Browsing Tag

Debut Single

Defy gravity with the interstellar psychedelia in Olek The Vyne’s debut alt-RnB single, Labels

Olek, The Vyne’s debut single, Labels, pulls you from the mundane and drops you into a vibe-soaked alternate dimension. Rooted in trippy alt-RnB yet transcending genre conventions, the track’s interstellar pulse melds with Olek’s lush, honeyed harmonies to create an intoxicating panorama of affectionate warmth.

It’s an invitation to surrender to a smooth, mellifluous flow capable of altering states of mind while reflecting on the lyrical underpinnings which advocate for embracing the messiness of relationship dynamics and finding peace in uncertainty.

The Houston-grown experimentalist, who is set to be known for pushing boundaries and colouring outside the lines, lets his mastery of intimate storytelling shine in Labels. Inspired by his personal journey and longing for meaningful connections, Olek crafts lyrics that cut to the emotional core while his reverberant vocals smooth over hypnotically rich instrumentals.

The track’s magnetic pull stems from the boldness of its experimental alt-RnB framework, which invites vulnerability and raw expression. As a flag planted firmly in the ground for his artistry, Labels is a testament to his ambition and the precision of his craft.

Labels will be available to stream on all major platforms, including SoundCloud, from January 17th.

Review by Amelia Vandergast

aubreyleighkirk has made her debut with her truth-bleeding wounded ballad, empty

The single ‘empty’ by aubreyleighkirk arrives with lyrics so visceral they resound as though they’ve poured from a raw wound. Confounded with striking minor-key piano chords, filmic orchestral swells and the singer-songwriter’s seraphically melancholic vocal harmonies, the debut single instantly catches you off guard.

With gospel-esque choir vocals adding to the arcane atmosphere of the cinematic vignette—which illustrates the hollowness of loneliness when you’re missing the warmth of the only person capable of making you feel whole—aubreyleighkirk easily distinguished herself as a purveyor of authentic artistry. As the industry waits with bated breath for more of her discography to cascade from her cultivated pipeline, she’s already an indie pop icon to watch.

Aubrey grew up immersed in music. After graduating from the Manhattan School of Music with a BM in Musical Theatre, she pursued the arts relentlessly and proudly joined the Actors’ Equity Association. Her career soared in the cabaret scene, including appearances at 54 Below, The Greenroom 42, and Birdland Jazz Club. To date, she has performed in three original works at the NY Winterfest, the NY Theatre Festival, and a five-week Off-Broadway run at the Players Theater.

After building her film presence in LA through lead roles in commercials, short films, and independent features, she now flies between NYC and LA, forging her music path with ‘empty’ and preparing more releases this winter.

empty was officially released on December 13; stream the single on Spotify now.

Review by Amelia Vandergast

Alt-Indie Raconteur Mickey Haimes Shines Light on Shadows in his Debut Single, ‘Sunlight’s Exposure’

Mickey Haimes

With his debut single ‘Sunlight’s Exposure’, Guernsey-based singer-songwriter Mickey Haimes signalled that supremacy in the alt-indie scene is his for the taking by blending jazz, blues, and indie rock with the swagger reminiscent of Nick Cave. Supported by BBC Music in the Channel Islands, Haimes offers a candid tale of questionable life choices via an unflinching descent into past experience.

With a distinctive, soulful voice, he could harmonise his shopping list and still leave listeners mesmerised. His rugged yet sweet harmonies infuse smooth grooves with a warmth that only a true conduit of soul can provide. While most artists have to resort to experimentalism for authenticity’s sake, with Haimes, there’s a rare sense that his distinction breeds from unfeigned expression as he exudes a rare originality born from sincere expression.

The intricate, organic layers of ‘Sunlight’s Exposure’ paint a vivid portrait of a soul guarding its own shadow, serving as the perfect introduction to an artist already making major waves before his first official release reaches the shores of the alt-indie arena.

Already recognised locally as Guernsey Street Festival Performer of the Year 2022 and having graced the BBC Introducing stage at the Guernsey Together Festival 2023, Haimes reflected on his songwriting with the observation that “A gritty insight is a useful one, but a playful slant is what brings it to life.”

Sunlight’s Exposure will be available to stream on all major platforms from December 6th; discover your preferred way to listen via this link.

Review by Amelia Vandergast

Spotlight Feature: Girl Annual sparked a flicker of folky melancholic serenity with their dream pop debut, Ember

With the single Ember, the enigmatic independent artist Girl Annual steps into the indie scene by setting an exquisitely reflective tone, merging folk-esque lyrical storytelling with the ethereal aesthetics of dream pop. The debut single is a seraphically melancholic invitation to lose yourself in the bitter-sweet chasm of reverie and let Girl Annual’s mournfully sublime vocal lines spellbind as they wash over you and pour raw vulnerability into the sonic atmosphere.

The diaphanous instrumental elements amplify the sense of introspection that flows from the poetic candour within the vocals, building the perfect soundtrack for an intimate autumnal scene. With a commercial appeal reminiscent of First Aid Kit, Girl Annual holds the potential to cut through the static of the oversaturated alt-indie dream pop sphere.

It’s an aural experience of oceanic depth, inviting listeners to drift within the serene textures that cascade and intertwine. This release doesn’t just play out – it envelops, and with each ebb and flow, it gently pulls you further in. All industry eyes should be on Girl Annual, anticipating their next move.

Ember was officially released on September 27; stream it on all major streaming platforms, including Spotify, now.

Review by Amelia Vandergast

The Miki Doras soundtracked the soul of NYC with their debut release, Uptown, Downtown…

As a band who lives, breathes, and riffs right through the grit of the NYC rock n roll underground, The Miki Doras, who have been cutting their teeth in dive bars across the city, on rooftops in Brooklyn, warehouses in Williamsburg and house parties in Bushwick, have finally unleashed their debut single, Uptown, Downtown…

The debut may have been 15 years in the making, but the hit just goes to show how syntheses of proto-punk, garage rock and power-pop will always be timeless. The filthy-with-distortion guitars cross the borderlands from unholy into pornographic terrain while the percussive pulse of the track feeds frenetic (teenage) kicks into the stellar slice of songwriting which affirms New York City has a new hit-making powerhouse in its underbelly.

If it’s been a while since you got caught up in the raucous euphoria of a rock chorus; hit play and see how high you can get with Uptown, Downtown… The chameleonic vocals never allow you to feel comfortable in the release; between the unchained snarls and the Blue Oyster Cult-esque harmonies, you’ll be thrown all across the emotional spectrum.

Uptown, Downtown… was officially released as the title single from The Miki Doras’ debut EP on August 28th, and there’s plenty more brashy rock n roll glamour in store with the band’s debut LP, …On a New York Night, in the pipeline. Stream the debut single on Spotify now.

Review by Amelia Vandergas

The Proto-Funk Pioneers, The Yowies, have officially arrived with their decadently disco debut single, Real Time

There’s no putting the mythologically monikered proto-funk renegades, The Yowies, back in their cage after they unveiled their debut single, Real Time. The decadent disco track pours an alchemic cocktail of indie-licked RnB, funk, jazz and soul, stirred by razor-sharp songwriting chops that cut straight through the static of the contemporary music scene.

The tonal sublimity of the seductively smooth single rivals the kaleidoscopic luminosity of a disco ball as The Yowies groove across their foundational influences, which pit the timeless soul of Winehouse against the guitar licks of Nile Rodgers and the spacey transcendence of Bowie in his Young Americans era.

With jazz nuances as a smoke machine, there are few sonic signatures as slick as what is exhibited in The Yowies’ debut release which makes it impossible not to get into the fiery smooth groove. Every replay reveals a new level of their creative genius, solidifying them as a band at the forefront of proto-funk revivalism

Real Time was officially released on September 29; stream the single on all major streaming platforms, including Spotify, now.

Review by Amelia Vandergast

The renegades of shoegaze revolution, interail, emerged as an unreckonable outfit in their debut single, red

With their debut single, red, the independent alt-rock outfit interail went beyond dropping the first track in their repertoire. The Northwest UK-hailing four-piece collective established themselves as the renegades of rock’s impending revolution, impending under their juggernautical volution.

Undercurrents of grungy shoegaze permeate the artfully chaotic tour de force, guaranteeing that getting swept up in the tides of red is non-optional as piercingly tumultuous percussion punctuates the laments of the distorted guitars beneath the vox, which oscillate between emulating everyone from Julian Casablancas to Thom Yorke to Orlando Weeks before heightening the evocative sting of the unique inflexions as the track gears towards its viscerally intense hardcore-tinged outro.

Not one moment of red allows you to feel comfortable within the progressions; the dynamic chameleon shifts in pace and tone are enough to leave your nerves frayed and your rhythmic pulses in knots.

The bar couldn’t have been set higher with their debut track; if you’re sick of assimilation-driven shoegaze, prepare to be adrenalised by the walls of sound in red.

Stream red on Spotify now.

Review by Amelia Vandergast

Sticker – Making Mistakes: A Garage Grunge Anthem for the Fatally Fallible

Sticker’s debut single ‘Making Mistakes’ erupts as an explosive anthem for the perpetually remorseful and as a vindicating release for anyone haunted by the spectre of past missteps.

With its garage-grunge aesthetic sharply intersected by the electrifying surges of pop punk, the track from their debut EP, ‘Hello! My Name is Sticker’, cements the Nevada-based powerhouse as unreckonable evocateurs of caustic catharsis.

Formed in Las Vegas in 2019, Sticker, led by vocalist and guitarist Dennis Fija, alongside drummer Carlos Daniel Herrera and bassist Jacob Anthony Hennagir, the trio rapidly distinguished themselves in the Las Vegas circuit with a raw, fuzzy punk sound steeped in a plethora of influences. ‘Making Mistakes’ marries the nostalgic grit of Nirvana during their ‘Bleach’ era with the melodic poise of Smashing Pumpkins, layered with the contemporary edge of bands like Fidlar.

The track’s relentless energy and piercing lyrics provide a mirror to the soul, reflecting the tumult of self-criticism and the liberation found in acknowledging fallibility. It’s more than just music; it’s a frenzied, sonic purge of pent-up emotions, driven by dissonant chords, catchy melodies, and harsh vocals that challenge social norms and delve into the theme of unreciprocated emotions.

As the centrepiece of their EP, ‘Making Mistakes’ is the perfect introduction to Sticker’s gritty domain of rhythmic rebellion, proving that sometimes, the most profound reflections are found in the echoes of our errors.

Making Mistakes was officially released on September 8th; stream the single on Spotify now.

Review by Amelia Vandergast

Noah Hamlin has unveiled a debut of panoramic Folk romanticism with ‘Bluebonnet Girl’

With a vocal timbre that would make any fans of Cohen, Cave or Dylan quiver at the knees, folk singer-songwriter, Noah Hamlin’s debut single, Bluebonnet Girl revisited old Americana roads while injecting fresh fervour into the folk genre.

The Austin, Texas-hailing troubadour’s artistic maturity belies his 23 years; with oceans of poetic depth in the lyrics which paint a vignette of panoramic landscapes which become the backdrop to a love story for the ages, sinking into the sepia hues of Bluebonnet Girl becomes an all-consuming sensory experience for the soul.

The finger-picked acoustic guitar notes, influenced by the likes of Townes Van Zandt, puts the romanticism into mellifluous motion, exhibiting Noah Hamlin as not just another artist entering the oversaturated folk genre, but a true purveyor of artistic ingenuity. After one hit, you will be stoked for the sophomore.

Bluebonnet Girl was released on August 18th; stream the single on Spotify now.

Review by Amelia Vandergast

From Tragedy to Sonic Triumph: A&R Factory Interview with Emilia Christine Russo

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.

Emilia Christine Russo, welcome to A&R Factory. We’d love to discuss your debut single, Ghostly, what’s the story behind the single? 

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*

There’s an incredible equilibrium of artfulness and authenticity in Ghostly; could you walk us through how this manifested?

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.

Did you know you always wanted to debut with Ghostly? 

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.

Would you say Ghostly exhibits your signature songwriting style or is it always in flux?

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.

What can your fans expect from your forthcoming ‘Two Rights Don’t Make a Wrong EP’? 

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*

When did your songwriting skills first start to become apparent? 

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.

Who do you draw the most inspiration from lyrically and sonically?

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.

What’s your main ambition as a singer-songwriter? 

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.

Interview by Amelia Vandergast