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Maya D Interview: Meet Brazil’s Pop Icon Fuelling Empowerment Through Poolside Glamour

In this A&R Factory interview, the independent artist, Maya D, opens up about the confidence, feminine power and self-ownership behind her June 26 single, ‘Pool Party in BOLD’, explaining how the title became a declaration of taking up space without apology. She also talks self-producing as a way of protecting emotional intention in her music, how the Maya Verse has become a world of glamour, vulnerability and transformation, and the strategy required to grow an international audience while handling the business side alone.

From sync ambitions in fashion, film, television and brand campaigns to music that feels built for main-character moments, Maya D’s ambition is as big as her talent.


1- The title Pool Party in BOLD drips with attitude. What did that phrase unlock for you creatively?

For me, “bold” isn’t just a visual choice—it’s a state of mind. The title unlocked this idea of taking up space without asking for permission. A pool party is usually associated with fun and freedom, but adding “in BOLD” transformed it into a declaration. It became less about a place and more about an attitude. Everything that followed—the lyrics, the production, the visuals—had to carry that same fearless energy.

2- The single explores confidence, feminine power and self-ownership. Was there a specific moment where you knew the track had to feel unapologetic rather than polished into something safer?

Very early on. I realized that if I softened the message, the song would lose its purpose. Confidence isn’t always quiet or perfectly composed—it can be playful, bold, even a little provocative. I wanted the track to celebrate women who know who they are and aren’t interested in shrinking themselves to make others comfortable.

3- You wrote and produced Pool Party in BOLD independently, which gives the release a real sense of ownership. How does self-producing change the way you protect the emotion and identity of a song?

Producing my own music allows me to protect the emotional core of every song. There’s no need to translate my vision or compromise on details that might seem small but completely change the feeling. Every sound, every pause, every texture serves the story I’m trying to tell. That level of creative freedom is incredibly important to me.

4- The Maya Verse feels like a huge part of your artistic vision. What does that world look like in your head before it becomes music, visuals and storytelling?

It usually begins with a feeling rather than a melody. I imagine colors, textures, lighting, movement, even the emotional atmosphere before I hear the music. The Maya Verse is where glamour meets vulnerability, where confidence and introspection exist at the same time. Every song becomes another room inside that universe.

5- You’ve spoken about transformation, glamour and emotional authenticity as key parts of what you’re creating. How do you keep the glamorous side from losing the very human feeling underneath it?

Because the glamour is never the destination—it’s the language. The emotion always comes first. I love beautiful visuals and cinematic worlds, but they only matter if they’re carrying something honest underneath. I think people connect with authenticity long before they connect with aesthetics.

6- Pool Party in BOLD feels built for people stepping fully into their own energy. What do you hope listeners feel in their bodies when the track hits properly?

I hope they feel permission. Permission to take up space, to move differently, to walk into a room with confidence instead of apology. I want it to feel like that moment where you stop overthinking and simply own who you are.

7- As an independent artist building an international audience, what have you learned about keeping your project ambitious while still handling the practical pressure behind the scenes?

I’ve learned that ambition needs structure. As an independent artist, you’re constantly balancing creativity with business decisions, marketing, planning, and long-term strategy. It can be overwhelming, but I’ve realized that consistency is often more powerful than speed. Every release becomes another brick in the world I’m building.

8- You’ve mentioned future sync opportunities in fashion, film, television and brand campaigns. Where could you most vividly imagine Pool Party in BOLD living outside the streaming world?

I immediately imagine fashion campaigns, luxury beauty brands, runway shows, and scenes where confidence is the story. I could also see it in films or series during those defining moments when a character finally chooses themselves. I love creating music that doesn’t just accompany visuals—it elevates them.

Stream Pool Party in BOLD on all available platforms via this link.

Interview by Amelia Vandergast

Simmer in the Slow-Burn Soul of Wolf Richards’ Latest Single, Take It Slow

Wolf Richards poured RnB, old-school hip-hop, and sun-kissed polyphonic afrobeat catharsis into one simmering pot on Take It Slow, a track that moves with the confidence of an artist who already knows the temperature of his own sound. There is soul in the grain of it, in the pacing, in the way the arrangement opens its arms and lets the temperate groove do the heavy lifting.

The independent instrumentalist and songwriter has always exhibited a superlative ability to find the warmth in nostalgia and reshape it into retro-futuristic neo-soul while holding tight to the rhythmic backbone of hip-hop, but with this release, he reached his steamy zenith.

Take It Slow works as a slow-burn invitation into his world, shifting from gritty, grimy bars into soul-swallowing harmonies with the same rich reach that makes Teddy Swims such a force. The track has that rare alchemic elasticity where one texture never cancels another out. Instead, the elements lean into each other and deepen the pull.

Born in Munich and now based in Brazil, Wolf Richards started out on guitar and bass before studying at GIT in Los Angeles and writing across pop, rock, jazz, fusion, bossa nova, hip-hop, and RnB; that breadth and proof he’s cut his teeth to a razor-sharp level of prestige runs through Take It Slow.

Take It Slow is now available to stream on all major platforms, including Spotify.

 Review by Amelia Vandergast

Mondrian’s Alt Indie Rock Instrumental, B1, Slashes Through Post-Rock Psychedelia, Tension and Cathartic Euphoria

Alt indie rock scintillation awaits anyone who hits play on the seminal release, B1, by Mondrian. The metronomic beat in the intro might have you bracing for an amateur lo-fi earache, but what follows in the first verse is a synthesis of classic rock guitar chops slashing their way through Pixies-esque atmospheric euphoria, hints of Grandaddy in the keys, and the Beatles in their psychedelic era with the sitars. Mondrian knits it all together in this homage to rock and indie history.

Though it may be void of lyricism and vocal evocation, B1 isn’t lacking in emotional expression, especially when the instrumental piece arrives at a sermonic sequence of progressive post-rock, but it’s not long before the independent artist switches gear once again, with fret mastery a major part of the alchemy in this medley. If you love hearing how gifted artists can efficaciously manipulate tension, catharsis and emotional transpositions, Mondrian is more than deserving of a spot on your radar.

Founded in Buenos Aires in 2020 by Matias Jimenez, Mondrian operates as an indie electronica project with Jimenez writing, performing, producing and engineering the material from his own De Stijl Studios.

B1 arrived ahead of the January 2026 debut album, 2020–2025, a five-track set shaped by obsessions with drones, minimalism, pop art, musical organisation, world music and krautrock.

B1 is now available to stream on all major platforms, including YouTube.

Review by Amelia Vandergast

Interview: WIKIMAN – Identity, Reality, and the Future of Music

With his latest LP, Sentir, WIKIMAN presents himself as far more than a Latin pop artist chasing attention. This interview reveals an independent musician deeply invested in truth, protection, and purpose. He opened up about the real-life stories behind Sentir, including regret, missed love, devotion, and emotional closure, while reflecting on how this album sharpened the narrative focus that was still taking shape on Sueño.

There is a strong sense of reverence running through his answers to his listeners and a respect and responsibility to the people whose experiences inspired these songs. For anyone curious about the human reality behind WIKIMAN’s music, this conversation offers plenty to hold onto.

What has building solid foundations for your music meant to you, and how do you handle protecting your vocal identity against AI?

Building solid foundations has been a priority to ensure that the Wikiman project has the professional weight required by the international industry. This involves not just releasing tracks and music videos to connect with my followers, but also keeping everything in order administratively and legally. Recently, I have faced the challenge of others using my voice through artificial intelligence, which has forced me to be very rigorous with my digital “fingerprint” and my copyrights. While it is a challenge, I understand it happens because my vocal tone is unique and appealing to those creators; however, my focus will always be to protect the integrity and authenticity of my sound so that listeners know what they are hearing is legitimate.

Which songs make up this new album, and what stories do they narrate?

The album SENTIR (released in March 2026) is a collection of real-life experiences transformed into music to document the human experience and accompany processes of closure. Each track is a detailed chronicle:

“Migajera”: Exposes the story of a girl in love with a guy who, in turn, is in love with his own best friend. It is a story about confusion and the weight of loving when affection is directed elsewhere.

“Te extraño papá”: Born from the request of a 49-year-old fan who sought to express his regret for not having been the son he wished to be. It is a piece about forgiveness and nostalgia.

“Faltabas tú”: A deep promise of absolute loyalty where I express that I will always be by that special person’s side.

“Llegaste sin avisar”: Documents the beginning of modern relationships, where a simple “hello” on a social network becomes the origin of a love story.

“Hubiéramos sido tú y yo”: Explores the melancholy of what could have been, remembering a February 14th that couldn’t be spent together.

“Amor en silencio”: A ballad that stands out for a subtle instrumentation starting with a soft guitar, narrating the constant devotion of someone who loves from the shadows.

This journey features the voices of Liz Manzo Avilés and Yestherlyth Arriaga Avilés, who add the necessary sensitivity to bring these cases to life with honesty.

If you had to mention something you didn’t manage to develop artistically in your previous LP, Sueño, what would it be?

Although Sueño (2025) was my first major professional step, in SENTIR I achieved a much more robust narrative cohesion. In this project, I was able to consolidate my decision to move away from commercial trends to focus exclusively on the storytelling of real-life cases. I feel that in this album, the production is meticulously designed to accompany the completion of emotional cycles, achieving a maturity and transparency in the narrative that was still in development during my previous stage.

For those discovering you for the first time through Sentir, what do you hope they take away after the album ends?

My greatest wish is for them to be left with the feeling that someone out there truly understands what they have felt. I want the listener to feel that their intimate experiences, however difficult or complex, are validated through my music. By narrating such human stories, I hope people find a deep connection and feel they are not alone in their process of seeking understanding and serenity. My music is a tool for each person to identify their own story and feel that their reality has been heard with integrity.

Stream the latest LP from WIKIMAN on Spotify. 

Interview by Amelia Vandergast

Gamilla: An Interview at the Crossroads of Confession and Cosmic Noise

In an exclusive A&R Factory Interview, Gamilla opens up about the world behind Catholic School Girl with a steadiness that makes the album feel even more intentional. She explains how a class assignment grew into a full record shaped by personal history, pressure, and the small shocks of adolescence that stay lodged in the mind long after you leave the classroom.

Her technical background folds into the conversation, showing how control over production lets her move between roles as songwriter, guitarist, bassist, and vocalist without losing momentum. She also talks about the risks woven into her lyrics, the sci-fi threads she keeps returning to, and what it means to step forward as a Puerto Rican woman in rock. The bigger picture, though, is her commitment to recognition and authenticity, which sets the tone for everything she plans next.

Catholic School Girl feels loaded with feeling and intent, what was the moment you knew this concept needed to exist as a full album rather than just a handful of tracks?

Catholic School Girl started as an EP I had to make for a class, and I even though I always have themes I want to express through my songs, I wanted my first project to also introduce me as a person. What better way than to make it about something that was part of me growing up. When I finished the EP for my class and I had a sound palate, I realized I had more ideas to finish it and turn into an album. I started writing more songs and mixing the EP.

You’ve just come out of Berklee with a background in Recording and Independent Production. How has having that technical control changed the way you approach writing and finishing new material?

It helps me to create the album in any order I want that works for me. Most of the time there is an order of writing, recording, mixing the mastering. Sometimes, I would get stuck mixing a song, or reording the bass part, but intead of staying stuck I would continue with a different song.

You move between songwriter, guitarist, bassist and vocalist with ease. When a new song starts forming, which role usually speaks first?

Usually either lyrics or the guitar riff. When I come up with lyrics I try to add a riff or a chord progression.

The record captures the frustration and pressure of teenage and college life in a way that feels very lived-in. Were there any lines or songs that felt especially risky or exposing to put out into the world?

All my art is mostly personal, so I felt that way about finally releasing a debut album. However, I think the one that felt mostly risky was Your Son Is A Sinner because I also added friend’s experiences as well to help with the storytelling, so it blurs the lines between their reality and my reality. Either way, it’s always a very vulnerable thing to release a personal project and this one is very personal.

Grunge influences from the 90s sit alongside these alien and otherworldly themes. What is it about that sci-fi edge that keeps pulling you back creatively?

I always loved aliens, so I thougt it was a good idea to incorpotate their imagine and themes into my projects. It’s mostly relatable with the theme of being misunderstood and unique. I also love space inspired sounds and effects like reverb, phaser, flanger, and synth pads.

Now that the debut album is out and breathing on its own, how are you thinking about what comes next? Do you feel pulled towards expanding the concept or tearing it up entirely for the next release?

I want to make a transition project between Catholic School Girl and the next album to incorporate both of their sounds. I want to expand in instrumentation, themes, and even make it more experimental with different time signatures and song forms.

Being a Puerto Rican woman working in rock music still comes with its own set of assumptions and expectations. How have you navigated carving out space that actually feels like yours?

I just ignore what everyone else is doing and focus on my project. I know that there is people out there that has always loved Rock and would probably like it once they find my music. The current music scene is definitely not Rock music, but it is a small underground community which leads to people knowing each other. I try to focus on finding my demographic and not tyring to insert myself somewhere I don’t belong.

When listeners press play on your upcoming releases, what do you hope sticks with them long after the final track fades out: an emotion, a question, or a sense of recognition?

I want people to mostly feel a sense of recognition because that is something music has made me feel before and that’s one of the reasons I love Rock music. It celebrates authenticity, self-expression, and uniqueness. Zoot (my alien) and I want people to feel comfortable being different.

Stream on Spotify. 

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Interview by Amelia Vandergast

Gamilla let the fuzz bleed and preconceptions burn in the alt-rock siren single, ‘Pink Judgement’

Gamilla drenched grunge in distortion in her debut LP, Catholic School Girl. The sound may be distinctly alt-90s and grounded in Seattle, but the Puerto Rican firebrand aestheticised the sonics with her distinct Y2K visual aura, twisting the nostalgic timelines and creating a new cosmos of fuzz, scuzz, and vindication. One of the standout singles, Pink Judgement, proves that, while her guitar licks are drenched in reverb and saturated, they’re still razor sharp; sharp enough to cut through the malaise surrounding contemporary alt-rock.

She digs into the revival of grunge as fiercely as Hands Off Gretel while channelling the authentic rage of the likes of Jack Off Jill, all the while keeping the melodic lines sticky, sweet, and seriously addictive. You’re almost forced into an interstellar whirlpool of incandescent yet sharply directed frustration. Everyone has preconceptions, but through Pink Judgement, Gamilla thrashes her way through them with augmented force, tempered with teasingly melodic panache.

After graduating from Berklee College of Music with a major in Recording and Independent Production, she became a one-woman powerhouse, pouring her vision into every bassline, vocal run, riff, and lyric. The concept behind Catholic School Girl dives into the emotional texture of teenage and college-aged angst, turning discontent into colour-smeared art rock. With Pink Judgement, Gamilla proved she’s here to reignite rock on her own terms.

Pink Judgement is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

Candour became cataclysmic in R. Prenholato’s confessional alt-indie release, River of Hatred

Through the haunting vibrato in R. Prenholato’s vocals on River of Hatred, which emanates the arcane Americana air of Angel Olsen, they refused to let the emotion in their latest standout single sit at surface level. Every intimate confession of jadedness, rage and despair digs to where music rarely touches, moving with a bruised certainty that lingers as much as it stings.

Frustration was mainlined into the alt indie pop melodies which wrestle tones of transcendence and elements of space into the arrangement, delivering a catharsis that swells before the guitars grow gnarled following tension builds that speak in thematic volumes louder than the vocals that go beyond candour. River of Hatred is an outpour of all the rawness that convinces you to keep it concealed, but the resonance within the track is proof of how far from alienating the emotions spiked through it really are; it is almost as though we should all be screaming into pillows together, Midsommar style.

Behind that emotional immediacy sits a Brazilian alternative rock and pop rock artist whose path through music and writing has always been tethered to honesty. After performing in several bands throughout his early years, life pulled him away from his former bandmates, yet the music stayed lodged under his skin. His debut album gathers songs written two decades ago during intense personal chapters that later inspired his first published novel. Now working as a solo artist, he continues to explore vulnerability, resilience and the passage of time, stitching together the person he was with the artist he is becoming, while his published novels expand that storytelling into new territory.

River of Hatred is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Captain Mantis Soundtracked Offbeat Hedonism in Moonshine Alley

With Moonshine Alley, Captain Mantis lures listeners down a backstreet far from the gloss of modernity, where the drinks burn hot, the neon flickers low, and the soundtrack is all swagger and sweat. The Francis Bacon-leaning artwork might hint at something sinister, yet the track moves more like a crooked smile in a dim-lit bar, steeped in the kind of offbeat hedonism you only find when the night starts swallowing the clock.

Dirty garage-rock guitars grind out the opening riff with a sly wink, swinging into subtle time-shift trickery that gives the rhythm section its roguish gait. When the bridge hits, it’s a sudden drift into smoky psychedelia, all spacey chords, sky-reaching vocals, and drums that crash like collapsing beams. By the time the third act rolls in, the extended guitar solo sprawls out like an unhurried last call, dissolving into a cascade of arpeggios that shimmer over the haze.

Formed in Mexico, Captain Mantis thrives on an eclectic strain of rock that stitches together garage grit, art-rock experimentation, and blues-laced nostalgia. Ahead of their forthcoming EP, Vice Market, the band proves they can conjure entire cinematic landscapes from sound alone. If Hollywood needs a lesson in crafting spirit-soaked panoramas, this might be their syllabus.

Moonshine Alley is now available on all major streaming platforms, including SoundCloud. 

Review by Amelia Vandergast

Alexandre Perotto Tended to Crooked Chords and Hypnotic Candour in ‘Quiet in the Static’ – Indie Folk for the Unsure

There’s a rare sort of intimacy woven through Alexandre Perotto’s single, Quiet in the Static. The Brasília-based singer-songwriter brings lo-fi indie folk into sharp focus, dialling in on that sweet spot where confessional honesty and melodic rawness intertwine. Perotto’s approach—quick to record, unwilling to let feeling slip away—results in a piece that almost breaks the fourth wall. Each twang and slide of guitar feels vast yet close, creating an Americana-tinged atmosphere that hums with sincerity rather than showmanship.

Quiet in the Static is hypnotic in its simplicity. The production welcomes every imperfection, allowing Perotto’s humble vibrato and unguarded lyricism to take centre stage. It’s the sort of folk that doesn’t just sit quietly in the background; it seeps in, coaxing out your own melancholy and offering a soft reprieve. The vibrato echoes, gentle but potent, wrap around the listener with the ease of a private conversation shared in the small hours. There’s a natural sense of relief that comes from hearing someone willing to let the pain breathe without forcing resolution.

For anyone allergic to the formulaic and the over-polished, Perotto’s crooked chords and candid songwriting offer a welcome refuge. It’s a release that speaks to those who find comfort in imperfection, and who believe that music ought to be felt before it is polished.

Quiet in the Static is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

Tequila Wave’s Lies: A Darkwave Post-Punk Sermon from the Shadows of Inner Conflict

You’d be forgiven for thinking that Sisters of Mercy had a new sibling after the emergence of Lies—the darkwave earworm by Tequila Wave that also teases Joy Division-esque guitar lines into the production, where the synths sink percussive gravity into the track as much as the beats. As the moody vox reverberate shadows through the mix, the danceable kinetic energy lends an air of transcendence; an invitation to pull away from the weight of your weary soul and sink rhythmic catharsis into your veins. Tequila Wave may not have reinvented the darkwave post-punk wheel with Lies, but why ruin an already perfect formula when you can inject fresh lifeblood into it?

Channelling discontent and transformation into every brooding note, the Mexican artist Jorge Luis Niño proves that Tequila Wave is far more than an alias—it’s an emotional vessel. With a sound rooted in goth, post-punk, and darkwave, but never limited by them, the artist’s bilingual approach and unfiltered self-expression reach far beyond the surface. The themes aren’t theatrically dressed up—they’re unvarnished truths, stitched into pulsating synths and shivering riffs that hold enough weight to carry listeners through their own internal reckonings.

Where previous releases like Take Away the Mask peeled layers back with surgical precision, and Café offered a deeper look at his cultural identity, Lies digs into the emotional marrow. It’s less of a song, more of a séance.

Lies is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast.