pain go hand in hand.
I think anyone who’s truly loved knows that love doesn’t always last forever and as reality set in, it hit me harder than I ever expected.
Originally, ‘Waiting’ was supposed to be a “happy” love song, but after the relationship ended, I kept going back to it, changing the lyrics, trying to make sense of what I was feeling. The final version reflects that whole journey—the dreamy warmth of falling in love, the waiting game that could lead to something beautiful or, as it often does, to a heartbreaking end.
This song holds a special place for me because it’s the result of a lot of introspection. I wrote it during a time where I was navigating a lot of emotions, almost like I was in this in-between space, and I think we all have moments like that. Personally, I felt this sense of waiting for something to shift, like I was on the verge of a breakthrough in my own life but didn’t know how or when it would come. The song became a way for me to process those feelings. I wanted the sound to reflect that build-up of emotions, almost like you’re holding your breath, waiting for that moment when everything finally clicks and you know who and what is in front of you.
After writing it, the meaning of the song extended beyond just love. It became about waiting in general, that feeling of anticipation, where we’re waiting for the next step, the next moment that could change everything. After-all, aren’t we all waiting for something in life?
Haha, isn’t there enough drama in that pre-chorus to tell you I grew up in Italy?! Oh, and did I mention the person in question is from London? Did I say too much?! Anyway, to answer your question a bit better, I think it’s like blending the passion and intensity I’ve always known with the complexity and introspection that come from living in a place like London. This city can be both exciting and isolating at the same time, and that sense of navigating life while still holding onto those deep, emotional roots definitely influenced the tone of Waiting. It’s about creating moments within all the noise—even those quiet, vulnerable ones where you’re waiting or falling in love.
Collaborating with seasoned musicians like Robin Banerjee has been such a rewarding experience. We actually met years ago at various jam sessions in Brixton and South London, and since then, I’ve always loved his vibe. Jazz musicians like Robin have this incredible ability to express emotion in such a soulful, free, fluid way, and being around that has definitely influenced how I approach music.
In “Waiting”, I found myself exploring different textures in my voice—whether it was a softer tone to express vulnerability or a more raw, emotional delivery for certain lyrics. Working with jazz musicians over the years has helped me grow both as a singer and a songwriter. They’ve taught me to be more intentional with how I convey emotion and to embrace the nuances that make each performance unique. That’s something I’ve carried with me into all my projects.
My background in reinterpreting and performing jazz repertoire has deeply influenced me, especially in a live context. On the EP, you’ll hear some of that influence with a few friends playing horns and guitar, adding layers to the music. Jazz, as a genre, has been crucial in helping me explore different musical styles and develop my skills as a vocalist. It taught me how to really listen and feel the moment, which has made me more flexible and expressive in my performances. The London jazz scene is rich and diverse, where different influences blend into the mix, nurturing a unique perspective. This has pushed me to experiment with different sounds, allowing me to find my own voice and evolve as an artist
Crucial. I want my music to spark something deeper, to make people think and feel. Life isn’t just about the highs or the lows—it’s about everything in between, those moments that are complex and sometimes hard to express. I think as an artist, it’s my job to dive into those complexities and invite my listeners to explore them with me.
I’ve always been drawn to songs that don’t just tell a story but also evoke emotions, reflections, and even questions. So, I try to do the same with my work, pushing beyond the obvious to explore themes of love, loss, hope, and vulnerability in ways that aren’t always straightforward. I want my music to feel like it’s a conversation, not just with myself, but with the people listening, offering them something they can relate to, challenge their perspective, or even make them look at things in a new way. That said, I love a good catchy hook!
To me, it’s about what feels good—some people may connect with it, others may not, but I think that’s the beauty of art. For example on the single “che si puo fare” inspired by the Barber Strozzi’s composition, I love how that piece captures emotion so beautifully, and I wanted to take that sense of depth and emotion into my own work, while allowing myself to explore my own voice and sound.
Working with good musicians and producers has been essential in making this balance happen. They help me take the classic inspirations I hold dear and bring them into the present, using modern sounds and approaches to create something fresh. It’s a collaboration of ideas and visions, and having a strong team to push me creatively is what allows me to stay true to my roots while also exploring new sonic landscapes. That’s the space where I find myself most creatively fulfilled.
When people listen to my songs, I want them to feel my vulnerability the most. I believe that’s where true connection happens—when you’re willing to be raw and open, letting people into your world and your emotions. Vulnerability is where the depth of a song comes alive, and I hope that when listeners hear my music, they feel like they’re experiencing something personal, like if someone has finally found the words to say what they have been going through all along.
Absolutely, There’s something incredibly special about performing in a small, intimate space like a jazz bar. It’s so personal—it’s just me and the audience, and in those moments, I can really let my guard down and experiment with the music, knowing that every nuance in my voice or every small shift in energy is felt by the crowd. On the other hand, larger festival stages have their own magic. The energy is different—there’s a bigger crowd, more excitement, and a feeling of shared experience. It’s more expansive, and I get to tap into that collective energy. The performance becomes a bit more dynamic, with room for movement and more elaborate production. Both settings push me to connect with the audience in different ways, and I love that contrast
I’ve got a new single coming out soon at the beginning of spring, which I’m incredibly excited about. On top of that, I’m thrilled to announce a special live show on the 17th of April for Korak Music Events, a fantastic new platform dedicated to emerging artists. You can find more details about the event here: Korak Music Events – A Complete Live Music Journey. These next steps are all about continuing to grow, share new music, and engage with listeners and fellow artists. There’s so much more to come, and I’m excited for what’s next!
Discover Daniela’s music on Spotify, and discover more about her via her official website.
Interview by Amelia Vandergast
Renowned as a singer-songwriter, producer, composer, and performer, Michael Cristiano has built a remarkable career steeped in versatility and creativity. In this exclusive interview, we touch on his beginnings, inspired by Elvis Presley’s electrifying performances, and his evolution into a globally respected music director and producer. With decades of experience, including his pivotal role with The Seekers and his recent all-Italian album, Michael opens up about the personal significance of his projects, the artistry behind music production, and the thrill of live performance. From crafting multi-platinum albums to exploring new frontiers in Latin music, his dedication to his craft remains unwavering. Whether sharing his advice for aspiring artists or reflecting on the defining moments of his career, Michael Cristiano offers an inspiring look into his world.
I remember watching Elvis Presley in “Viva Las Vegas” on TV one night with my grandmother. I couldn’t have been more than three or four years old. Elvis was playing the guitar, singing and dancing with Ann Margaret. I was entranced. Not long after that, I watched the ’68 Comeback Special, which featured classic footage of Elvis playing the guitar and singing in black leather. I knew then – that’s what I wanted to do. I became obsessed with the guitar and started classical guitar lessons at the age of six delving into further studies in jazz, rock, composition and arrangement in my early teens.
I am blessed to have worked with some of the greatest artists in the world throughout my career, but The Seekers were perhaps the most influential. They trusted me with producing their “sound”, and Judith Durham often said that I was the only producer since Tom Springfield (their original producer) who could re-create the magic that was The Seekers. Working with the group opened many doors for me professionally, and I am forever indebted to them for their trust and friendship. Being asked to be the ‘fourth voice’ in ‘The Original Seekers’ was the icing on the cake, and I’m thrilled and honoured to be part of Australian music history now.
I have always wanted to record an all-Italian album of original songs as I have been a fan of Italian pop music since I was a child. My father bought me a vinyl single of Italian singer/songwriter Nicola Di Bari’s hit “Chitarra Suona Più Piano” and I was hooked from my first listen.
I enjoyed every minute of recording all the songs on the album. I played all the instruments, sang all the vocals and produced the entire project. To see it resonate so strongly with international audiences is a dream come true.
When producing my own music, I’m free to explore different styles and musical genres, whether jazz, blues or classical. When producing other artists, staying true to their style and identity is crucial. A producer’s job in that situation is to bring the artist’s vision to life and make them and their songs sound as good as possible.
I love working in the studio, but nothing beats the feeling of playing in front of a live audience. That is what music is really about – performing, communicating with an audience live, in the moment. That’s one of the most special feelings there are.
I’m thrilled with the reaction the album is getting around the world. I knew there was something special about this album when I first started recording the songs and seeing audiences worldwide react so positively to the music was wonderful.
Many moments stand out to me, first playing my first ‘paying gig’ when I was just twelve years old. Two years later, I started my first band, ‘Rebel’, with friends from school, later known as ‘7th Avenue’. I joined the show band ‘Koco’ in my late teens and backed many of the biggest international acts of the day that toured Australia. Following this, I played with The Seekers in 1988, became their Musical Director in 1990, and Record Producer in 1992. Producing my first platinum-selling album, ‘The Seekers – The 25 Year Reunion Celebration’ is another definite highlight.
I’m about to record two songs from my Italian album “Mai Finirà” with Spanish lyrics, and I’m very excited about releasing new material for the Latin music market. There’s also a new album in the works, so stay tuned, folks.
The best advice I can offer to up-and-coming musicians is to work with as many different musicians as possible. Make an effort to work with musicians that are better than you. Listen and learn as much as you can. Never, ever give up. Most importantly, practice. Work at your craft, always. It doesn’t matter what you have to say as a musician, a singer, a songwriter or a record producer if you haven’t developed the skills to express your ideas – oh, and practice, practice, practice.
Discover Michael Cristiano’s work on Spotify and his official website.
Interview by Amelia Vandergast
With an unmistakable knack for pushing boundaries and weaving intensity into every track, r/ginola is a genre-defying artist carving his own path from the unlikely backdrop of Connecticut. Having honed his craft through years of experimentation and evolution, his music is an unapologetic blend of moody cadences, raw emotion, and influences as diverse as shoegaze, nu-metal, and modern trap. In this candid interview, r/ginola opens up about his tumultuous artistic journey, the deeply personal themes behind his forthcoming 8-track LP, and his unrelenting commitment to authenticity in an industry often criticised for its uniformity. From his creative process to his take on vulnerability, this conversation offers a glimpse into the mind of an artist determined to leave a mark.
I started about 4 years ago as more of a way to vent my feelings and frustrations that I had at the time. I showed friends the stuff I was making during a smoke sesh and they really encouraged me to get in a proper studio and take it seriously. That period was very dark but I’m glad I went through it. It allowed me to fully express things but also find myself as an artist and really made me open to new ideas or sounds.
Fast forward to now, after 3 rebrands in terms of name & genre, and over 100 songs, I feel I’ve really grown as an artist, and I am currently making my best stuff. The old stuff was cool (a lot of it is deleted) but the new stuff is basically a blend of what I was making previously.
Hmm.. the most satisfying to me is creating songs. I enjoy the writing bit, coming up with different flows and then putting it all together. The most challenging bit is mixing/mastering. I’m not the greatest at it but I normally try to tweak it to how I would like it and how it would sound in my car
My sound to me is different from anything you hear currently. It’s hard nowadays for artists to really stand out because there is a lot of copy and paste but with my sound, I worked hard to make it different.
My delivery/cadence is very moody, and I think that comes from my time making shoegaze/nu-metal music. The lyrics are very sexual or aggressive at times, which is basically my usual nature.
Whenever I drop a project, I always try to paint a picture. The picture is created by expressing everything I have dealt with in my life through relationships, friendships and miscellaneous things. This project, in particular, is about me falling in and out of love with an ex. I don’t wanna dive too deep into it, but you get the gist. I should also add that when it comes to the story/lyrics of each song, I leave it up to the listener to interpret it however they see fit.
This release is me. From the lyrics to the story to the energy to the sound, this project embodies everything I set out to be when I initially started.
When it comes to writing I pretty much lock myself in a certain period of time in my life and remember what it felt like. The more vulnerable I am the better the lyrics I believe. I try to keep it from sounding like I’m whining and keep it very fun so people are able to connect with it better. Sappy love songs just aren’t for me. I like to make mine sick and twisted, very dark at times.
Jeez, I could talk about each of these artist for days! And there are loads more, LOADS! But these have been very prominent in my artistry. I’d say Deftones for sure has played the biggest role, Chino Moreno for me is god (I’m glazing heavily and I don’t care haha), I love that guy dearly! From songwriting to singing to energy to just about everything, he heavily influences my music. I love Static Dress for their visuals as well as their sick storylines, Oli is very cool!
I’ve always been bold. Maybe too bold at times but I like being this way. You can’t be afraid to take risks or try new things, you just gotta go for it and stick with it. Will it get you in trouble sometimes? Sure, but who cares! Be different, enjoy yourself!
Umm I mean I feel like it kind of blessing but also a hindrance. I’m from Connecticut, so not too many people know of the state or where it is. There aren’t many artists or any artists for that matter that have made it out. But I also feel like that’s because everyone is trying to sound like everyone, and since Connecticut is unknown, no one wants to hear their story. They’d rather listen to someone from California, Florida or New York if the story is similar. For me, I’m in my own lane; there is no one making this kind of music here. And I love that!
We will see together hahah I’m hoping to tick some boxes off the things I’ve been manifesting but I won’t be disappointed if things don’t go as planned. End goal is to just continue putting out great music and enjoy every second of it!
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Stream r/ginola’s new 2025 LP on SoundCloud now.
Interview by Amelia Vandergast
Elevated Focusion has always had a knack for turning personal moments into musical odysseys, and their latest venture proves it once again. In this interview, we step into their world of mesmerising motifs and rediscovered treasures. The backbone of this LP, An Electric Evening with Jonny Rhythms and the Magical Motif, dates back to 2001–2004, a time when a Yamaha Motif Classic keyboard was central to the creative spark. Fast-forward two decades, and these tracks find fresh purpose in 2025, offering a glimpse into the old-meets-new synergy that fuels Elevated Focusion’s style. From the subtle jazz infusions to the nostalgic Nintendo echoes, their willingness to experiment breathes new life into these long-lost compositions.
The studio I mix my music in has an old Motif. So while mixing my 3rd album, I have been taking all my old music from my memory cards. I already released the album ‘Elevated Focusion’ under the name Jonny Rythmns. I would say that album was 20 years in the making. This was probably 5 minutes in the making…lol.
I am an impulsive artist and in the moment it seemed like it could be cool to do something with some of the mixed music from my old memory cards.
I bought this keyboard when I was 19 years old. With the Motif, I used to play a lot more piano. A lot of my songs would have piano in some way or another. Which is funny, because I never use piano at all anymore. So it really is like two completely different artists.
I love Jazz and 90s Nintendo music. At that time, I really wanted to be a jazz artist, but I just didn’t have the technical skills to do it. I was trying to make jazz, but it just ended up being whatever the hell it was…lol
I only ever had an original Nintendo and it was functional for a long time. So, I guess subliminally, I always had Nintendo on my mind. So Nintendo “wanna be” Jazz was my thing I guess.
I honestly did the bare minimum on these songs except for the last song. I put a little time into that one because I wanted to see where the engineer could bring it.
I wasn’t planning on releasing these songs. I just was doing the bare minimum to get them ready for possible use in TV & Film.
I mixed the song that is the final song on the album last week. I really wanted to do something with it. So, I decided to put together an LP with my favorites of the songs I recently mixed.
I definitely feel like technology has made it easier to develop a song and collaborate with other artists. My music was a lot more introspective back then. I was just stuck in my own head. I have a lot more life experience now. It is a lot easier for me now to step away from my music and try to create from a third-person point of view.
There is no doubt about it, that it was a difficult time in my life. To be honest, I don’t really remember it. Those memory cards are really all I have.
I always want to create an experience with each release. It sounds crazy, but this release really isn’t personal. I wanted to create an immersive experience of what memories I took from those old memory cards.
I would definitely say the final track. It was my attempt to create a symphony just using that keyboard. I recorded each sound on its own track and filled up the 16 tracks on the keyboard. It was really difficult to do at the time.
Now with having Logic Pro, all the things that were impossible on the Motif are now extremely easy. But I am still really proud of that track for what it is.
This is an invitation to an intimate moment. It is almost like sharing memories. Most of my old music is poorly mixed. These songs are professionally mixed. So maybe someone would give this a chance, where they normally couldn’t get into my old music.
I am working on the mixing for my 3rd album which I hope to release by Fall 2025. It is a lot of fun and I’m looking forward to sharing it. Where ‘Dark Nights’ focused on dark themes, this is a lot lighter.
I honestly love doing this. I am already working on my 4th album. Each album will always have its own vibe, and I will always try to challenge myself to do something fresh.
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Listen to An Electric Evening with Jonny Rhythms and the Magical Motif on SoundCloud now.
Interview by Amelia Vandergast