Browsing Tag

experimental

Refusing the Constraints of Rock: Jon Valenzuela Delivers a Hypersonically Theatrical ‘Shot of Adrenaline’ in His Debut Single 

Posted on 9 April 2026

Jon Valenzuela delivered exactly what it says on the tin with his debut single, Shot of Adrenaline, which contorts rock into complex atypical time signatures as the arrangement moves at a hypersonic pace. Following years as a guitarist in the Sydney scene, Jon Valenzuela stepped away to prioritise his own voice, resulting in the lead single for his upcoming album, Alive Again.

Orchestral polyphonia and operatic elements with a jazzy-free form sense of uninhibited energy feed into the tilt-a-whirl-esque mayhem of Shot of Adrenaline, which is truly unparalleled in its exuberant execution. Mike Patton’s more obscure bands come to mind, particularly Mr Bungle in the California era, with its cinematic sweeps and general refusal to stick to the arbitrary constraints of rock. Giving Jon Valenzuela his wicked sense of distinction is the sense of theatrical whimsy that is locked into the chameleonically progressive explosion of ingenuity.

This release is indicative of the wider album, which explores everything from hard rock to experimental jazz. Written during a period of self-discovery, the track functions as a sonic document of feeling empowered once again. Fans of high-energy, multifaceted grooves will find plenty to get stuck into here as the Sydney artist finally does things his way.

Shot of Adrenaline is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

Chris Juarez Sent Chaos Through the Wires of Avant-Garde IDM with ‘CARCK/////UNRIG’NALMIX:’

Posted on 30 July 2025
CARCK/////UNRIG'NALMIX: by Chris Juarez

Chris Juarez throws you headfirst into the chaos with CARCK/////UNRIG’NALMIX:, his latest single before the arrival of his new LP, Solong,suckRs., due on September 25th. After a disorientating influx of synthesised distortion, Juarez begins to reveal his stripes as an avant-garde electronica composer, drawing on the machinations of early industrial pioneers which are melted into a whirling dervish of 8-bit experimentalism.

With nods to the likes of DJ Scotch Egg and Otto Von Shirach, Juarez doesn’t deliver easily digestible aural aesthetics; he’s on an unflinching mission to orchestrate chaos that cages enough visceralism to disjoint your rhythmic pulses, bearing down on them like a juggernaut that is hellbent on bruising you with pure, undiluted escapism. The beauty is there if you’re brave enough to submerge yourself in the eye of the cataclysmic composition of a storm and surrender to the artist’s cultivated yet Machiavellian volition.

Born in Okinawa in 2007 and now based in Mesa, Arizona, Juarez pulls influence from the IDM, progressive electronic, indietronica and post-rock circuits, channelling inspirations from Oneohtrix Point Never, Autechre, and Clark. Each new release marks a push further away from convention and into unexplored territory, and CARCK/////UNRIG’NALMIX: is no exception. Juarez has made a habit of giving electronic music a pulse that feels almost too real for comfort.

CARCK/////UNRIG’NALMIX: is now available on all major streaming platforms, including Bandcamp.

Review by Amelia Vandergast

easyeasylemonlemon Dissolves the Digital Self with ‘a selected demonstration of incomplete works (breakbeat ambient #3)’

Posted on 9 July 2025
evoke by easyeasylemonlemon

With easyeasylemonlemon’s release, a selected demonstration of incomplete works (breakbeat ambient #3), the pulse of pure ambience never skips a beat; the waves of reverb crash over you, loosening all your knots through aural quiescence while the breakbeats reverberate emotion through the instrumental piece. Rather than forcing a feeling through your synapses, Callum McLean, the Cambridge-based artist and producer behind the project, lets his diaphanous progressions coax out what already lingers beneath the surface.

It’s impossible for this track to melt into the background, for the way it absorbs your attention is equal to the way it distils tension, leaving you drifting inside a euphonic atmosphere. There’s sanctuary here, in the interplay between industrial textures and organic, washed-out synths, as if the piece itself is a dedication to IDM pioneers and the genre’s restless spirit.

The digital era, our tangled relationships with each other and our screens, become themes that ripple through the full LP, evoke – a record born of isolation and retreat into the computer, echoing with the emotional charge of introspection and connection.

If you let yourself sink into the complete LP, you’ll find the catharsis of sanctuary, the sound of someone making peace with the static of the digital age.

a selected demonstration of incomplete works (breakbeat ambient #3) is now available on all major streaming platforms. Support the artist by purchasing the track on Bandcamp.

– Review by Amelia Vandergast

Korfian’s Industrial Pop Lament ‘Apathy Star’ is a Folk Sermon for the Terminally Screen-Bound 

Posted on 8 July 2025

There has been no shortage of aural expositions on the bleak reality of well… reality. But in Korfian’s Apathy Star, he digs deeper into the darkest recesses of our psyches with every tool at his disposal. The lyrics don’t attempt to dress up the ennui of becoming numb to tragedy – lines such as “I scroll through tragedy, I’m overexposed, I am a star of apathy,” refuse to sugar-coat how monochrome static now hums where serotonin should be. With the LP’s very title, Digital Brutalism, he eclipses where we have become as a society while channelling the aesthetics of dark isolation both sonically and visually in the official music video.

Religious iconography in the visuals collides with the darkwave, ambient industrial mechanical teeth of the track. There’s a sense of soul-drenched sermon in the way the music mourns the times that are consuming us, one depressing headline at a time. Korfian’s voice, drenched in haunting reverb, utters confessions like “connected online but inhumanely secluded,” and “do my actions matter when they are drowning in code,” pushing the existential weight even deeper.

Korfian is the moniker of Athens-based artist Spyros Psarras, a graphic designer who, since 2017, has evolved from raw experimentation into this pointed fusion of haunting vocals, introspective storytelling, and electronic textures. On Apathy Star, he engineers a narrative about apathy, identity, and searching for meaning in fractured digital realities. Everything about Apathy Star is a cerebrally thematic triumph; if record labels won’t be banging down his door, swathes of sapiosexuals will be lining up to devour the electronic pulse of his societally enforced nihilism.

Apathy Star is now available on all major streaming platforms; for the full experience, watch the official music video on YouTube.


– Review by Amelia Vandergast

PRI// Carves Out Shadows in the Spotlight – An Interview

Posted on 25 May 2025

PRI// steps beyond the expected with FIVE MINUTES INTO THE FUTURE, a release built from makeshift percussion, haunted domestic spaces, and an unflinching study of otherness. In this interview, PRI// pulls back the curtain on the album’s creation—one that swaps studio sheen for the surreal acoustics of a Spanish cave house and the clatter of household objects. From the sharp commentary found in track titles to a commitment to archival storytelling, PRI// weaves historical context and personal experience into a body of work that demands more than a casual listen. With nods to horror cinema, Sophie Muller’s visual subversions, and a fascination with duality, PRI// discusses how the album pushes boundaries in theme, sound, and identity—challenging listeners to step out of their comfort zones and into an uncanny, emotionally charged world.

Welcome to A&R Factory, PRI// — it’s a pleasure to have you with us as you release FIVE MINUTES INTO THE FUTURE. Your new album tears through genre norms and conventions to present something as unsettling as it is intricate. Let’s talk about what went into building this world.

You’ve spoken about the domestic horror qualities in Little Boy Lost, and how you recorded using pots, coffee makers and door handles while in Spain. Did recording with such unorthodox materials shape the emotional tone of the album in ways you hadn’t anticipated?

It was a funny thing – I couldn’t afford to spend the money on the extra seat, it would mean taking a guitar or keyboard to Spain on the plane, so I wasn’t able to write anything. I thought it would be fine, but inspiration struck, and all I had was what was around the house. It turned out we were staying in this ‘cave house’, underground, and so the acoustics were already really different to begin with. I began improvising songs with everyday items which sounded good – like kettle pots, the door latch in the bathroom, the clay toothbrush holder. It was really exciting creatively.

You mention a focus on otherness throughout FIVE MINUTES INTO THE FUTURE. How did the concept evolve while you were putting together the record, and were there moments where the personal and political themes began to blur in unexpected ways?

There’s a clutch of songs about that theme (A Dead Baby, Boy Boy Summer, Ethnic Folklore) and it really coalesced with the visuals, on Instagram but also in the videos. The idea of a person of colour being in these elite institutions, primarily white spaces. What happens to that person’s personhood – does it morph or disappear completely? What remains after they leave?

The found-photo Instagram project featuring people like Dillibe Onyeama and John Blanke adds an archival layer to the release. How important is it for you to fuse historical context with personal narrative in your music and visuals?

I went to see Beyond The Bassline at the British Museum a couple of times and was gobsmacked to see John Blanke, who played in Henry VIII’s court group. I thought Wow, what was his story? It stayed with me the idea of his history. I also read Dillibe Onyeama’s book about his experience, which was inspirational

There’s a sharp commentary running through the album titles — Anorexic at a Wedding, What to Expect When You’re Expecting the Anti Christ, A Different Frying Pan. How do you approach naming your songs, and what role do these titles play in shaping how listeners encounter the tracks?

I rarely start with a title when writing. But it normally just happens as I am writing

You’ve cited a love of horror and referenced Sophie Muller’s videos as a stylistic touchstone. What specific films or visual works inspired the tone and setting of your videos?

Most of the references weirdly came from stuff I watched when I was really young. Too young really to be seeing stuff like Poltergeist and Eurythmics’ Savage video album- the personas of the suburban wife and the ID woman. Again, it’s the themes of duality which tap into the same part of ‘otherness’ and code switching. Very interested in the psychological toll of all that game playing

From the eerie, metallic ambience of NEVER REALLY HOME (ABUSE U 2) to the rawness of A LOVE CRIME, this album constantly shifts in energy. Was that dynamic variety intentional from the start, or did it come out of your recording environment?

I think with each release, I’ve become aware of the importance of the variety of tone. I think about sequencing the tracks more and more. How one song’s mood can drift into another. Fun fact: Stevie Nicks sequenced Rumours!

There’s a queering of narrative throughout the album and videos — how much does subversion play a part in your creative process, and do you see your work as a challenge to what the industry tends to present?

I don’t think in those terms but I am drawn to counter narratives, what’s going on beneath the surface.

With such a conceptually rich release, how do you hope listeners will engage with the album beyond the surface level of the songs?

I hope it touches them emotionally, that’s what I always wish for my work

Stream PRI// on Spotify now.

Interview by Amelia Vandergast

PRI//’s Scrapbook of Shadows: An Interview with the Artist

Posted on 2 March 2025

PRI//’s latest album, Madonna’s Scrapbook, unpicks the illusions we construct from memories, photographs, and the carefully curated fragments of our past. Through dissonant beats, lo-fi textures, and a raw, unfiltered approach, the album doesn’t just explore nostalgia—it questions its reliability. In this interview, PRI// touches on the deceptive nature of images, the masks we wear to function, and the blurred lines between perception and reality. From the influence of Hubert Selby Jr. and Lou Reed to the uncomfortable truths buried within seemingly ordinary lives, PRI// dissects the beauty and horror of human nature with a brutal honesty that’s impossible to ignore.

Welcome to A&R Factory, PRI. Your album, Madonna’s Scrapbook sounds like an intense, fragmented exploration of perception and memory that hints at nostalgia and illusion. What drew you to that concept, and how does it connect to the album’s themes? 

I was doing lots of inner work when I was writing the songs. Lots of re-assessing my old memories and questioning my perspectives of them. I think we can hold on to a memory of something quite tightly and not want to let go of it, but maybe that isn’t even accurate.

You’ve spoken about the deceptive nature of old photographs and objects. Was there a specific moment or experience that made you fixate on that idea?

I was looking at old childhood photos and there is the image you see in the photo – a happy smiling child and then what was going on behind the scenes, off camera which could be quite different. I was also thinking about photo shoots where there is a controlling, maybe even abusive atmosphere on the set, but all the audience sees is the photograph without that context. The title itself is a reference to this. Madonna Scrapbook – filled with old pictures of her. What was going on on set? It’s also the idea that fans can create a narrative from old photos, one that maybe doesn’t exist in any other reality than their heads. I’ve definitely done that myself

The album explores figures who could be seen as tragic or ordinary, depending on the perspective. Do you see yourself in any of these characters, or are they more like distant projections?

 I hope the characters have a universal quality to the listener

Fake It and The Universal Frown pick apart the masks people wear to function in society. Do you think anyone ever truly drops the act, or are we all performing to some degree?

Ha ha! Well, I think that the more comfortable you are in your skin the less gap there is between the projected self and the real one I suppose? Or maybe the masks are more conscious for some people, maybe they don’t notice they’re doing it. It’s a weird one

There’s a cut-up, collage-like approach to the music itself. Was that a conscious effort to mirror the way memories distort over time?

Yes, I’m glad you got that. It’s like when you take a Polaroid; you have to wait until the photo reveals itself, and then later on, it fades away under natural light

Compared to See No Evil, which leaned into body horror, this album focuses on perception and distortion. Was this a natural evolution for you, or did something shift in your creative process?

 The title of the album Madonna Scrapbook is about a literal old book I had

Your sound is deeply DIY, with fragmented beats and lo-fi textures. What draws you to that raw, unpolished aesthetic?

First thought, best thought. I love the emotional authenticity of it. I am drawn to dissonance and the sound of things distorted, almost going wrong. The truth is those moments of nearly fucking up.

You reference writers like Hubert Selby Jr., Mary Gaitskill, and Lou Reed. How do their works filter into your songwriting?

I love how they speak about the darkness of the human soul. It’s so refreshing but also horrible. But there’s a truth in the darkness.

The idea of parasocial relationships—thinking we ‘know’ someone through an image—feels especially relevant now. Have you had moments where you’ve been on the receiving end of that projection?

I really like the idea of that – I think we all think we know someone based on how they look in a photo. We project our own perceptions and prejudices onto a photo, as much as we connect to it

With Madonna’s Scrapbook released, are you already thinking about what comes next, or do you need time to step back before getting stuck into another project?

Yes, I can’t wait to explore more of the sonic boundaries in Deadbeat Dad, we’re releasing a series of remixes of it soon. Stay tuned!

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Madonna Scrapbook is now available to stream on all major platforms via this link. The 28th of February will also see the launch of PRI//’s Deadbeat Dad Maxi single.

Interview by Amelia Vandergast

Chief Hyena Drags Listeners to the Brink of Madness in Lucky Too

Posted on 17 February 2025

Few artists dare to push sonic horror to its breaking point. Chief Hyena revels in it. Lucky Too is an unholy incantation set to sound, a nightmarish descent through dystopian shadows where reality warps under the weight of primal percussion and hypnotic synth loops. The haunted machinery whirs and wails, unsettling enough on its own, but the vocals sharpen the dread—serene yet laced with something far more sinister.

While I’m no stranger to dark, macabre, eerily Lynchian or dystopian tonal palettes, Chief Hyena still struck spectres of foreboding fear to the core as they reached the epitome of aural horror.

After the tribal percussion-driven intro, a haunting whirling dervish of synth lines entrances you, leaving you susceptible to the single as it unravels as a dark and twisted carnival. It’s clear that if Chief Hyena’s sound gets any darker, their discography will have to come with a trigger warning before long; if any artist is the first to summon evil from the pits of hell through music, it’s going to be them.

There’s no escape from the looming paranoia built into every atom of sound. Their dystopian mix of alternative influences twists itself into strange and unrelenting forms, warping beyond the constraints of genre; it is pure sonic possession—resistance is futile.

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

Review by Amelia Vandergast

DAlcon threaded the resolve of resilience through his latest alt-hip-hop track, Keep Going

Posted on 22 December 2024

DAlcon, the London-based rapper who split his upbringing between the UK and Spain, isn’t waiting for permission to redefine expectations. After capturing headlines in May 2022 by setting a Guinness World Record for the Longest Rap Marathon (39 hours, 37 minutes, and 45 seconds) and drawing attention from outlets like the BBC and Sky News, he now turns adversity into artistry. Health struggles, home eviction, and mental conflict only sharpened his resolve, pushing him to blend natural ambience with hip-hop to form his own authentic signature.

His latest single, Keep Going, plays out as a collaboration with the raw textures of nature rather than another industry-dominating name. There’s almost a sliver of Crazy Town’s Butterfly threaded through the soundscape and a whisper of Linkin Park’s lyrical potency woven in, but don’t expect a simple homage. DAlcon channels these influences to deliver an anarchic twist of future-focused ingenuity. Amidst an era when so many wear victimhood like a safety net, his lyrical grit calls listeners to account, reminding them that self-responsibility trumps complacency.

Each note surges with resilience, each lyric challenges the culture of blame. The emotive orchestration consoles while the words ignite. It’s a bold testament to the idea that no matter how scorched the earth, new seeds can grow if you choose not to surrender.

Stream the official music video for Keep Going on YouTube now, or go further in your support for DAlcon by purchasing the single on Bandcamp.

Review by Amelia Vandergast

PRI// Talks Sonic Freedom, Narrative Albums, and What’s Coming in 2025 – An Exclusive Interview

Posted on 18 December 2024

In this exclusive interview with PRI//, the boundary-pushing artist reflects on a year of bold sonic narratives and lyrical honesty that’s set the tone for what’s to come in 2025. Known for leaning into instinctive creativity and crafting albums that feel thematically cohesive yet unshackled by convention, PRI// explores themes of solace, self-expression, and connection through music. With a glimpse into the upcoming releases and a promise to amplify the visual element alongside the sound, PRI// offers a candid look at the passion and process driving their artistry.

PRI//, welcome to A&R Factory! Thanks for the opportunity to connect with you as you close out a hyper-productive year! What’s been the highlight of 2024 for you?

So many highlights but I have really enjoyed creating my albums – bodies of work which have told complete narratives from start to finish. Not quite concept albums but almost. I’m thinking of Begging, Manufacture and Vagina Den Tata.

I’ve also enjoyed developing a bit more in the live setting on TikTok and leaning into the visual elements too. There are exciting things to come!

We love that you’re not afraid to go bold with your tracks and track titles; how does it feel to be so free through sonic expression? 

 I think it’s important to hold true to your instincts when you are an artist creating, you need to be aligned with that little voice inside and honour it, without trying to stifle it!

If you had to name one, what’s the main component which ties your eclectic discography together? 

I think the common thread is…me! Ha ha! People also seem to respond to the lyrics, and that is really great to hear. I want to create a body of work, a body of work that can help people, that can soothe them in times of distress and make them feel less alone.

Where do you typically find your lyrical inspiration? 

Everyday life. Or it can be something I read or watch. A line of dialogue will set me off. Or it can be something that someone says or the way someone looks. It can take me by surprise.

You’ve teased a string of upcoming releases in 2025; can you give us an inside view into what will be dropping onto the airwaves? 

There’s more stuff coming and I’ll be leaning into the visual element more. I don’t want to give too much away but it’s an exciting time!

How did these tracks come to fruition? 

I am spinning a lot of plates, so I try to use my time in a productive way but that also feels free and conducive to making something honest. So I like to have my instruments on hand and easily accessible to create when the spirit moves me

How do these singles tie into your broader ambitions? 

My main ambition is to create music that makes people feel less alone that is like a virtual hand, held out to give support. The artists I love have been like that for me.

Stream PRI// on Spotify.

Interview by Amelia Vandergast

TEX entranced the airwaves with the lush lo-fi ambience in ‘Wolves on Pike Street’

Posted on 16 December 2024
TEX by TEX

Wolves on Pike Street by TEX allows lush lo-fi trip-hop ambience to place you in a sonic clearing where birds call amid syncopated beats, their gentle presence woven through ripples of reverb. There’s a natural stillness at the core, yet the pulsing rhythms lure you into a trance-like focus, making you feel every subtle shift in tone.

Just before the track settles into calm, sermon-like indietronica vocals rise. These hushed tones arrive before fresh scintillation refracts through the melody, dousing the arrangement in subtle luminescence. Vibes, soul, and euphony form the triadic pillars, supporting what almost feels like an extension of the universe itself.

Hailing from Cape Town, Johnny Tex—born in 1985—the family man who cherishes his own solitude, experiments with colour and sound alike, crafting music purely out of love, hoping to inspire at least one other soul to reach for creative release. Safe to say he succeeded in his mission with Wolves on Pike Street which constructs a sonic sanctuary for the rhythmic pulses.

Stream and purchase Wolves on Pike Street via Bandcamp now.

Review by Amelia Vandergast