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!
To be featured here and interviewed, submit here.
INTERCONTINEN7AL are rewriting the rules of music collaboration with their ambitious EP, World Over, assembled across all seven continents. At the core is Matt Smith, whose resourcefulness in discovering like-minded contributors on BandLab allowed the project to flourish, even in remote locations such as Antarctica. In this exclusive interview, the band discuss how they united guitar riffs, percussion, and vocals from every corner of the globe, building a powerful testament to collective creativity. They also reveal the personal passions that inspired them, the logistical headaches they overcame, and how they kept each track focused despite countless geographical obstacles.
Hello A&R Factory, this is Matt Smith, founder of INTERCONTINEN7AL. First off, thank you so much for taking the time to interview us about our project! The seeds of the group were planted back in 2020, out of sheer necessity regarding maintaining music collaboration and creativity during the onset of COVID. Members of the local Columbia, MD band Toast, comprised of myself, Jamie Miller, Ben Gaither, Emily Betz and guest singer Becca Drayer, searched for ways to continue working together during the pandemic.
After some online searching, I found the app BandLab, and started testing out uploading guitar ideas and riffs, while Jamie tried out recording some drum tracks. Later on, the band recognized the potential of BandLab’s public community and decided to publish internal song ideas – making them “forkable” and labeling them with hashtags (ex. #needsbass) so that any BandLab user can then add their ideas if they so desire. I posted an Alice in Chains Unplugged inspired acoustic song idea of mine, and within days, multiple lead/harmony vocal submissions were received, including North America’s Hope Gray’s backing vocals and South America’s Gustavo Prida’s lead vocals (sung in Spanish), transforming my song idea called Aslin into No Somos De Este Lugar – which ended up on our self-titled debut album. The band continued this process, where I posted a blues idea between myself and Jamie for external contributors, and this soon evolved into the song When I’m Gone, with Robert James Shoveller from Australia on lead guitar. Things quickly evolved from there…
As I mentioned above, we began to accidentally create these musical connections through the app, and it was a very exciting moment for us. In the late summer of 2020, I vividly recall being in my backyard in Columbia, MD when a lightning bolt of an idea hit me: how about our band borrows the methodology of the Sonic Highways record that Foo Fighters released (creating music with local artists from cities across the US), and taking it to the next level by inviting even more international musicians and trying to include every continent. I decided to call it INTERCONTINEN7AL, stealing the 7 in the name after the band Tool’s song “7empest”. I started hitting the pavement, so to speak, and tried to fill in the blanks when it came to what continents were not already represented in our existing songs.
For the remaining members, I messaged friends, former bandmates and family who were fellow USA musicians (i.e. bassists Devin Heritage, Alex Burke), and leveraged BandLab’s Explore and Creator Connect features to target by location as well as instrument type to try to find new potential collaborators for our project (i.e. guitarist Josh Pearlson of Africa). I got kind of nerdy and researched musicians’ profiles that our bandmates were following to see who these folks were collaborating with, to expand our network. One noteworthy addition to the group was when I received a notification in BandLab that Marcin Nawrocki from Poland liked one of my original song ideas, Albatross Flight. I reached out to him after getting that notice, and over four years later we are communicating every week and he has contributed an enormous amount to the group, both via music ideas as well as production, mixing, and mastering. But there have been so many fantastic musicians that we have added to the group over the years, each one has a unique “origin story” as to how they were introduced or referred to our band.
Excellent question – I think the key ingredient here is constructive dialogue about the process, and what the goals are for the final product. For example, if I’m uploading an alternative rock riff, and then share it with the group, I may suggest some melody or lyric ideas as well as what general direction I think we may want to take the song. That being said, one of the most exciting things about this band is seeing bandmates hear an idea and interpret it in a totally different and unexpected light, and then contribute something totally magical and unlike anything I was anticipating. Allowing yourself to be open to new ideas and creative journeys is a pivotal aspect of this entire process.
BandLab was the core platform utilized to create the tracks. Basically, every song idea would start as a project in our band’s library. Anyone in the group can upload an idea – which could be recorded on their laptop or even their phone – using a DAW or home studio software application. For me personally, I always would use BandLab’s Studio to import ideas or record them directly from my phone. Once an idea is uploaded, it is available to anyone in the group to add their ideas…so basically opening up the “studio” on their device of choice, and then adding a new instrument or audio recording track. Once a new track is added and saved, a new revision is created in the song project. This allows for incredible version control, and for unlimited creative freedom because no previous idea is ever erased or written over. The fact that BandLab offers a multi-track digital studio that can be accessed by a group of people still blows my mind to this day!
To find these two musicians from Antarctica, I researched Wikipedia and other online tools to determine close to 25 active research stations, and then in September 2020, I emailed each and every one of them to see if there were any researchers on site that happened to be musicians. After some exhaustive efforts, I actually heard back from two research stations that said they had musicians who would be interested in participating, and my friends Aymar de Lichervelde and Stijn Thoolen entered the fold.
Both of these talented artists were able to record their percussion or guitar parts using microphones or their phones while at the station, and then sent their recordings to me via WhatsApp. I was then able to upload them into the BandLab Studio, along with the other existing tracks for the song “Manor Hill” that we were working on for the debut album. Since 2020, both Stijn and/or Aymar have contributed to the other 4 songs on this World Over EP, to continue the goal of having 7 continents represented.
I would have to say the main challenge would be delays in communication between members, but this is expected due to responsibilities outside of the group. We are doing this primarily as a hobby; this band is not our full-time gig, and because all proceeds are donated to charity, we do not earn any income from the project. As a result, we have to carve out the time to make our recordings. It may take quite a bit of back and forth to finalize a song – for example, “Butterflies” took almost 12 months to finalize – but I personally feel the results speak for themselves.
I think that our approach was able to find the happy medium between combining a vast amount of diverse influences and ideas, without songs sounding chaotic. I have to laugh because one reviewer from our first album listened to “Manor Hill”, and stated that they “expected an instrumental mess, quite honestly”, but were “pleasantly surprised” after they listened. Statements like this make me ecstatic, knowing that we have made the seemingly impossible possible – a cohesive composition that can highlight all participants’ efforts while maintaining a united message.
In my humble opinion, I believe that a lot of these lyrics are of a more personal nature (or perhaps creating a fictional story based on real events), versus any general commentary on cultural or environmental themes. I personally wanted the music to feel genuine and organic, and not forced in any particular topic or theme when it came to lyric writing.
We are already working on ideas for Volume 7, and have also just uploaded a playlist on various digital platforms called The Best of INTERCONTINEN7AL, which features the cream of the crop when it comes to our music – quite a diverse array of genres that are covered there. A terrific way to become ingrained with the group if you have just listened to World Over and want to check out more of our catalogue.
Find your preferred way to listen to the World Over LP via INTERCONTINEN7AL’s official website.
Interview by Amelia Vandergast
From the moment ‘now it doesn’t matter’ opens with an ethereal breeze of melancholy, Natalee Gallo demonstrates her cultivated approach to fusing folk sensibilities with a cinematic dream pop aesthetic. This single only gathers visceral steam as the instrumental and vocal hooks ache with conflicted, confessional sincerity, allowing the track to breathe in a raw, human way.
Not only is it an immersive panorama of intensely personal yet universally resonant pain, but it also serves as a powerful testament to Gallo’s authenticity. Rather than simply trailing the trends, Gallo incorporates subtle folky tinges that accentuate the avant-garde balladry, giving her sound a distinctive edge while still retaining a current appeal. It’s a scintillatingly stylised diary entry turned forward-thinking pop piece, brimming with enough soul to stand out on any contemporary playlist.
Based in Pittsburgh, Pennsylvania, Gallo has built her emerging indie presence around her sound which reveals her fascination with intertwining pop, synth, and folk elements. In 2025, Gallo intends to share three more singles, potentially culminating in an EP, as she seeks to widen her audience and highlight the eclectic influences driving her project.
now it doesn’t matter is available to stream on all major platforms, including Spotify.
Review by Amelia Vandergast
Gabriel Greenwood is a rising singer-songwriter known for his soulful vocals and reflective lyrical style. His latest release, High School Reunion, channels the wistful pull of the past while illuminating how far we come after graduating. In our interview, Greenwood discusses the inspirations behind the track, the influences that shaped his signature sound, and his plans to continue forging new musical frontiers in 2025. He also reveals the pivotal role his music education played in nurturing his creative spirit, underlining his unwavering commitment to sincerity. This glimpse into Greenwood’s world hints at how he merges personal memories with modern ingenuity.
I wrote this song in 2021. I graduated from high school in 2016, so, if not for COVID, it would’ve been my 5th year high school reunion. That sentiment was on my mind, and it filled me with nostalgia for that time in my life. It reminded me of the crush(es) I had in high school, and what reuniting with them at a reunion would’ve been like. Would I still like them? Have they thought about me at all?
You do a lot of growing in 5 years after graduation. You become an adult, you find new interests, and you learn a lot about yourself. I felt like it took me leaving high school to learn about love. I wanted to write about that idea.
As much as I want listeners to walk away with a sense of self-acceptance and pride in their journey, I also want them to identify with the slow burn of a high school crush that never worked out. Life is full of many ‘what ifs’, and especially when you’re young and don’t have all the answers, it’s important to look back and celebrate that growth, while also going “Damn; imagine if I had had the courage back then that I have now!”
I am so inspired by classic artists such as Stevie Wonder and Donny Hathaway. I wanted to reflect the nostalgia of high school by having a 70s Soul throwback-y sound. I also had the privilege of working with incredible session musicians on this track (Daniel Huston, Ian Strobino, Jackson Mayhall, Heaven McCoury, Mack Clay). I feel like the real players added to the sense of being in a band, which brings me back to high school. The melody itself naturally fluctuates from being more introspective in the verse to declarative in the hook, reflecting the ups and downs of memory and connection.
Thank you! I think it’s a combination of studying the greats, who were masters at storytelling, and my background in choral arranging and vocal coaching. Working with vocal harmonies taught me how to create layers of emotion in a song, and studying songwriting has given me the tools to translate those emotions into lyrics and melodies. I’m also someone who’s always reflecting on life and observing the emotions around me—I think that helps too.
It’s a bit of both for me! There are nuances and writing elements that fans will always be able to identify as quintessentially Gabriel Greenwood. I also love sticking to my love of a soulful sound, and I’ll never lose that. But, I’m also constantly inspired by new sounds. I have new ideas incorporating some 80s rock elements and world music elements that I’m really vibing with right now. So for my fans, I’d just say prepare to be pleasantly surprised!
I feel High School Reunion does it best out of any of the songs I have out. It really balances the nuances with my own originality. The instrumentation and arrangement sound so classic like my 70s Soul influences, but the melody itself is very fresh. I’m especially proud of the hook, which feels so modern without feeling out of place. Also, the topic and the story itself is pretty unique while being very relatable. I always love finding a story for a song that not many other artists talk about, thereby ensuring some authenticity from the get-go.
Well, my mom is a songwriter who worked primarily in the 70s and 80s. She inspired me from a very young age to tell stories through my songs. I love the frankness of writing that came out of the 70s. Writers who inspired my mom like Laura Nyro, Carole King, and Carly Simon knew how to deliver a message clearly AND creatively. I also love when a second verse actually MEANS something haha! I love how classic songs continue to tell the story linearly through each verse. A lot of modern Pop tends to use the second verse to rehash what’s already been said in the first verse, when there’s so much more context and layering you could be doing in the second verse. In High School Reunion, I enjoyed showing a full conversation with the crush that continues and finishes in verse 2.
I see my influences as starting points rather than templates. The music that inspires me was always playing in my house growing up. And though a lot of it wouldn’t seep into my artist persona until my teen years, it had a deep impact on me. At the same time, I was being so nurtured at school, where I was surrounded my top-notch music opportunities. It gave me an environment where, if I wasn’t being inspired, I was at least being encouraged to take music seriously. I am indebted to my music education for where I am today. As an artist, whether releasing music or performing on cruise ships, I think my inspirational and educational environments were crucial in shaping my sound.
I’m really excited to take my fans with me on my journey performing professionally on a cruise ship this year! From January-May, I will be performing a piano duo show with my incredible pal Stephen Coakley aboard the MS Zuiderdam! We’ll be on for the 125-day Grand World Voyage, circumnavigating the entire globe! Along the way, I hope to collaborate with stellar musicians and artists I admire both on board and off to make music that connects with people on a deep level. 2025 is also going to be a year of a lot of creation. I’ve got more songs on the way, as well as a lot of exciting content to further grow my fan base on Instagram and TikTok. =)
High School Reunion will be available to stream on all major platforms from January 11th. Find your preferred way to listen and connect with Gabriel Greenwood via their official website.
Interview by Amelia Vandergast
This week, Mighty Jupiter & The Mooncake Band sat down with us to discuss the sonic and thematic layers of their latest LP, Forced Fun For the Just OK Life. In this interview, they delve into their unique genre, Shoehaze, blending shoegaze, punk, and blues rock, and share their perspectives on navigating societal expectations, embracing a DIY ethos, and finding creative inspiration in Latvia. From crafting atmospheric soundscapes to balancing introspection with rebellion, the band unpacks the core message behind their music: a call to challenge the “just okay” life and reclaim authenticity.
Thanks for having us! Forced Fun For The Just OK Life isn’t just an album. It’s a look at the weirdness of the world. It talks about the quiet pressure to fit in, to put on a smile when you’re not feeling it, and to join in activities you’re told to enjoy, even if they seem empty.
Musically, it mixes baroque pop, blues rock, punk, indietronica, and shoegaze, creating a sound we call shoehaze—a dreamy yet down-to-earth vibe. Each song shares its own tale, exploring ideas of strength, disappointment, complicated relationships, and the quest for meaning in a chaotic world.
We hope listeners will start questioning the expectations placed on them, and maybe even find a bit of rebellion to challenge the “just okay” life.
Shoehaze wasn’t something I planned to create; it developed naturally as I mixed different influences into something new and interesting. Our mastering engineer, Natalie Bibby, coined the name while we were finishing the album. She captured the essence of what we were doing—a dreamy, layered sound that feels like shoegaze but with a modern twist—and that’s how Shoehaze started.
For me, it’s more of a creative approach than a strict type of music. It’s about bringing together atmospheric sounds with strong melodies, detailed arrangements, and raw energy. We blend in different genres, letting each song stand out while creating a rich, immersive sound. It’s a mix of being down-to-earth and otherworldly, reflecting the strange contradictions in life. Shoehaze perfectly describes this balance between depth, chaos, and melody.
Thank you—that means a lot to hear! Honestly, the secret is that I stopped trying to fit into exact genres or subcultures a long time ago. I’ve embraced the idea of creating songs as they come—some lean into a rock vibe, others take on orchestral textures, and some sit somewhere in between. For me, the key is making sure everything feels organic and cohesive. If it sounds solid and true to itself, I know I’m on the right path.
Not every song makes it to the final cut, though. I typically have 40-60 tracks in progress at any given time, tossing them around to see how they evolve—both individually and together. From there, I narrow it down to 10-15 tracks that not only work as stand-alone pieces but also tell a cohesive story as an LP.
Of course, my background plays a huge role in shaping this process. I’ve been playing and composing music for over 25 years, working across everything from loud rock tracks to intricate orchestral arrangements. I’ve also done sound design and even foley work for commercials and movies. All of that experience has given me a unique perspective on how to experiment while staying grounded in what feels authentic and resonant. It’s less about fitting into a mold and more about letting the music find its own shape.
The concept of “forced fun” is deeply personal to me, and it reflects my own experiences navigating the tension between the desire to connect and the pressure to conform. Sarcasm is my coping mechanism—a sharp but careful tool I use to process and critique those social scripts. It’s not bitterness or sardonicism, though. I try to stay on the lighter side of that very fine line. While some of my lyrics might feel sardonic, I see them as sharp sarcasm—a way to highlight the absurdity of social expectations without losing hope or humanity.
My life experiences naturally shape my songwriting. Music has become my way of digesting not-so-pleasant moments and making sense of how they’ve shaped me. I don’t see myself as special—I’ve just found music to be the most authentic way to process and express those struggles. If I had to pick a song that captures my life path, it would be Nothing Like You by Cock Sparrer. It perfectly encapsulates the turbulence of clashing with societal expectations and personal battles.
With Forced Fun For The Just OK Life, I wanted to explore how societal scripts can erode individuality and lead to disconnection. It’s about questioning the “just okay” life and finding a way back to authenticity. Even when the themes are heavy, the biting humor and sarcasm help make the confrontation feel more human and relatable—because sometimes, the best way to survive the absurd is to laugh at it.
Thank you for noticing that balance—it’s something I strive for. With songs like The Lake and Super Me, the creative spark came from very different emotional spaces. The Lake was born out of a quiet moment of renewal, standing by an ancient, frozen lake in winter. It was deeply reflective, almost meditative, and the music followed that mood naturally. On the other hand, Super Me came from a place of raw energy—a need to push back and reclaim a sense of agency. It’s more upfront, almost defiant, which is where its power lies.
There’s always a bit of conflict between being brutally honest and creating something that resonates. I don’t want to shy away from hard truths, but I also want to leave room for interpretation—so listeners can find their own meaning in the songs. The challenge is to keep the honesty intact without letting it overshadow the universality of the emotions. With both tracks, it was about striking that balance: staying true to my experiences while crafting something others could see themselves in. Honesty, after all, doesn’t have to be isolating—it can be the bridge that connects us.
The dynamic between introspective calm and unfiltered edginess wasn’t something I planned from the very start—it emerged naturally as the album came together. I usually work with a large pool of songs, and as I narrow them down, patterns and contrasts start to reveal themselves. Forced Fun For The Just OK Life reflects the push and pull of life itself—moments of quiet reflection intertwined with bursts of raw emotion.
Some tracks, like The Lake, came from a place of serenity and renewal, while others, like Unfolded, were driven by a raw urgency to confront personal and societal chaos. These shifts weren’t forced; they were just honest reflections of the different emotional states I experienced while writing. As the songs evolved, it became clear that these contrasting moods were integral to the story I wanted to tell—a narrative about the chaos, absurdity, and occasional clarity of modern existence. The balance felt natural, almost inevitable as if the album demanded it.
Absolutely, embracing a DIY ethos has completely reshaped how I define success in the industry. When you’re responsible for everything—from writing and recording to production and release—you quickly realize that success can’t just be measured by numbers or industry accolades. Instead, it’s about creating something authentic that resonates deeply with people on a personal level.
The biggest challenge is navigating limited time and resources. There have been moments when I’ve had to make the most out of almost nothing—scraping by on a few pennies and stretching every ounce of creativity to make it work. With so many moving parts, prioritizing the core vision becomes essential, trusting that everything else will eventually align.
But there’s also freedom in this approach—no external constraints, just pure creative exploration. For me, success is when the music feels genuine, complete, and finds a connection with listeners that mirrors the heart and effort behind it.
The Latvian setting itself has influenced my music in subtle but significant ways. The environment—vast forests, foggy winters, and a sense of quiet introspection—naturally reflects in the atmospheric and layered elements of my work. When it comes to the industry, there are definite advantages, like a lower level of competition—you don’t have to battle for venue slots that much. And the recording infrastructure here is excellent; Riga has some top-notch studios with incredible equipment and personnel. It’s a fantastic base for creating music.
However, at a certain point, you realize the need to break beyond the local scene. Being outside the usual indie circuits can make global recognition more challenging. That’s what we’re focused on now—reaching out to labels, booking agencies, and festivals across Europe and the US to take our music to the next level.
The core message of Forced Fun For The Just OK Life is about reclaiming your humanity in a world that often demands you lose it. It’s a call to question the roles we’re expected to play, to see the absurdity in hollow norms, and to push back against the “just okay” life. Ultimately, it’s about finding authenticity, embracing resilience, and remembering that even in chaos, there’s room for hope, humor, and meaningful connection.
Stream Mighty Jupiter & The Mooncake Band’s Forced Fun For the Just OK Life’ LP on Spotify and connect with the band on Instagram.
Interview by Amelia Vandergast
In this exclusive A&R Factory interview, Producer Mykah takes us on a journey through his inspiring rise in the music industry, from his humble beginnings in a church choir to producing for global icons like Davido and Ozuna. With a signature style that marries Afrobeat and R&B, Mykah discusses the challenges he overcame to establish his studio, his creative process, and his passion for giving back to the community through YouTube tutorials. He also sheds light on his recent EP, collaborations with rising stars like Boyspyce, and his vision for the future.
Thank you for having me! My journey into music production began with inspiration from my dad, who was the choirmaster at our church. I was fascinated by the keyboard and curious about how people could create such beautiful music with it. That curiosity led me to learn the keyboard, and soon, I was playing for my church. In 2016, I took it a step further by downloading FL Studio, a DAW for music production, and I started teaching myself how to make beats by watching YouTube tutorials. That marked the beginning of my career as a producer.
I like to view challenges as building blocks to success, but the most significant obstacle I faced was financial. Setting up my own music studio required resources I didn’t have at the time. However, I overcame this by consistently putting out more beats for purchase, which gradually provided the funds I needed to establish myself.
One project that stands out for me is a track I produced featuring Ozuna and Davido. The experience of having two artists from different continents working on a beat I created was mind-blowing. It’s moments like these that remind me why I do what I do. I’d also say my signature style, which blends Afrobeat and R&B, adds a unique element to my projects.
YouTube played a significant role in my journey as a producer—it’s where I learned many of the skills I have today. Creating a tutorial series was my way of giving back to the community and helping upcoming producers like myself who may not have access to formal training.
My recent EP focuses on Afrobeat, showcasing its many facets while featuring talented up-and-coming artists. I wanted to provide a platform for these artists to share their talent and tell their stories. Working with Boyspyce was a particularly fun and rewarding experience. Our collaboration came about after he discovered my beats on YouTube, and the rest is history.
Collaboration has been pivotal in my growth as a producer. Every time I work with an artist, I learn something new and refine my craft. Artists like Davido, Ozuna, Barry Jhay, and Boyspyce have left a lasting impact on my journey, helping me evolve and reach new heights.
My creativity is fueled by my passion for constantly creating new sounds and pushing boundaries. It’s this drive that keeps me experimenting and evolving. Looking ahead, I see myself creating global hits and launching my own music production school to nurture the next generation of producers.
My vision is to continue innovating and elevating Afrobeat on the global stage while building a legacy that empowers others. I want to give back to the industry by creating opportunities for young talents and fostering a collaborative environment where creativity thrives.
I’m focused on exploring new sounds, incorporating AI into my production process, and collaborating with artists, producers, and entertainers from around the world. These steps will help me stay ahead of the curve while expanding my reach and influence in the music industry.
–
Discover Producer Mykah’s work on Spotify and keep up to date with his latest work via Instagram.
Interview by Amelia Vandergast
Kaiki Chan’s journey into audio engineering is as inspiring as it is illustrative of the intersection between technical mastery and artistic passion. In this interview, Kaiki discusses their path from youthful curiosity about the entertainment world to an accomplished career that includes mixing standout tracks like Summer Cologne and restoring the audio of classic films at Audio Mechanics. The interview touches on the challenges of balancing creativity with client expectations, the rewards of collaboration, and the evolving landscape of sound engineering. Kaiki’s insights offer a window into the artistry and precision that define their work in shaping unforgettable audio experiences.
From a young age, I was always drawn to the world of entertainment whether it was film, music, or television. What really fascinated me was the behind-the-scenes process: how all of these elements come together to create something that resonates with the audience. As I grew older, I became increasingly interested in sound and how it shapes our perception of media. It was in my teenage years, when I first started experimenting with recording equipment, that I realized this was more than just a hobby. I began to see audio engineering as a path that could blend my technical curiosity with my creative interests, and from that point, I knew I wanted to pursue it as a career.
Throughout my academic years, I was fortunate to be surrounded by incredibly inspiring peers and professors who broadened my perspective. Although I initially felt that sound engineering was a niche, I quickly discovered just how expansive the field really was. Whether it was through learning about acoustics, mixing, or the creative possibilities of sound design, I realized that audio engineering is both a technical craft and an artistic expression. The more I learned, the more I recognized how sound can influence emotion, narrative, and overall experience, which ultimately refined both my technical abilities and my artistic sensibilities.
One of the most challenging aspects of being an audio engineer is the constant balancing act between creativity and client expectations. Over the years, I’ve learned that the moments that truly boost my confidence are when I’m able to meet those expectations while still maintaining a high level of creativity. Whether it’s delivering a sound mix that elevates a project or receiving positive feedback from clients who are thrilled with the final product, those moments serve as reminders of why I’m doing this work and motivate me to continue pushing myself.
“Summer Cologne” was one of the first major projects I worked on as an audio engineer, and it stands out for a few reasons. One key factor was the collaboration itself. The artist was incredibly open to new ideas, and the creative freedom allowed me to experiment and really find the right sound. Additionally, the project came together remotely due to the pandemic, which was a new experience for many professionals at the time. The challenges of working virtually helped me realize the potential for remote collaboration and taught me how to adapt quickly to new technologies and workflows, which has been invaluable in my career.
Restoring old film audio is an incredibly rewarding experience for me, primarily because it feels like I am giving new life to pieces of history. Many of these films had soundtracks or audio elements that had deteriorated over time, and the opportunity to preserve them for future generations felt meaningful on a much larger scale. There’s something deeply gratifying about knowing that my work will allow people to experience these films in their most authentic form, and that I’m contributing to the preservation of cultural heritage in a way that can be appreciated by audiences for years to come.
Managing deadlines and high expectations is definitely part of the job, but I’ve found that the key is balance. Time management is crucial, but it’s also important to let the creative process take its course. When I’m really in the zone, it feels like nothing else matters. Hunger, sleep, even time itself become secondary to the flow of ideas. It’s when I’m able to focus fully on the task at hand that I can create my best work. And, as for high expectations, I’ve learned to embrace them as a source of motivation rather than pressure. They push me to strive for excellence, and they often lead to some of my most fulfilling work.
My goal is simple: I want to continue contributing to the world of sound in a meaningful way. Entertainment, in all its forms, plays a crucial role in shaping how we understand the world, connect with each other, and experience life. While it may not be life-or-death work, the emotional impact of great sound design or engineering is undeniable. I’m proud to be a part of that process, and my aspiration is to keep working on projects that resonate with people, spark emotions, and leave a lasting impact, whether it’s through a film, an album, or any other medium.
The journey in audio engineering is one of constant learning, and that’s something I’m still experiencing every day. One of the most important things I’ve learned along the way is the value of mentorship. Having someone who can guide you, offer advice, and challenge you to grow is invaluable. But just as important is believing in yourself. This is a field that requires dedication, patience, and a passion for learning, and it’s crucial to stay committed even when the road gets tough. My advice would be to embrace the learning process, seek out mentors, and above all, trust in your own potential to contribute something unique to the field.
–
Connect with Kaiki Chan on Instagram & check out their work on Spotify.
Interview by Amelia Vandergast
In this exclusive interview with PRI//, the boundary-pushing artist reflects on a year of bold sonic narratives and lyrical honesty that’s set the tone for what’s to come in 2025. Known for leaning into instinctive creativity and crafting albums that feel thematically cohesive yet unshackled by convention, PRI// explores themes of solace, self-expression, and connection through music. With a glimpse into the upcoming releases and a promise to amplify the visual element alongside the sound, PRI// offers a candid look at the passion and process driving their artistry.
So many highlights but I have really enjoyed creating my albums – bodies of work which have told complete narratives from start to finish. Not quite concept albums but almost. I’m thinking of Begging, Manufacture and Vagina Den Tata.
I’ve also enjoyed developing a bit more in the live setting on TikTok and leaning into the visual elements too. There are exciting things to come!
I think it’s important to hold true to your instincts when you are an artist creating, you need to be aligned with that little voice inside and honour it, without trying to stifle it!
I think the common thread is…me! Ha ha! People also seem to respond to the lyrics, and that is really great to hear. I want to create a body of work, a body of work that can help people, that can soothe them in times of distress and make them feel less alone.
Everyday life. Or it can be something I read or watch. A line of dialogue will set me off. Or it can be something that someone says or the way someone looks. It can take me by surprise.
There’s more stuff coming and I’ll be leaning into the visual element more. I don’t want to give too much away but it’s an exciting time!
I am spinning a lot of plates, so I try to use my time in a productive way but that also feels free and conducive to making something honest. So I like to have my instruments on hand and easily accessible to create when the spirit moves me
My main ambition is to create music that makes people feel less alone that is like a virtual hand, held out to give support. The artists I love have been like that for me.
Stream PRI// on Spotify.
Interview by Amelia Vandergast
With infectious energy and a mission to uplift, Melody Key is redefining what it means to be a modern girl group. Formed virtually in 2022 by Katy “Kitty” Kunberger and Lashnate “Shanti” Johnson, the trio has already made waves with their viral TikTok videos, empowering anthems like Girls Rule, and a dynamic collaboration with UK rapper 0milicu0us. In this interview, they discuss their songwriting journey, their forthcoming debut EP, and their vision for spreading positivity in a pop landscape often focused on despair.
Our girl group, Melody Key, was originally a virtual girl group that was founded on May 4, 2022, by me (Katy “Kitty” Kunberger and Lashnate “Shanti” Johnson). A couple of months earlier, I was posting an audition call for members who were interested in joining a girl group. However, I wanted to have a girl group since 2014 but kept it a secret but finally revealed it when I posted the audition call online.
Shanti was the third girl to audition for the girl group after two girls had told me that they could not stay nor continue with the girl group. Since then, we made songs and posted singing videos on social media. We have three members in Melody Key and hope to have one or two more members to make it a total of four or five members.
Shanti and I usually write original songs and all of us recorded songs on Bandlab. Bandlab is an app where we record our songs, even remotely. Although, we would like to meet together in person sometime next year whenever we are available to record songs at a studio.
To be honest we felt very honored to have our TikTok videos go viral! It has been part of our dreams to have our TikTok videos go viral, let alone dancing to our original music.
We met 0milicu0us on Instagram last year! He discovered us and sent us a message requesting that he could rap in a song someday. We accepted his request to collaborate with our song, “College Groove” and then he recorded his rapping verse on Bandlab! We released the song this past January 12th!
The story behind “Girls Rule” is how girls could be anything they want to be, meaning girls could have professions that only boys had once upon a time. For instance, Mary Blair was a female animator back in the 1940s to early 1950s and she worked for Disney. It was not typical for women to be professional animators and often those who were employed took masculine names.
We hope that our listeners will be inspired by the positive message and the upbeat tempo of our songs. Our group has been somewhat dismayed by the numerous pop songs that focus on depressing themes of despair, We believe that life is full of joy and opportunity and we want to inspire young people, especially girls to seize opportunity and live life to the fullest.
Our debut EP has six songs:
We do not exactly have a title for our debut EP but we are planning to release the EP this coming May. “Golden Age” is my personal favorite song, but “The Girls and I” will hopefully be our most popular song in our EP and we would like to have our own music video for the song, “The Girls and I”. The mock instrumentals are already made but needed their official remakes. This is our golden opportunity to travel to Los Angeles, California and meet up there in person in order to record our EP and do our music videos whenever we are available.
In our forthcoming EP, other members in Melody Key other than myself wrote some of our songs such as “Lover Girl” and “Reach the Stars”. Additionally, all six of our songs have different themes and stories behind them. “Reach the Stars”‘s theme is Zodiacs and Astrology. Whereas, “Golden Age”‘s story about how great and optimistic vintage culture is unlike modern-time media that can cause anxiety and melancholy.
Stream Melody Key on Spotify.
Follow the artist on TikTok.
Interview by Amelia Vandergast
Caleb X, an emerging artist hailing from Atlanta, joins us to discuss his latest album, Dreams of Rodeo. Inspired by personal experiences and the influence of artists like Travis Scott, Caleb delves into the stories behind his music, the obstacles he overcame during its creation, and his growth as an artist. He opens up about emotionally charged tracks like “Quiet” and shares his perspective on balancing life’s challenges while staying true to his creative vision. We also explore his future projects and his passion for fashion. Read on to discover more about Caleb’s artistry and what the future holds for him.
The idea of the album name comes from me being a younger aspiring artist wanting to take it to the next level from Atlanta to the LA scene, but as I began working on the album, the meaning went from “Rodeo” being the place I wanted to be to me making it be anything I wanted in life whether it was making a better life for me & my family or having peace of mind with the creativity and making that my “Rodeo” no matter where I am at the moment.
I also grew into my artistry by studying artists like Travis Scott & his come-up from Days Before Rodeo really inspired the album when it comes to the drive & hunger he had to get where he is now. So I took that hunger & applied it to making the album. Out of that inspiration, it made me come up with songs like “90210!” As a homage to Trav song off “Rodeo”. After making that song everything else started flowing & the next thing I knew I had a good number of songs that coincided with each other which helped me come up with the sonic direction of the whole project.
I would have to say the most challenging was writing the outro “Quiet”. That song is a sensitive one for me to this day since I’m talking about a story about someone I actually know along with the story of someone very close to me dealing with alcoholism & I feel the responsibility of keeping everything together but it’s only so much I can do so I had to dig up the strength & vulnerability to talk about it on a record to just put it out to the universe as therapy for myself & anybody else that might be dealing with a similar situation.
Sometimes we just need a moment of quietness to tune out unnecessary things & focus on what’s really important. It’s hard for me to even listen to that song. Last time I cried was writing that song so it’s tough for real. But at the same time it’s rewarding because after making that song, the stress I had before went away & after letting my family hear it, things seemed to smooth out all from me just putting those words out there. The tongue is powerful for sure.
Roadblocks are my biggest enemy, it would seem. It was over 2 years since I dropped a new project or track, so I was really itching to release something, but I couldn’t because things just weren’t ready because I had other priorities, which caused a hold-up with the creative process.
I was supposed to drop the album in December of 2023, but life hit like an 18-wheeler. Instead of getting discouraged I just kept working at it & writing to different beats & tapped back into the studio to make even more music until I felt I was completely done with the album. Just happy I was able to drop this year after promising my supporters a new project this year. I can’t even stand the word roadblock I swear. I can’t lie, I also have some women problems going on when I’m deep into creating & I let it get in the way sometimes although it also gives me new things to talk about hahaha.
I always say life imitates art so it is what it is. Can’t be too mad at it. It comes with being creative, honestly. You have to roll with the punches, whether it’s life’s responsibilities or women. You just have to manoeuvre your way through it & use it to your advantage while being patient with the process.
I feel like a big weight lifted off me once it was out. I felt more free than I’ve ever been. Especially after getting people’s feedback about how much they like the project & hearing what song is their favorite, it really caused me to appreciate every second that went into recording it & gave me an even clearer idea of what to do next.
I’m always searching for a new way of creating in the studio after dropping a project. It’s an addiction at this point. I may feel free after a release, but then after a while, I’m not satisfied anymore. Always trying to work on something even better. But again, I really appreciate the feedback & love that I have been getting so far. Can’t wait to see who else it reaches.
That’s for sure a true statement for most artists but with me, I don’t let the pressure affect my consistency because my creative flow is something that never goes flat. Once I’m knocking out songs, I can’t stop so I’m always sitting on some type of music, it’s just a matter of finding a way to release it in a strategic way for me that turns into a constant battle.
The music will always speak for itself if you put in the time & effort into it. Once one person rocks with it it’s going to be a whole wave of people that will love it so I don’t really feel the pressure of needing to flood music. I take it one project at a time & let the people spread it to others. Every new listener is hearing it for the first time so why flood music? Maybe that’s just me though.
It’s from the Dreams of Rodeo sessions. It was supposed to be the intro for the album but then the direction I wanted to go changed so it stayed in the vault until now. I’m done holding back songs I make so I wanted to give people a single before the year ends as a gift of appreciation for the continued support before I release more new music which will have a different sound than Dreams of Rodeo.
As most people know I’m big on fashion & even got my own clothing brand going so I plan on eventually being a full-time creative director in the fashion lane which coincides with music so I’m looking forward to how far I go in that lane but until then I’m in the early stages of starting a new project titled “Still Shining”.
It’s a sequel to the first project I released titled “Shine”. It’s something that I can’t wait to bring to life & shift my sound once again. I just love trying new things & proving to myself I’m really like that. So much is in the works for my supporters from the music to music visuals to the fashion. It’s all on the way.
Stream Dreams of Rodeo on Spotify now.
Interview by Amelia Vandergast
Sapuis, the Bronx-born artist known for his introspective lyrics and innovative production style, joins us at A&R Factory to uncover his creative origins and the evolving narrative of his sound. Sapuis discusses how the challenging environment of his upbringing wasn’t just a backdrop but a vital component in sparking his artistic flame. Throughout the interview, we explore the profound personal and cultural influences that shape his music, his straightforward approach to his artistry, and his aspirations to make a lasting impact on the music landscape.
Hell Yeah! In the South Bronx, your only option is to get creative. Whether it’s the meal you make out of what’s in the house, the outfit you put together to not get your ass cut, or even coming up on some money you gotta get creative.
Look, all the way back to the music of hip hop, rap and its culture were birthed from the creativity Bronxites had. They used that creativity to escape hell on earth, through song and dance. You gotta get creative or you will end up dead in the Bronx, so waking up is the ignition. Whenever I’m in a creative rut I can just think of the Bronx; the good, the bad, and the ugly which I came from.
My sonic fingerprint is influenced by me.
I feel relieved because I got to pour that out. Going back to naming the Album “Before I Die” you can now better understand the title. (which is entendre in itself) I had to get that all out before I die, too many people never get the chance to do something like this. Others are found after death, but not me I made sure this was released on my terms.
The writing comes the easiest since my music is about my life, mixing and mastering was difficult at first. Anything you work on gets easier tho. I’m gonna be good no GREAT regardless.
Coming from the South Bronx, Fox Street. Pushes me forward. Using that as the foundation of anything I do… gives me the momentum to complete, accomplish, and systemize anything I fucking want.
This album came off the heels of completing the second year of my “song a week” campaign. Midway through that journey I noticed that there wasn’t a body of work to show the work I am putting in. So I needed to put this out. I have some goals in my career to release albums that change music history and this is the start of that.
Listen to my album Before I Die.
I’m trying to go on tour so if u seeing this book me rn. I’ll take care of the logistics no matter where it is on Earth.
–
Stream Sapuis’ Before I Die LP on Spotify now.
Interview by Amelia Vandergast