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Wavedown Summon Sardonic Catharsis and Pop-Punk Furore in ‘Thank You’ – A Rock Single Forged in Spite

In the opening bars of Wavedown’s latest single, Thank You, the serpentine prowl of rolling guitars immediately promises you’re in for far more than a rinse-and-repeat alt-rock moment. Maddy Dufek’s vocals coil and snap with such volatility that you’re left waiting for the next caustic hook to fly out and claim your memory, each line delivered with a magnetic snarl that could cut through steel. This is a track built for those who crave catharsis with a bite; the sardonically sweet delivery of the title phrase is anything but polite gratitude, it’s a feint before the band spits venom into the pulse of the pop-punk-adjacent production.

The drums rattle and threaten seismic activity, making it surprising that the local Richter scale didn’t flicker as Thank You was being put down in Rayne, Essex. Wavedown channels the restlessness and rawness that’s been simmering since the pandemic, turning it into a performance that compels you to read between the lines, refusing to hand-feed you the marrow of their message.

For those who appreciate a cheeky bit of symbolism, the cover art throws a sly nod to Smile 2, hinting at the kind of spotlight that can sear right through even the most well-armoured persona. With members from the UK, California, and Poland, Wavedown have conjured up a sound with genuine international bite.

Thank You is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Patch Bay Session’s Emo-Spliced Alt-Rock Single, The River, Flooded Airwaves with Sun-Bleached Nostalgia

With their debut single, Patch Bay Session sun-bleached early 00s emo nostalgia, illuminating the enduring ache of the genre through intensely melodised alt-rock guitars. The River overflows with the kind of visceral vocal performance that pours out emotions which couldn’t be polished if Patch Bay Session tried; there’s pure authenticity woven into each note.

Guitar lines intricately ascend, relentlessly lifting the instrumentals into patterns of sonic serotonin, reminding listeners to grasp gratitude and remain grounded in the present. The track possesses an infectious urgency, reinforcing its lyrical undercurrent while ensuring the listener remains gripped in its melodic tide.

Based in California, the singer-songwriter confidently merges the sincerity of acoustic songwriting with energy drawn from punk, reggae, and ska. Their genre-bending approach is refreshingly raw and unapologetically honest, penning songs purpose-built to move people emotionally and physically alike. If you’ve got a thing for Green Day, Yellowcard, or Blink-182, make room for Patch Bay Session to soundtrack your summer.

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

Review by Amelia Vandergast

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Ehson Hashemian Dropped Hyper Disco Heat with Indie Anthem Comes and Goes

Ehson Hashemian

SoCal’s own Ehson Hashemian just flipped the indie-pop script on its head with his latest single, Comes and Goes. It’s got that kind of hyper-disco energy that hits you straight away; buzzing from the get-go, yet Hashemian keeps the melodies in check, riding them smooth even when those guitar lines and synth pulses could send you spinning.

His vocals land somewhere between suave and sweet; imagine if Alex Turner ditched his ice-cool act and just properly vibed out, no filter—pure charm, no postured swagger. You won’t sit still to this one; it’s an infectiously idiosyncratic anthem that’ll turbocharge your playlists quicker than you can say “repeat button.”

But here’s the beauty of Comes and Goes: it’s not just some fizzy, throwaway bop; beneath the sugar rush, it taps into something deeper, gently reminding us that life’s all about rolling with it, letting things flow in and out naturally rather than obsessing over control. There’s lyrical gold by the smorgasbord tucked inside one hell of a catchy tune.

Hashemian’s been around the block, too—ex-keys and co-writer for Young the Giant back when they were called The Jakes, co-writing the double platinum hit Cough Syrup, and now dropping his fourth solo album, Believe. Safe to say, this guy knows how to lay down a memorable hook or two.

Comes and Goes is now available on all major streaming platforms, including YouTube.

Review by Amelia Vandergast

Lafayette & The Charlatones Resurrected Beatnik Jazz Boogie in Nostalgic Anthem, Addicted to You

The Lafayette by Lafayette & The Charlatones

If romance is dead, consider Lafayette & The Charlatones as the Dr Frankenstein of the soul. Their latest seminal single, Addicted to You, swings nostalgic fervency of the heartstrings right back around, delivering a track that wouldn’t sound out of place on a 50s jukebox in the corner of a dive bar or setting dancehalls alive with piano keys that hammer honky-tonk energy into jazz boogie rhythm.

With crooned vocals that almost lean into 50s rock stylings, Lafayette & The Charlatones defy modern jazz expectations; there’s no pretension here, only an invitation laced with a hint of raucous rebellion. Addicted to You beckons you to shed your inhibitions and wear your heart unapologetically on your sleeve, adopting the attire of a diehard romantic. If you’re tired of jazz being sterilised by gentrification and crave a glimpse of its beatnik glory days, hit play on this panoramic transcendence of pastiche.

Frontman Lafayette Ben-Charlatan, described as the mischievous progeny of Leon Russell, Leon Redbone, and Tom Waits, distils ragtime, jazz, and rhythm & blues into a spirited concoction. Backed by The Charlatones, including acclaimed trumpeter James Sherry, bassist Jeff Jacobs, and drummer Tim Kirk, the band continues to ignite the scene from Long Beach, California, to international acclaim.

Addicted to You is now available on all major streaming platforms, including Bandcamp.

Review by Amelia Vandergast

Takara Let Her Soul Speak in the Ethereal Sensuality of her Afrobeat RnB Release, Pillow Talk

Slip between the sheets with one of the most sensually ethereal up-and-coming artists on any side of the globe with Takara’s latest single, Pillow Talk. With smooth, seductive harmonies resounding across organic percussive fluidity, the release enlivens as it entrances, presenting Takara as a paradoxical powerhouse and contextualising the ease of her transcendence to the top of the RnB scene.

Rather than painting by numbers within the genre, Takara pulls multi-continental influence, ensuring that Pillow Talk hits as hard as possible for as many people as possible. The African rhythms tease the origin of us all into the mix, giving the hypnotic release an almost primal sense of crossover appeal.

Originally from Adelaide and now based in Los Angeles, Takara’s artistic trajectory has already carried her from the Australian underground to international acclaim. With half a million followers and over half a billion streams to her name, her fusion of dreamy RnB and rhythmic Afrobeat has secured her airplay on stations from KXLU to Triple J Unearthed. Her sound is grounded in intimacy but always reaching beyond borders, whether through her autobiographical YouTube series Takara TV, her global collaborations, or her performances at showcases like SXSW and Sounds Australia.

Takara’s rise hasn’t relied on spectacle or pastiche, but on her sonic instinct and global fluency, both of which simmer through every second of Pillow Talk.

Pillow Talk is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Strings of Identity and Introspection: An Interview with Guillermo Marigliano

Guillermo Marigliano

Guillermo Marigliano’s musical path is as intricate and expressive as the phrasing that defines his work. With over thirty years spent composing, performing, and mentoring across continents, the Argentinian-born, Los Angeles-based guitarist reflects on his evolving artistry in this wide-ranging conversation. From the emotional weight of his solo acoustic project to the rhythmic insights shaped by teaching worldwide, Marigliano discusses what it means to create with purpose while carrying the soul of his roots.

In this interview, he speaks with clarity and warmth about the transition from ensemble performance to introspective solo work, the nuances of improvisation for newcomers, and the interplay between his many creative hats.

You’ve dedicated over three decades to composing, performing, and teaching music across continents. How has your Argentinian heritage continued to shape your creative instincts since relocating to Los Angeles?

My Argentinian heritage continues to be a huge influence on my creative instincts, even after a few years of living in Los Angeles. I grew up immersed in a rich musical culture — from tango and folklore to jazz and latin music — and that emotional depth and rhythmic nuance still shape how I play, compose, and even teach. Here in L.A., surrounded by so many global sounds, I’ve found new ways to blend that foundation with other influences. That sense of identity comes through in my phrasing, my harmonic choices, and the way I approach improvisation.

Whether I’m composing, performing, or teaching, that Argentine spirit of soulful expression and rhythmic complexity travels with me. It helps me connect with diverse audiences and students on a deeper level, bringing authenticity and a global perspective to my music

Your solo guitar project set for release in 2025 focuses on introspective themes through Spanish acoustic guitar and Latin American grooves. What led you to explore more reflective terrain this time around?

This new project grew out of a very personal place. After years of performing energetic, rhythm-driven music, I never left the Spanish guitar. This instrument represents the soul of the Latin American music, felt a strong pull to slow down and express myself more in a solo situation rather than within a band. The Spanish acoustic guitar naturally lends itself to that kind of intimacy — it allows space, silence, and nuance to breathe. I’ve also been reflecting a lot on my journey: relocating, adapting to a new culture, and growing both as an artist and a person. The Latin American grooves are still there, but they support a more introspective voice this time — one that’s grounded, searching, and honest. It’s music that invites the listener into a quieter, more contemplative space, and that felt like the right direction for where I am in my life right now.

Guitar Multiverse was praised for its emotional intensity and technical cultivation. What personal or musical experiences fed into the themes you explored on that album?

Guitar Multiverse was really a culmination of years of experience, musically and personally. It was written during a time of deep transition in my life, after moving to the U.S. and starting over in a new environment. That emotional intensity naturally poured into the music. Technically, I pushed myself further than ever before, drawing from jazz, classical, and Latin American traditions, but always in service of the feeling. Each piece explores a different “universe” — not just stylistically, but emotionally. Some tracks express joy and connection, others dive into solitude or longing. I wanted the album to reflect the full spectrum of human experience, and my guitar became the vehicle to travel through those inner landscapes.

Teaching seems to be as central to your life as performing. How do you keep improvisation accessible for beginners while still respecting the complexity and nuance of jazz and blues?

That’s a great question, because it really gets to the core of how I teach. I believe improvisation should feel natural and joyful — like speaking a language. So with beginners, I focus on simple musical elements first: rhythm, phrasing, call-and-response, and listening. We might start with just one note or a basic groove, and explore how much expression can come from that. At the same time, I introduce key jazz and blues concepts early — like tension and release, swing feel, or the blues scale — but always in a way that’s intuitive. My goal is to honor the depth of the tradition without overwhelming the student. That way, they build confidence and curiosity, which is really the foundation for true improvisation.

You’ve hosted masterclasses in places as diverse as Colombia, Europe and the U.S. Have those international teaching experiences changed how you relate to rhythm, phrasing, or musical expression?

Definitely. Teaching and sharing music in different parts of the world has had a deep impact on how I understand rhythm and phrasing. Each culture brings its own feel, its own sense of time and movement — whether it’s the polyrhythms I encountered in Colombia, the lyricism and articulation I heard in Europe, or the diverse grooves I find here in the U.S. These experiences have expanded my rhythmic vocabulary and made me more sensitive to how music is felt, not just played. It’s also taught me to listen more deeply — not just to the notes, but to the cultural emotion behind them. That awareness continues to shape my own expression, both as a guitarist and as an educator.

Since settling in Los Angeles, you’ve immersed yourself in both the local music scene and education spaces. How did you find your footing in a new country while continuing to nurture your creative work?

Moving to Los Angeles was both exciting and challenging. Starting fresh in a new country meant rebuilding my network from the ground up, but music gave me an anchor. I began connecting with local musicians, attending jams, and saying yes to every opportunity — from performances to teaching. At the same time, I made sure to carve out space for my own creative work. Composing and practicing became a way to stay grounded and keep my artistic voice alive amid all the changes. Teaching also helped a lot — it connected me to the community and gave me purpose. Over time, I found that L.A.’s diversity really welcomed my background and ideas, and that gave me the confidence to keep growing as both an artist and educator.

You’ve described your sound as a meeting point between Latin American rhythms and jazz harmony. What draws you to those intersections, and how do you avoid repetition when composing within that framework?

What draws me to that intersection is the natural conversation between rhythm and harmony — it’s alive, unpredictable, and full of emotion. Latin American rhythms bring this pulse that’s rooted in the body, while jazz harmony offers endless possibilities for color and movement. When they meet, it feels like a perfect balance between structure and freedom. As for avoiding repetition, I always try to stay curious. I might shift the rhythmic foundation, explore a different mode, or draw inspiration from a non-musical idea — a landscape, a memory, even a conversation. I also let the guitar lead me; its tuning, resonance, and limitations often suggest new directions. For me, it’s less about inventing something “new” and more about staying honest and connected in the moment.

As someone who wears the hats of composer, performer and teacher, do you see those roles feeding each other, or do they require entirely separate headspaces when you’re working on new material or teaching students?

I definitely see those roles as deeply interconnected rather than separate. Composing feeds my performance because it gives me a personal connection to the music I play, and performing inspires new ideas for composition through direct interaction with audiences and fellow musicians. Teaching, in turn, enriches both because it challenges me to break down complex ideas into their essence, which deepens my own understanding. When I’m teaching, I often discover new approaches or perspectives that I then bring back into my creative work. So, while each role has its own focus, they all inform and support each other in a kind of ongoing cycle.

Discover more about Guillermo Marigliano via his official website.
Interview by Amelia Vandergast.

Staytus Scrawled Blood on the Wall of Repression in ‘How to Be a Serial Killer’

Staytus’ latest seductive sonic onslaught is one of pure scathing scintillation. Even if Combichrist remixed a PJ Harvey track that gave way to one of the darkest impulses written into the human condition, it wouldn’t come close to How to Be a Serial Killer. Caustic snares and a relentlessly pulsative energy amplify the scorn in the vocals that hammer home what we can be driven to by people who push us to the edge, invoking the version of ourselves that salivates for rage-fuelled bloodlust within a macabre, mechanical and murky atmosphere.

It isn’t your ordinary offering of sonic catharsis, but for anyone who finds sanctity through vicarious sonic fantasy, there’s no one better to turn to than Staytus, the ultimate siren of a femme fatale who embodies vengeful glamour without ever flirting with cliché.

With scintillating production from Matt McJunkins at Secret Hand Studios, the industrial textures meet nu-metal volatility head-on, translating psychological unravelling into performance and noise. There’s venom in every syllable, precision in every drop, and a raw cinematic ferocity that lingers under the skin long after the final distortion burns out.

How to Be a Serial Killer is the final release in Staytus’ Twisted Frames series, a cinematic, visceral exploration of chaos, catharsis and fractured identity. Inspired by the cult horror-comedy it shares its name with, it holds a mirror up to inner madness without sanitising a single inch of the reflection. Staytus doesn’t hold anything back — and why should she?

How to Be a Serial Killer is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Frantic Romantic Wired the Sunset Strip with Electric Nostalgia – An Interview

Frantic Romantic has etched their name into the curb of the Sunset Strip, not with brash declarations but with steady sparks of authenticity and instinctive showmanship. In this interview, the Hollywood-based outfit opens up about their transition from San Jose to the heart of LA’s most iconic rock corridor, where stages like the Viper Room, the Troubadour and Whisky A Go Go have become part of their regular rotation.

They discuss the electric charge of sharing those rooms with crowds who live for the moment, their evolving Cyberpunk-tinged aesthetic, and the curious scenes and strangers they’ve encountered along the way. From a child’s first gig in Tijuana to run-ins with LA industry figures, it’s clear their rise has been anything but ordinary. For a candid glimpse into a band that thrives on momentum, reflection and chaos in equal measure, read the full interview.

Welcome to A&R Factory, Frantic Romantic, and congratulations on making waves on the Sunset Strip — it’s always a pleasure to speak to artists who are genuinely embedded in the scene they’re shaping.

You’ve made the leap from San Jose to Hollywood and hit iconic venues like the Viper Room and the Troubadour. What’s surprised you most about the live scene since making that move?

Growing up in the Bay Area, it was very common for us all to dunk on Los Angeles and/or Southern California in general. It was often just the culture up there. Having been down here in LA for some time now, I think we can all agree that there is an undercurrent of, for lack of better terms, magic to Los Angeles, and especially to certain parts of Hollywood and its surrounding areas. You feel it when you’re on the Sunset Strip playing a show on a Saturday night, or driving down Highland Avenue early in the morning before rehearsal, or hitting up Canter’s or the Rainbow Room at like 2am after you’ve played a show.

Breaking into the Sunset Strip circuit is no small feat. Has playing these legendary venues changed the energy of your performances or how you approach your setlists?

It’s hard not to geek-out when you see your name on the marquee for a place like Viper Room or Troubadour. I remember being a teenager and dreaming of playing these places. Seeing them in movies, or hearing about them in biographies. There is a definite energy to them. There’s a sense that you’re with a crowd that enjoys being out, and enjoys being a part of this moment you get to share with them.

You’ll soon be hitting the stage at Whisky A Go Go, which has a reputation for hosting acts on the brink of something big. Any nerves, or are you taking it all in stride?

Every individual in the band handles the ritual a bit differently. I tend not to really think about any of it until I’m actually there, and then for the couple of hours before the show, I tend to get really nervous. The moment we go on stage and the set starts, any kind of worry, expectation, really any outside feelings at all just leave me. I think that’s why I enjoy doing shows in the first place… one of the few occasions where I can just be in the moment.

Touring inevitably introduces you to all sorts of characters. Have any encounters with fellow bands, venue staff or scenesters left a lasting impression on you, whether hilarious, strange or unexpectedly wholesome?

There was a show we played in Tijuana, Mexico, once, and after our gig, a dad came up to us with his son, who must’ve been maybe 5 or 6 years old. This was his first concert ever. The kid was really excited and got a copy of our album. We all autographed it, and I leaned down and gave the kid a high five and thanked him for coming out. That really meant the world to me.

As a band based in Hollywood now, do you feel a pressure to match the city’s image, or are you more focused on holding onto your roots and letting the music speak for itself?

There’s never been a conversation between the members of the band to match any image that would make us more Hollywood. We do think visually about music, and narratively, and it’s naturally molded over time into this kind of Retro Future, Cyberpunk aesthetic. For example, I woke up one day compelled to find myself a turquoise leather jacket… so I made it my life’s mission to find one until finally, three months later, I was able to locate one.

Your band name, Frantic Romantic, immediately paints a picture. Where did the moniker come from, and how do you feel it reflects your sound or ethos?

Before 2018, we were Skyway View, which was a project our guitarist, Ruben, had since maybe 2009, and the name had been thought up by a previous member. When I first met Ruben, I was in another band, and he was in Skyway View. I eventually dissolved the band I was in and joined his band. Flashforward to 2018, and the tone and style of our band were already there, but we felt the name no longer fit what we were doing. By that time, it had become clear that Ruben and I had become the two principal members, so the mentality behind the name “Frantic Romantic” was to have a word that described Ruben’s writing with a word that described mine. Ruben, being the romantic one, it was a no-brainer. Me, being the manic one, we eventually settled on “Frantic.”

You mentioned it’s starting to feel like a movie, which definitely tracks with the venues you’re playing and the pace you’re keeping. If you had to pick a scene from your recent tour life that felt completely surreal, what would it be?

Can’t say too much about who is involved with this, but we’ve had our share of people courting the band, whether they be producers, managers, labels, etc. The conversations, as I write this, are ongoing. All I can say is always be careful, and have an entertainment lawyer ready that you can trust. Mark has saved us from a lot of potentially band-killing scenarios. In addition, I’ve met and befriended musicians who I only knew from their actual records, and here they are just in Hollywood and a part of the scene.

Stream Frantic Romantic on Spotify and connect with the artist on Instagram.

Interview by Amelia Vandergast

Heat Simmered and Sharp Wordplay Sliced Through the Vibes in Techniec’s ‘Who Else But Me?’

With a pen as sharp as the Californian sun is relentless, Techniec scorched straight through the static in Who Else But Me?, the standout single from Patience of God Season 2. The Long Beach MC’s decision to pull scratchy, polyphonic boom bap back into mainstream view isn’t nostalgic indulgence, it’s pure assertion. The stripped-back beat doesn’t leave gaps, it gives his flow space to snap, burn, and command.

The Snoop Dogg reminiscences are no coincidence. After being discovered by Big C-Style and signed to Doggystyle Records, Techniec played a pivotal role in the West Coast dynasty’s foundations. His contributions to Doggfather, Retaliation, Revenge, and Get Back, and Da Hood weren’t footnotes. XXL made it clear. He stole the show.

That presence is still intact and impossible to miss. Who Else But Me? thrives on raw, sun-bleached heat and refusal to soften a single edge. The energy moves like waves off cracked asphalt, refracted through a vocal performance that is never anything less than commanding.

Techniec writes like he has nothing left to prove, only reasons to keep pushing forward. His cadence in Who Else But Me? doesn’t just ride the beat; it raises the stakes for every bar that follows.

Between his flow and presence when he steps to the mic, there isn’t a monolith on this earth that can stand in the Cali rapper’s way.

Who Else But Me? is now available to stream on all major platforms, including Spotify and Apple Music. 

Review by Amelia Vandergast

Trukadi Bottled the Sweet Bruise of Longing in the Emo-Tinged Pop Euphonic Euphoria of ‘Arizona’

Trukadi pulled sincerity out of the abstract and dressed it in melody for his first 2025 release, Arizona. By kicking trends to the curb and bringing hooks that ensnare with an unflinching grip, he built a euphoric mirage of Midwest emo guitars and pop sensibilities so sticky-sweet it practically melts into your chest. His unique aural blueprint feels less like a stylistic choice and more like an atmosphere; one that seeps through the cracks and soaks you in nostalgic ache and starry-eyed optimism.

The San Francisco Bay Area artist has already proven his prowess behind the console with his instrumental EP Threshold and emotionally raw glitch-hop outings like Pick and Choose. But Arizona marks a definitive evolution. The vocal tone is fuller, the songwriting sharper, and the emotion even more unfiltered. There’s no hesitation in how the track leans into vulnerability. There’s bruising in every shimmering chord and beat, but it’s the kind of ache you welcome. The kind that reminds you what it means to feel everything at once.

Between his finesse over fretwork and his ability to turn yearning into something you can wrap yourself in, Trukadi offered a self-examination soundtracked by subtle euphoria. Arizona hits on every level. You might have to explain the marks.

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

Review by Amelia Vandergast