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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In this exclusive interview, Effy Wang explores her eclectic musical background and the creative processes behind her debut single, “Da Di Da La.” Born in China and now blossoming on the US music scene, Effy embodies a fusion of cultural sounds—from the classical strains of Chinese opera to the dynamic beats of modern hip-hop and bass house. This conversation unveils her journey from a childhood filled with diverse musical influences to her current exploration of genre-blending compositions. Read on to discover how Effy Wang is crafting a sound that’s as globally inspired as it is deeply personal.
Thanks for having me! It’s my great pleasure to have this conversation with you amazing people!
I was born in China and moved to the US in my early 20s. I’ve been singing and performing on stage since I was a little kid. And I started to learn piano in middle school and later on picked up guitar and other instruments like drum sets and CDJs. About the music influence, I would say my family’s music choice inspired me a lot when I was younger. My family loves listening to different types of music- my grandpa is a big fan of Chinese opera, my mom loves Cantopop from the 1980s, and my dad loves songs from Billboard and Oscar movies. So, I grew up with different influences that shaped the way I compose. I listened to a lot of Mandopop and Cantopop when I was a kid, then I fell in love with rock music, especially punk rock, when I was a teenager, and after I went to college, I started listening to hip-hop, R&B, EDM. I also experience writing songs in different genres as well and sometimes try to combine them. And when it comes to composing, I actually don’t care about genres that much and just let the idea flow and blend these different influences into the songs naturally. And yeah, that’s basically my music evolution story.
So I wrote this song back in December 2023. I was going through a breakup and also facing graduation from college and was planning to move to a different city. There were a lot of changes that happened in my life back then, and I was feeling scared and lost. And one day, when I was scrolling through some videos on my phone, I noticed one video talking about how to break free and embrace the uncertainties of your life. And it reminded me of my relationship and made me start thinking. I felt I was the type of person that most of the time wouldn’t want to let things flow because of the deep insecurity in my heart. So is my relationship. It’s like the saying “The tighter you hold onto them, the more they want to slip away.” Which inspired the lyrics of my single “Light, shadows, open your heart to me. Past, future, wherever you go, be free”
Thank you! I honestly didn’t expect this song to sound like this at all. I would say because my singing style is kinda influenced by singers like Mariah Carey, Ariana Grande, Ellie Goulding. But on the other hand, I listen to a lot of deep house, bass house, dubstep, trap, and hip-hop and I find myself always attracted by songs with sick beats, especially the heavy bass and kicks. So when I created this song, I actually created the beats of the song first, and then came up with the melody and lyrics. And after I recorded myself singing, the contradiction between the vocal lines and backbeat surprised me and I like it.
I think the most gratifying part was when I tried to write the bass part of this song. It was like a brilliant idea hit me out of nowhere that I could write a bassline that sounds like I was using the sidechain effect with the drum kit, but it’s not. Then I started playing notes on my keyboard while playing the drum part I had already made, and then the bassline that we hear in the song right now came out and made me feel so excited, and I started dancing to the beats I made and humming with the melody with some random words. And I felt good about the melody, too. It all just came together so naturally and made me so grateful and unexpected.
I wouldn’t say there’s a specific time during the day that I feel most inspired to write. It kinda changes every day up to my mood and my feelings. I’m not the type of person who would force myself to create if I don’t really want to. I used to be more disciplined with the songwriting process, but then I realized most of the time I don’t like the stuff I write when I don’t really want to create. So I just stopped doing that. I also have a habit that I love to put some ideas in my voice memo. My voice memo is full of different kinds of song ideas or melodies, and most of them just came out when I was walking or doing something else. And when I’m in the mood to create, I’ll just play the ideas I recorded in the voice memo and start to organize my thoughts. So yeah, when I’m most inspired to write, it depends.
Be a nice person. Be nice to the people you work with, be nice to the other musicians you collaborate with, be nice to your fans. I used to ask this question to one of my mentors back in college. She’s a singer-songwriter, has been in the music industry for many years and collaborated with many great musicians we could call names. And she told me, “There are so many talented people in this world. So many musicians. But most of them didn’t make it in this industry. Because they see their talent as a gift and they treat others so badly. So you gotta respect whoever you work with, respect the people who support you and show you love, and not see everything as granted.” I think that’s the best piece of advice I’ve ever had from another musician.
I think the most affirming and standout moment to me is not about what rewards I got. It’s the moment I realize if I put my heart into something, I can make things happen. I remember back in college, there was a time when I was obsessed with hip-hop music, and I really admired some rappers and lyricists who could just express themselves so smoothly and flawlessly. And English is like a second language to me, and I felt so hard to express myself, not even mention rhyme. So I joined a hip-hop ensemble in my college, and on the first day in that class, the instructor who is a great hip-hop DJ and rapper from New York, asked me to freestyle, and I freaked out. And then he told us, the group of people in his class, that after two months, there would be a hip-hop showcase, and we all gonna go on stage to perform. And after that, I just started listening to a lot of hip-hop songs, I practice and practice rapping and also sometimes freestyle with my own words. It’s like the first time I pushed myself out of my comfort zone music-wise and tried to learn a whole new skill in such a short period. And after two months, our music group went on the stage. I’m one of the singers and rappers of that group. We performed eight songs and many rappers and hip-hop producers were in the audience looking at us. And I’ll always remember the screaming and shocking reactions people gave me and my group because I don’t look like a rapper to them at all lol. Even though that show was a part of my college but after that I felt so different on stage when I performed and I will always remember that night because it brought me great courage and faith.
When people come to my show, I want them to feel something when they leave, whether it’s because of some simple things like the light and ambiance, or because one song hits their feelings and makes them feel so related. I always believe music is a way people connect with each other, and that’s always what I try to do when I put on my live show, I want to feel these connections with my audience. So when my fans come to my show, they can expect a musical, spiritual journey and some special memories they can carry on after.
I hope my music can take me to see the bigger world and help me build connections with others I meet on this journey. I always dreamed that one day, I could live like these big DJs to travel around the world, doing tours, playing their originals and remixes, and bringing this amazing energy to people they probably would never have met before. It’s all about connections and energies, and we all need each other. So I hope my music can take me on this journey and leave some good memories and experiences for others in this world.
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Stream Effy Wang’s debut single on Spotify now.
Follow the artist on Instagram and TikTok.
Interview by Amelia Vandergast
In this A&R Factory interview, we speak with SonicFluxx, an artist shaped by a childhood amid the unique cultural and natural landscapes of Florida’s East Coast. SonicFluxx shares how experiences such as witnessing shuttle launches, growing up near Disney World, and being surrounded by 80s and 90s pop icons like Depeche Mode, Madonna, and Pet Shop Boys influenced his sound and vision. He reflects on his path from DJing to full-time music production in Los Angeles, alongside the challenges of adapting to social media in the modern music world. With new music on the horizon, SonicFluxx reveals a vision dedicated to using music as a healing force, ready to connect with listeners globally.
Growing up in Central Florida in the 80’s and 90’s was a special time in our American history and I feel lucky to have experienced many things that most didn’t during that era. Growing up next to Disney World taught me that music holds messages and meaning and that music can be the language that unites all.
I watched the Space Shuttle program firsthand and watched many shuttle launches from my backyard. I learned at a young age that there was more than this world we are on and I found love in the stars and the universe. I questioned my existence of this planet at a pretty young age and what my role was. I grew up living five minutes from the beach – walking through the sand and understanding the concept that a speck of sand doesn’t make much, but a whole bunch of it creates a beautiful beach.
When you grow up and live in such a magical and inspirational place, I think it tends and fuels the creative fire within and ignites the spark that so many musicians and artists before me have experienced.
I found deep inspiration with these three artists particularly because through their music, I learned that songs can have a message to invoke positive change in society. Many artists feel a duty to use their voice as a platform to invoke political, cultural and societal change in the world and this is also what I wanted out of my own music and songwriting. Aligning with the same beliefs as an artist also made me feel connected to the artist themselves in a way and I found this connection to be very special.
I was born in a Southern Baptist Church, so I grew up singing traditional hymns on Sundays. I grew up extremely sheltered from what is called secular media in the religious tone. My introduction to pop and dance music did not occur until my rebellious teen era, in which I would spend hours in FYE at the mall and listen to CDs. I consumed every bit of pop culture I could at this point in my life. I connected with dance music in a spiritual way that spiritual music never gave me.
I began to study and analyze what made a great song at this age. I would have a knack for knowing what songs on an album would be the next single before it was released. I turned this talent into songwriting. I was a DJ in my early 20s and began producing remixes myself with Sony Acid Music Studio on a laptop I rented from Rent-A-Center.
I am a self-proclaimed pop and dance music lover. I took pride in sharing new tracks with people and seeing their reactions when they loved it. After many years of no music interaction other than consumption, I quit my job, quit college and moved to Los Angeles to pursue a music career full time. I find myself enjoying creating music more than I enjoy listening to it myself. However, don’t get me wrong, I still stan for a few artists new music!
Melodies, hooks and songwriting came the easiest. Most of my songs have been written in about three days – one song I wrote in 15 minutes. I have a knack for hearing a beat and immediately hearing a melody in my head. Then words come after that. It’s a chaotic process I will admit, but it works for me.
Half of my lyrics aren’t even written down anywhere because songs are written so quickly. ‘Nomad’, for example, was half written and I made up the rest of the lyrics in the studio on the spot. My songs come from my life, my struggles and my heartache – it’s pretty easy to spill out currently.
What is challenging for me is creating social media content. I am not good at picture taking, not quick to take pictures in settings and I find creating and thinking of social content does not come easy at all. I am from the MySpace generation, so the new era of social media has definitely been the biggest challenge to overcome for me.
Short answer: yes. I believe that many people do not use the right side of their brain enough and invoke creativity in their lives. I love that book reading and crocheting has made comebacks these days. I think more people need to find that creative output to truly find peace. As a child, we use this side of our brain so naturally and it’s a beautiful thing. When we lose our sense of imagination and wonder, we can lose who we are and where we are going – Walt Disney taught me that and I still firmly believe in it.
When I started my music career full time, I said that if my music reached just one person and helped them, I’ve done my job. Music is healing. Music can be your remedy, as I sing in my song ‘Remedy’, which is a love letter to all my fans. I have achieved this and now my goal is to take the same concept but go worldwide.
I am always writing new music and do have new music ready to go and am planning to release a deluxe edition of the album around February 2025.
Stream SonicFluxx on Spotify and discover more about the artist via their official website.
Interview by Amelia Vandergast
In our conversation with Gemma Felicity, we sink into the introspective depths of her recent single ‘AM I TOXIC’ and the overarching themes within her emotionally charged EP ‘Baggage’. Gemma opens up about the process of creating music that not only reflects personal accountability but also challenges the listener to confront their own roles in relationships. With her raw and reflective approach, she reveals how personal experiences have fuelled her songwriting, transforming pain into powerful lyrical narratives.
Yes, it is so true that accountability can be so rare nowadays, in relationships and in life generally. Many people prefer to put the blame on others so that they do not have to look at themselves and take responsibility for their own behaviours and actions. I think I am quite an intense person and I think deeply about things, so I didn’t even realise it was an intense track. But thank you! And I feel proud to have brought this track into the world, as it has come from such a personal place.
Both Alex and Louis are always amazing to work with. They are both the complete opposite to the type of men that I wrote the song about. I came up with the idea of the song back in January 2022, just after I had been ghosted by a guy who had treated me like a piece of crap for months. I was really upset about this, and thinking to myself, wondering why it was that I always got treated this way. I started to really ask myself why I thought this might be. Did I not think that I was worthy of more than this? I started to put it into a song. I didn’t finish the song, but I just left what I had written on my phone in a voice note for months and months.
I was then lucky enough to meet Alex, my guitarist, in June 2022 of that year. He asked me in around September 2022, if I would like to work on some of my original songs with him. So, we spent a couple of days writing together in a park, taking the clips I had recorded on my phone and turning them into full songs. I was so happy that he was helping me to finally bring my song ideas to life, as it was what I had wanted to do for so long.
When it came to AM I TOXIC, I remember him saying “This is such a banger”, and we made a full demo of it together at his place. He told me he knew the perfect person to work on it in the studio with me. He then introduced me to Louis, and Louis made the songs really pop in the studio. He was just the perfect person to bring it all to life. I am so happy with how AM I TOXIC turned out in particular. It was such a beautiful process of turning the song into what it is today, and I have the boys to thank for that.
I worked on the music video with an amazing team called Grizzly Productions. We first brainstormed ideas together – I knew I wanted it to be quite different to any of my previous music videos. I wanted this one to be more performance-based and visually very exciting, rather than storyline-based (which is what my previous music videos were like). I think the music video does a great job of making an extremely introspective song also very exciting and fun.
I guess it was just something I was going through and struggling with at the time. I think relationships are great teachers for us, and they can reflect back to us things we need to learn about ourselves. Through every relationship I had, I would realise and learn more about myself, and I would always observe what the experience I had attracted, was teaching me about myself and how I felt within myself, and I found this very interesting. I started seeing a therapist and we worked through some of these issues, and that is when I started writing lots of music about it. I guess all the self-reflection gave me a lot of songwriting content.
I won’t lie, I find singing my songs live very challenging because they are so vulnerable and personal. As someone who is fairly introverted, I would say, I find it pretty uncomfortable to be so open about myself in front of a huge room of people like that. The songs can often make me feel quite emotional too when I am singing them. But I have learnt how to try to connect to the emotions of the song, whilst still slightly separating myself from the emotional charge that the song has on me naturally.
When I was writing and recording these songs, I let myself be as emotional as I wished to be. But performing is a bit of a different process, as you don’t want to start crying in front of the audience really, so you have to learn how to feel the emotion of the song without getting overly emotional. I find this challenging because I am a very emotional person.
Thank you so much for saying that. The performances I did this year in the US and India were so amazing for my confidence in terms of performing and getting out of my comfort zone. The songs we sang in the performances were much more upbeat and party vibes compared to the original songs that I usually sing. It was a completely new vibe for me, and an amazing experience. We also had to dance and truly perform them confidently to the audience, which really put me out of my comfort zone but definitely has helped me to grow. I think you can’t really grow without a certain level of discomfort.
Yes, I find it extremely difficult and very exposing writing about such personal themes. It is challenging, to say the least, and often feels way too vulnerable. But I always remind myself that there is beauty in vulnerability and expressing the things you don’t find easy to express. As a songwriter, your words will resonate with other people, and you have the ability to really comfort people and make them realise that they aren’t alone in all of life’s complexities. I think there is beauty in music that is so raw and real. I don’t really like superficial surface level music unfortunately – I always tend to go in at the deep end. Sometimes I really wish I could write about superficial stuff, as I wonder if I might be happier if I were to be more of a happy-go-lucky person. I’m a deep thinker though through and through.
Stream AM I TOXIC on Spotify now, and follow Gemma on Instagram.
Interview by Amelia Vandergast
In our latest conversation, Caitlin Lavagna opens up about her musical endeavours and the emotional depths of her new single, ‘October’. Following the upbeat vibes of ‘Pretty Alright’, ‘October’ is an artfully sombre ballad, rooted in a deeply personal experience of sudden disconnection and the introspective aftermath. This interview explores Lavagna’s songwriting process, which she describes as inherently chaotic and spontaneous, her experiences navigating the challenges of being an independent artist, and her aspirations for the future in both music and acting. With each response, Lavagna shares insights into the therapeutic role music plays in her life and the honest, raw narrative she aims to convey through her songs.
‘October’ was inspired by an experience I went through this time last year when my career was bursting with excitement and opportunities were flowing. I was performing in a beautiful show I adored, making new friends, traveling to new places and I had someone special, who I felt really saw me, to share it all with. Then I was left completely and utterly ghosted, left behind and vulnerable.
I lost my sense of self, was in shock and couldn’t make sense of what was happening. By beginning to write my feelings down, I began tending to a year of heartbreak and that’s how the song started to form.
I think the more I let myself go, the deeper I dig emotionally and the more honest and raw I make my songs, the more I fear releasing them. With ‘October’ I really felt scared. It’s personal and touched on exactly what being ghosted felt like for me. I think it’s especially hard because I know people must feel the same things as me, but singing it can almost be more therapeutic for them to listen to than for me to keep re-visiting.
When you’re pausing time, putting lyrics and a melody to heartbreak and then having to consistently perform that heartbreak in front of live audiences, it’s genuinely difficult. As I have said before though, music is my therapy and writing about how I feel helps me process things, whether that’s at the time or on reflection.
This is the first song I have given myself proper time and space to write. It follows a year of being ignored by someone who I believed loved me. I suppose releasing it now makes it a cathartic song, attempting to take back my favourite month, a time for me. I want to take the listener on a personal, raw and honest journey of grief and unexplained loss. Quite simply, a brutal end to a beautiful connection.
IT’S CHAOS HAHA!! I don’t think I have written a song in the same way, ever. I usually start humming a melody when driving long distances or in the shower. I voice record it when I get a chance and then eventually from free-writing or picking highlighted words or themes from lists or phrases I have documented, I will match them up and begin shaping the melodic idea into a rough structure with lyrics.
I pride myself on being able to collaborate with musician friends on songs I believe they can help shape or will understand and add to creatively and so much of my training through music has been through working with other people, it feels natural to do it that way. I also try not to put pressure on myself in terms of trying to keep a day free to write a song. I write when it comes and wherever it comes. Sometimes it’s sitting at a piano, sometimes I can be shopping or in the middle of a gym session. I will just pause and note down ideas as they come.
I think it’s an obvious answer but financially it is almost impossible to be your own PR, Manager, Social Media maker, reel editor, visual planner, music video director, writer, producer, singer, live artist etc. You give SO MUCH for SO LITTLE in return. I have found that to release a single, you HAVE to believe in it. You can’t really afford to release anything you don’t think will sell, which is a shame because not all songs should be made to be Tiktok, Radio and Gen Z friendly. I really didn’t want to cut ‘October’ down for a Radio Edit but I had to give it a fighting chance of stream figures and radio play. For me, the real song is the 5:50 version but at my level, I have to tick boxes to remain relevant and accepted on bigger levels that can propel my career.
I just want to keep writing, releasing and aiming for bigger music venues to perform live with a bigger band. I would love to keep smashing the BBC Radio Wales Welsh A-List and hopefully manage to secure some funding to release my first ever EP. I want to collaborate more with other writers and singers and also keep travelling to new places to experience as much as I can when I don’t have huge commitments personally.
I have already started working on my first EP and want to challenge myself to release a body of work rather than focus all my efforts on singles moving forward. I can say that although there isn’t a release date in mind, I will be busy forming the title, visuals and most importantly tunes to release. I will probably arrange a big launch tour in four beautiful music venues in the Valleys, Cardiff, London and Gibraltar. All places that have formed me as a musician and person.
I also have been recast in ‘Housemates – UK Tour’ which starts rehearsing in January and tours through to April. Busy, but blessed to be thriving both musically and in the actor musicianship world. I’m very excited to get back on the drum kit working with the Sherman Theatre and Hijinx Theatre Company.
Stream October on all major platforms, including Spotify now.
Follow Caitlin Lavagna on Instagram and TikTok to stay up to date with all of her latest releases and news.
Interview by Amelia Vandergast
Maverick Smith’s LP, With Friends & Imperfections, presents a resonant exploration of the intricacies of human emotion through the lens of musical collaboration. In this interview, we explore the profound themes encapsulated in his work, where each track stands as a testament to the fleeting, contradictory nature of life itself. Maverick’s return to music after a decade illuminates his journey towards rediscovering the joy of creation, underscored by a desire to produce something authentically raw and vividly real. The album stands as a heartfelt ode to the unpolished, chaotic beauty of life, woven together by the diverse talents of 22 musicians. This fusion of experiences creates a unique sonic palette that challenges the sterile precision of digital music production, favouring instead the visceral energy of live performance
Thank you! The album was born out of a desire to reconnect with the joy of making music after a decade away. Creating something that felt raw, unfiltered, and human. It wasn’t just about crafting songs, but about bringing together people I admire and just enjoy hanging out with, including 22 incredible musicians, to make an album that reflects the imperfections and beauty of music.
Each song was treated as its own record, and the album became this organic collaboration between old friends and new faces, which was incredibly therapeutic for me. It’s a mix of personal reflection and an ode to the messy, unpolished moments that make music—and life—worth celebrating.
It wasn’t something we set out to do, but I think it’s a reflection of how life feels to me—fleeting, yes, but also full of contradictions. The album asks you to remember certain moments, while at the same time, it asks you to forget, to move on. That imbalance, that imperfection, is what it means to be human. We’re constantly pulled in different directions emotionally. Some tracks capture that pure, joyful moment, like falling in love, while others deal with the harder side—loss, regret, or even just letting go of old ideals.
And then, sometimes, life is just about having fun, like with Spookshow, which celebrates our love of horror movies and the joy they bring. The songs weren’t designed to be perfect or neat because life isn’t like that. It’s messy, it’s contradictory, but that’s also what makes it beautiful. Through the writing and performance, we wanted each track to feel like a snapshot, a brief moment you hold onto, but one that ultimately passes—just like life does. So, while the fleeting nature wasn’t planned, it reflects the reality we all live in, and I think that’s what makes the album feel both familiar and fresh at the same time.
The highs were definitely the creative energy and unpredictability that each musician brought to the table. Having people like Ken Stringfellow (from The Posies, Big Star, and R.E.M.) and Paul Santo (from Aerosmith and Ringo Starr’s band) was surreal. They brought a level of skill and artistry that elevated everything.
And then you have a few wild cards like Lorne MacDougall, the world-renowned bagpiper, and Serg Accordio, the fantastic classically trained accordion player, to just name a couple, who added an unexpected but incredible layer to the music.
The lows? Well, coordinating that many creative people is like herding cats. Everyone has different schedules and creative processes, so keeping it all together was a challenge, but a welcome one. In the end, it was worth every logistical headache because the chemistry is undeniable.
It really came down to a shared passion for making music that feels genuine and unfiltered. I wasn’t after perfection; I wanted raw, emotional performances that didn’t rely on digital tricks or auto-tune. A lot of the production and performances weren’t guided by music charts or sheet music. Instead, they were driven by conversations about our favorite bands and the artists that influenced us. We’d talk about the vibe of band or particular album or just the energy of a group or artist and how we could bring that feeling into the music.
A handful of the tracks were co-written with my collaborator, Skip, and that gave us a solid foundation for experimenting. The musicians I reached out to really connected with that idea of letting the music evolve naturally without being overly produced or commercially driven. The stars aligned, and we were able to create something real, something we’re all proud of.
Electric and chaotic in the best way possible! The energy was all about friendship and reconnecting with kindred spirits. The main goal for everyone was to have fun, and that became the true measure of whether things were working. If we weren’t having fun, we knew something was off. It was less about structure and more about letting creativity flow naturally. The vibe was relaxed and there were no rigid plans or pressure to follow any set rules, so if someone felt like adding an accordion or a bagpipe or even a triangle, we’d just go with it! The entire process was guided by that sense of joy, and it made for an experience that felt both easygoing and electric. It wasn’t about perfection; it was about capturing the moment and enjoying the ride.
It was crucial for us to embrace the imperfections and avoid sanitizing the sound. The album With Friends & Imperfections really reflects that—it’s raw, unfiltered, and intentionally a little rough around the edges. There’s a risk in doing it this way, especially today when so many tracks are “autocorrected” into perfection. But that’s exactly what we wanted to steer away from. We didn’t want to lose the human element of live performance, the moments where a note might be slightly off or the timing isn’t pristine, because those imperfections are where the soul of the music lives.
For us, the goal was to create something that feels real, something you can experience live and have it resonate in the same way. When we perform these songs on stage, I want people to feel the same energy, flaws, and all. There’s something magical in not hiding behind post-production and letting the music breathe on its own. It’s a bit risky, sure, because people are so used to polished perfection, but we wanted to capture the kind of connection and honesty that only comes with live, imperfect performances. That’s where the heart of this album lies.
Stream With Friends and Imperfections on Spotify now.
Interview by Amelia Vandergast
This week, we sat down with Teck-Zilla, a multifaceted producer, DJ, and writer who co-founded Str8Buttah in addition to influencing the hip-hop and Breakin’ scenes across West Africa. In this exclusive interview, Teck-Zilla peels back the layers of his collaborations, notably with artists like Phlow and Maka, and explores the essence of creating breakbeats that fuel the spirited dance culture. His journey from the soundboards of London to the serene vistas of Cornwall reveals not only an artist deeply rooted in musical heritage but also one who continuously evolves to meet the collaborative and cultural shifts in the music industry. Join us as we explore the rhythms and reasons that keep Teck-Zilla at the zenith of musical innovation.
Thanks for having me. For me, collaborating with artists has always been in my DNA, but working with Phlow and Maka was and is special, and it opened doors for all of us. Initially, it was just supposed to be a one-off project for Maka and Phlow, but the creative process was seamless and invigorating so we just kept on making music. Also, the experience put me in the project managerial role and taught me a lot of lessons about people and conflict management.
As for the Breakin’ culture in West Africa, there is a huge community of dancers who have been keeping the culture alive and some have even represented their countries on the Redbull BC One stage in the US and Europe. I got into the Breakin’ space around 2016 as a DJ, and over the years, I immersed myself in the culture. From providing the breakbeats for dancers, working with the biggest indie companies like House Of Royalty, Loudbase, Afrobreak, and All Star Battle International to produce Breakin competitions around Nigeria, Ghana and Togo. Overall, I have been opportune to step on stage in different countries as a Deejay/Music producer, speaker, and workshop facilitator.
My home hardware setup is primarily a Windows pc and Macbook Pro with an SSL 2+ Audio Interface. My software of choice is as follows: FL Studio for making the beats (sometimes recording vocals and instruments), Reaper for vocal/instrument recording, mixing and mastering, Serato and DDJ SR2 for scratches (if required)
Most definitely. Collaborating is not a one-size-fits-all process. I always have to adapt, rearrange and sometimes compromise on certain things to make the collaboration work. The short story is that the collaboration has to be organic and everyone has to be on the same wavelength.
This is a tough question but I may have to compartmentalize it as follows.
Production-wise: It has to be my audio documentary ‘Son Of Sade: An Ode. A short project where I remixed some Sade songs and it was well-received by the general public and even her team.
DJ-wise: Winning a DJ competition in 2017 and being flown out to South Africa alongside Black Coffee.
It’s mostly about compromise and doing things in moderation while looking at the target audience. Regardless of the genre, I always try to infuse my unique touch into it to keep the authenticity. I don’t see the point in imitating others.
So many things ranging from a change of pace, escaping from the hustle and bustle of London, to an opportunity I could not afford to pass up. To be fair, it was because of school. I was awarded a scholarship worth a substantial amount of money to do an MA in music business, and yeah, I took it up and recently completed the degree. My second MSc is in the bag!
My discipline comes from the way my parents raised me and my lifelong martial arts training. I was raised to be considerate and forthcoming and to always put in the necessary work regardless of how difficult it is. I have been following this strict mentality from time immemorial, and it is second nature to me. Every day is preplanned, and I try to achieve little goals which all add up to the larger goal.
Most times, it starts from a bright idea, a suggestion from others and or a sample. I tend to create rough beats at first and flesh them out later as time passes. for the most part, I often let the composition and arrangement play out as naturally as possible and I’m always open to suggestions and ideas from artists I work with.
The compilation will be my last project, and it’s a summation of my musical journey. A chronicle if you will of the songs that make me tick. I was able to work with artists I grew up listening to and admire so that is a blessing and the best way to close out this chapter of my life.
Stream the latest hits from Teck-Zilla on Spotify and follow his career on Facebook and Instagram.
Interview by Amelia Vandergast
This week, we sat down with Michael Richard Beirne to explore the depths of his unique approach to music showcased in his two-part LP, The Haunted.
Since 2020, Beirne has transitioned from crafting experimental soundscapes to composing structured, narrative-driven dark folk vignettes, influenced by Nick Cave and seminal albums such as Radiohead’s In Rainbows, which shape his distinct sonic identity. Beyond the melodies, Beirne intertwines his Catholic beliefs, addressing themes of redemption, the nature of evil, and divine love. As he shifts from darker, introspective themes to the exuberant and vibrant energies expected in future projects, Michael Richard Beirne is forging a powerful auditory narrative that resonates with deep personal and spiritual truths.
Thank you for the opportunity of this interview & for your complimentary words.
I’ve been writing songs since 2020 when my brother gave me a new laptop with music-making software, a synthesiser & a microphone. The ability to write shorter, structured, narrative songs arrived after an extensive initial 2.5-year period of pure research, sample-collection, & eclectic loop-shopping, during which I made bizarre, rambling, experimental non-songs to find a way with lyrics & various ways of deploying my voice. At the end of 2022, I had a few songs which suggested the shape of a pair of albums, one set in Ireland and one set in Malta.
Nick Cave & the Bad Seeds are undoubtedly the single most important influence. I find inspiration in the soundscapes of particular tracks; for example, the cavernous, epic feeling of Song of Joy from the album Murder Ballads, the enormous eeriness of Do You Love Me? Part 2 from Let Love In, as well as the narrative complexity & storytelling in Oh My Lord from No More Shall We Part. These songs suggest a scope and vast ambition to which I aspire.
Beyond that, I am really inspired by the idea of the album itself as a consummate artistic object and statement of belief. In this respect, I aspire to create something as integrated as In Rainbows by Radiohead, Merriweather Post Pavillion by Animal Collective, Skeleton Tree by the Bad Seeds, & Speakerboxxx/ Love-Below by Outkast. These albums are scorchingly eclectic, varied, and unpredictable, and yet achieve a holistic and coherent singular vision. They transcend individual songs & become a unified narrative, harnessing multiple modes of expression.
I am strongly committed to ensuring that my music both directly & indirectly describes God (in that my songs are condemnatory of evil) and Jesus Christ (in that they are expressive of a joyful, redeemed universe which is founded on forgiveness & love). To express this belief, I take cues from traditional Irish folk tunes, as well as from gospel music, & gospel-infused funk & hip-hop.
Part 1 is very much a kind of story of emergence from depressive, anxious, psychotic & sinful patterns of thought into hope & forgiveness. Part 2 is more directly a celebration of joyful adventure in a happier, more redeemed state of mind in a futuristic world.
Part 3 is very much about the idea of the interaction between believers & non-believers, and communication. This Part 3 is therefore, in Christian terms, a kind of “Holy Spirit” album; the songs are designed to be more obviously catchier, groovier, and infectious, with strong rhythm sections & boom-bap.
Songs are usually built from just a single chord progression or electric bass riff. I give that a title which suggests some sort of character & dramatic narrative. I then record improvised singing, rapping & general wailing over the top. I listen back to these improvised takes until I begin to hear in them the shape of the words. I type these up as I listen back to the improvisations. Then I repeat the process through many iterations, adding in sonic details. I listen to the song for weeks or even months to iron out all the lyrics.
I’m most inspired by just a song’s title & the feeling that a loop or sample contains within it a hidden story & personality. It is as if the song already exists in a single note & the import of a single word.
My ambition is simply to make albums that in some way try to measure up to my favourite records and be like the kind of records that my father introduced me to. He introduced me to Songs of Leonard Cohen, Nebraska by Springsteen, and the Pogues’ Rum, Sodomy & The Lash, as well as the Johnny Cash American records. All I hope is that my albums will form a small part of the history of music and that they can exist alongside those timeless albums on platforms such as Spotify & Apple. My other main purpose is to share my gratitude for my life and my belief in Jesus.
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Stream Part 1 and Part 2 of Michael Richard Beirne’s Haunted LP on Spotify.
Connect with the artist on Instagram.
Interview by Amelia Vandergast
Step into the world of Jay Lee, where blues gets a fierce modern makeover. In this exclusive interview with A&R Factory, Jay Lee cuts through the noise to reveal the core of his musical innovation. From his early days in a military band to sharing stages with top artists, he unpacks the discipline and raw passion driving his sound. Lee gives us a candid look at how he fuses diverse influences into his tracks, pushing the boundaries of traditional blues into uncharted territories. Get ready for a deep dive into the creative force of Jay Lee’s music.
I’d like to define it as modern blues. Since I love blues and have been greatly influenced by it, I try to infuse a touch of that blues feel into whatever I play.
When I decide to create new music, I try to be as honest with my emotions as possible. I base my melodies and chords on those feelings and thoughts, thinking about how to naturally express my story. This often leads me to reflect a lot on the past and future.
Having spent two years with over 30 musicians, working together 24/7, I’ve learned and felt so much. I’ve gained insights on how to communicate with other musicians, and how to improvise when unexpected situations arise during performances, and I’ve received valuable feedback on my playing from various artists. These experiences have been a foundation for my growth as a musician. Communication is incredibly important for a musician, and I’ve been positively influenced in that area.
I’m heavily influenced by blues and rock, especially by guitarists like Joe Bonamassa, Philip Sayce, Eric Gales, and Gary Moore. Their techniques and tones are impressive, but it’s their unique styles that truly captivate me. I believe that while having good technique and tone is essential for a musician, establishing your own style is equally important.
Looking at the music I’ve created so far, it’s quite far from classical, and I think it will likely remain that way in the future. However, I always believe in trying out different things, and I’d love to create music that blends classical and contemporary styles.
Initially, I was just a “Blues Kid,” completely immersed in B.B. King. But after playing with various people and genres, including performing in a military band where I had to play all kinds of music, I developed the ability to play cleanly. Now, I can choose the tones and techniques that I want to use.
I aspire to become a great guitarist, but I know I need the support of excellent musicians to achieve that. In today’s music scene, while achieving solo success is important, collaborating with other musicians is equally vital. It’s challenging, but I want to be both an outstanding solo artist and a great collaborator.
The sense of achievement I felt after successfully preparing for and performing in a military band over three months was immense. While it’s not always the case, I think the longer the preparation period, the greater the sense of accomplishment. Another memorable moment was when keyboardist Cory Henry held a masterclass at Berklee, and I played with my band for him. Even though the preparation time wasn’t long, when the audience cheered, I felt that’s when a musician is truly happiest.
Before starting music, take some time to sincerely reflect on what music means to you. Even if it’s not about music, understanding what you want to do and why is crucial. Being honest with yourself and deciding what you want to pursue is important—then, enjoy it while working hard. Music is meant to be enjoyed.
I believe musicians shouldn’t discriminate between genres. While you might have preferences, you should be able to play any genre—whether it’s worship, rock, or jazz. The more you play a variety of music, the more you develop a sense of identity within each genre. I want to explore diverse music, and I’m still striving to be able to play any random genre someone requests.
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Stream Jay Lee’s standout single, PERIOD, created in collaboration with ONE PACT on YouTube.
Follow Jay Lee on Instagram.
Interview by Amelia Vandergast
In this interview, ARCTISKY opens up about how his passion for mental health awareness is deeply woven into his sound. He speaks candidly about his personal experiences, shedding light on the importance of positive self-talk and its impact on mental and physical well-being. His commitment to mental health isn’t just a topic he touches on—it’s the foundation of his music. Through his lyrics and soundscapes, ARCTISKY offers listeners a space for reflection and healing, blending his emotional depth with eclectic influences, creating something deeply personal and powerfully poignant.
Yes, definitely! I’ve had to channel experiences from some extremely strange and dark places. Funnily enough, when I wrote this song, I was still in a state of not being able to understand this side of the emotion spectrum fully. Whenever I was dealing with anything, I’d usually work through these things with the help of music ‘cos I felt like self-reflection was what I needed over anything.
We always get bombarded with so many different opinions of how you should treat yourself and others, we usually tend to lose sight of what’s the healthiest thing for our mind, body and soul. This song quite literally came out of two different times I was admitted to the hospital for health complications I faced during lockdowns, where the last visit was close to being a fatal call. These things give you quite a bit of perspective on how you may want to spend your time on earth.
“Self-talk matters.” Yeah, I cannot emphasise enough how important it is to mind how we speak to ourselves. A lot of us are not mindful of what our internal dialogues are saying to us. If left unchecked, your mind is susceptible to all sorts of hijacking, and it’s quite literally like training a muscle. We must make it a priority to be our own best friend first, otherwise, the mind will absorb fear and doubt from the haters and naysayers around us, and use it as jet fuel for self-sabotage. It really doesn’t help when people around you are enforcing these, even if it’s just mindlessly repeating some things they’ve heard. It’s crucial for us to safeguard what we allow into our minds so that we don’t let others affect our thinking.
We must be able to judge what’s best for our own health and mental well-being. If our minds are getting too overwhelmed, they will manifest into physical illnesses. The mind and body work hand in hand – it’s all connected. You can’t have a healthy mind without a healthy body, and vice versa – it’s ignorant to think otherwise. Once you get your mind and body right, the soul naturally follows. It’s all a flow. We should do our best to eliminate all internal suffering and convert or channel that energy into the positives we can bring to the people around us. Positive self-talk is key.
I would say it’s what gives these projects their foundational pillars. I grew up in the Maldives, where the concept of mental health has just only started taking off at a rapid speed. I feel like it’s mainly due to the highly conservative side of the population that would shut anything up before it could even be discussed. I always saw a lot of people suffer due to this – where the prison system never treats the mental illnesses of the prisoners, and are run through what’s more identical to a brainwashing program on the weak – which in turn breeds a lot of mentally unstable victims of injustices to be released back into society without the proper care or systems in place to actually heal them. It’s extremely dehumanising, and inhumane in my view. The whole prison system is a wreck, and doesn’t even abide by ‘The Nelson Mandela Rules’. Demonised for basic human shortcomings, and anything that’s not in line with what they say, and all of a sudden you’re… It’s so f**kin’ sad, it’s ridiculous. Like quite literally using fear to bully an entire damn nation, and mental health is scrutinised as a weakness because the people in power are afraid that people may find their way to the knowledge that will help them arm themselves against these political manipulations and further efforts to prime social conditioning.
I honestly do not know where on Earth I’d be if it weren’t for music. Songs have spoken meaning to me, and some of the lyrics I’ve heard over the years have been a therapist to me more times than I can count. I’d always feel a whole lot of relief in my subconscious after spending a bit of time with some of my favourite songs.
You’ve got to stay true to what you know is best for yourself, and then the people you love. Remember, you cannot love anyone else if you don’t love yourself first. The more we seek validation outside of ourselves, the further it gets away from us. The only form of validation we need in this world is our own. Once we can validate our self-worth to ourselves, there really isn’t a lot we need to do except guard our energy from those who may come to steal or drain it. You are going to be a reflection of the 5 people closest to you, so selecting your people wisely is crucial in my view. It’s better to spend time building yourself for a better future and life than trying to impress people you’re not even sure you like in the first place.
Most people hide behind masks, and it’s really not that difficult to move forward knowing that almost everyone’s got their own sh*t – so leading with love, respect, compassion and empathy not only makes it easier for yourself, but collectively allows us all to show each other a sense of love and care on a communal level. Always be kind to yourself first. The world is already full of so much suffering, and you shouldn’t be adding more pain and suffering to yourself with your self-talk. Stand up for what’s right, but don’t exhaust yourself in the process of fighting for something you have no control over.
I feel like a bit of that old-school alt-rock/grunge may have influenced this track quite a bit actually. Okay, so here’s a blend of some influences that are in the ballpark – a bit of Daughtry, Pearl Jam, Alice in Chains, Nirvana, Staind, Chris Cornel, Linkin Park, Creed, H.I.M., Lifehouse, Seether, Velvet Revolver. Also slower tracks by Metallica, John Mayer, Bob Dylan, a bit of Johnny Cash and probably a lot of the official soundtrack from the ‘August Rush’ movie – I love all the tracks in that motion picture. The blend’s just full of so many different flavours – I do have trouble pointing out exactly what it is. I feel like it’s just one big blob of everything I grew up listening to if I’m being honest. I’ve lost track!
I just end up blending the sounds to a stage where I get my selected palette of sounds to communicate with one another in the tone of whatever emotion/mood I’m trying to get out of the music. I feel like a lot of the work that I do feels like painting with colours, and looking at sounds through the visual lens really helps me conceptualise what I’m working with.
Other than that, I feel like there is just no way something can’t feel authentic and soulful if it’s a projection of real and authentic experiences. I definitely do my best work when I’m channelling exactly what I was feeling in the moment of the experiences that I write about. It needs to be authentic and real. You need to be able to visualise exactly how you are feeling.
An artist’s own feelings and emotions are their strongest tools for originality, and I live by that. The type of work that I do is really not something I can rush, and I do have to let ideas simmer and even let them marinate for a while before I can treat them more. It’s funny cause I treat my music like they’re my children – it goes through all the stages ’til it grows up and is ready to move out.
I believe it came from wanting to emulate a half-baked numb mood with the music. I ended up wanting to retrograde the chords in that section and still wanted to maintain that washy sound as much as possible. When I ended up reversing some of the guitar layer, and flipped it – it gave the whole section this laid-back and cruisy motion where I got to just throw some light and sexy licks on top. The washy ‘verb tying the guitars together is what really makes this section almost sound a bit wet and slippery, and slightly purple. The message reflects a bit of a questionable dialogue with oneself before going down a very interesting rabbit hole (rabbit holes that open up the doorways of perception-type things).
I played everything on this track and produced all of it, like most of the songs on this album (unless I want to have that unique flavour for BVs, unique instrument features, or if it’s a collaborative track). In addition to that though, I always pass my work on to my trusted mixing and mastering engineer, Alex Emrich, who’s based in Canada. I completely trust him to take my tracks to the finish line, and working with him has always been a pleasure.
I believe I’m getting ready to take these songs out for live performances soon. Currently, I’m exploring how flexible I can be with the music that’s already written. I’m open to being flexible and reimagining my sound to suit whichever venue I may perform at, and cater that sound to the energy of the venue.
There’s been so much I’ve had to rewire about live performances from the ground up, and I know for a fact I won’t take these songs out to live venues until I’ve tightened up all loose ends on the performance side of things. Obviously, it’s in tiers when it comes to the scale of productions. How you treat one thing is how you treat everything, so yes, I’m definitely not just gonna do it for the sake of doing it! I’m still on the lookout for the musicians who will occupy the spots in my lineup – who will help me fully bring these ideas to life. I’m extremely pumped to see what lies ahead on this journey, and I’m just keeping my eyes on the target, no matter how wavy it may get. So yeah, hopefully a lot of good comes out of all this output!
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Stream My Relief on Spotify now.
Connect with ARCTISKY to stay up to date with his latest releases on Instagram.
For more info, head to the artist’s official website.
Review by Amelia Vandergast
Emilia Christine Russo has instantly established herself as an artist who isn’t afraid to express her deepest emotions through her music. In this exclusive interview, she opens up about the personal experiences that have shaped her debut single, “Ghostly,” a track born from the raw pain of losing her older sister. Emilia’s openness in her art invites listeners to connect with her on a profound level, offering a rare glimpse into the healing process that music can foster. As we explore her creative process and the inspiration behind her work, it becomes clear that her authenticity is at the core of her craft. Her debut single will make you shed a tear; this interview will make you fall in love with her soul.
Thank you so much for having me! “Ghostly” came to me after a therapy session, as most of my songs did, actually. For years, I have written on my notes app words that I think would make great song titles. “Ghostly” was one word that I thought was cool, and originally, I thought the song would be a break-up song. Like, the idea of someone being left numb and ghost-like after a break-up. I don’t really write love songs, though. Well, at least not until recently.
Anyway, the topic for “Ghostly” came when I was finally opening up to my therapist about the trauma of the death of my older sister. I was literally the last person to find out about her death. We had a good session, and later that night, I wrote “Ghostly” all in one go. I changed the idea of what “Ghostly” would be like to something that was very healing for me personally. Someone should write a break-up song about how the split left a person wandering around all ghost-like. *laughs*
I don’t know, it kind of came out like a stream of consciousness. I’ve heard my lyrics be described like that before–a stream of consciousness. Just thoughts onto paper. Pair that with a piano, and I got a song out of it.
No, definitely not. This was such a personal song. At the time, I had a music therapist who was more like a songwriting teacher, as she reviewed with me the basics of how to write songs–you know, verse, pre-chours, chorus, yadda yadda–and encouraged me to put into words my feelings about my traumas.
My problem is that I tend to put my feelings into boxes–like, “I don’t have the time to deal with that, to feel those feelings, because I have this deadline or whatever, so I’m going to trap them in this little box and put it on a shelf to deal with later.” Pushing through things is how I was raised. But then that mythical “later” never comes, and the feelings manifest in somatic symptoms. That’s why I was going to her, along with my psychologist. I could state the facts of things that happened to me, but I wasn’t facing my feelings about them.
But back to the song. I wrote “Ghostly” and showed it to my music therapist at our next session. She was like, “I wouldn’t change a thing.” I was really proud of it, so I wanted to show it to people first.
I think it would be accurate to say that “Ghostly” exhibits my signature songwriting style. I don’t like my lyrics to be too predictable in the sense that it has a lot of rhyming. In fact, rhyming kind of grinds my gears and was something I had to slowly be more okay with doing for my songs.
I also like to keep my lyrics kind of vague–general enough for people to not know exactly who or what I’m singing about, which people can then take and personalize for themselves, but specific enough for me to get healing out of it.
More songs about real things that happened to me. Well, except for one song that’s a cover. I heard it when I was a kid and loved it. It’s kind of an old song, and I want more people to know it exists. But yeah, more songs that came from therapy sessions, so they’ll have a kind of emo vibe to them. *laughs*
For songwriting, I guess it was the first time I showed my lyrics to my music therapist/songwriting teacher. It wasn’t “Ghostly”, it was another song that I don’t think will ever see the light of day, because I’d like to think I’m better at songwriting now. But she really liked it. I had written lyrics before, all the way back to middle school, but they were more like poems. They had the structure of a song, but I don’t think they would’ve worked paired to music.
I was a poet first before I turned to songwriting, and I have been writing poems since elementary school. So, if we’re talking about when I noticed I had writing skills, those go back to when I was a child. Side note, one song off my EP is taken mostly from a poem/”lyrics” I wrote many years ago. I could actually pair those lyrics to an instrumental. I hope that makes my younger self happy.
For this song, I drew most of my inspiration from Evanescence but circa 1998 to 2017. I also draw from Paramore and The Holy Trinity of Emo Music–Fall Out Boy, Panic! At the Disco, and My Chemical Romance. You’ll hear that more in my future releases.
I just want to see how far I can take this. It’s like one big experiment. Would I like to play a live show someday? Yeah. Would I like my song to get some airplay? Also yes. But really, I’m exploring this one area of writing that I haven’t really delved into and seeing what I can get out of this experience.
One thing I’d really like, though, is to find other female or non-binary musicians in the Seattle area and form a band. I’m an extroverted person and want to make more friends, so I don’t want to go solo with this. *laughs* I have so many songs I could share.
Stream Ghostly on Spotify and connect with Emilia Christine Russo on Instagram.
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Interview by Amelia Vandergast