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London Music Scene

Stephan Folkes: The Visionist Unveiled – An Interview

Posted on 23 February 2025

Stephan isn’t interested in fitting into the mould—he’s here to break it. With a commitment to artistic individuality and an outright rejection of industry trends, the self-proclaimed “King of Fantasy” brings a fearless perspective to music. From his early experiences as a performer to shaping a sound that refuses to be boxed into a single genre, he discusses the influences that fuel his creativity, the industry’s pitfalls, and the unwavering philosophy that guides his career. In this interview, Stephan opens up about the challenges he’s faced, the lessons learned from working with industry veterans, and his vision for the future—both in the studio and on stage. If you’re looking for an artist with conviction and a refusal to play by the rules, you’ll want to hear what he has to say.

Stephan, welcome to A&R Factory! It’s a pleasure to connect with you and meet the artist behind your upcoming releases, which carry a fearless sense of individuality and a refusal to conform to expectations. Going back to the start, you started performing at 11 and writing music by 13. How did those early experiences shape your approach to songwriting and performance today?

Hello Amelia, thank you for your warm welcoming!!!. First of all, performing at the age of 11 was nerve-racking and an amazing experience. I had the best performance at the show. From that day, I knew I wanted to do something musically like performing, eventually dancing & Music production. I started writing my songs from 13 & the first song I wrote is called Incomplete, which is on my upcoming debut Album Hazard!! During my early musical journey, I did have some professional direction, but not as much as I wanted.

Long story short, more than half the time, especially as a Special needs individual, I was trying to discover who I am, who I want to be & where am I going? Consequentially, I decided to just be myself, find those that won’t try to influence me away from my identity/brand & stand out as much as I can, as most people have to follow others because they’re conditioned to do so. I’m usually seen as the odd one out, I love it!! Some people think I’m weird & strange, which is fine because it shows that I’m not like them & I go by my instincts.

You describe yourself as “The Visionist” and “King of Fantasy.” What do those titles mean to you, and how do they manifest in your music?

For me, these slogans are not only a part of my brand as this further enhances & conveys my non-sheep mentality towards people. There are people out there right now who have heard my music & they always say it’s “different”. Whenever I hear that, I know I’m on the right track because that’s what I want!! I’m not stupid to make generic music because to me, it shows little to no creativity & it’s overly safe. This is one of the reasons why I despise Major record labels as they demand their artists to follow trends that the Label themselves typically creates.

Major labels love to use marketing & promotional strategies to tell people what to like & not introduce music to the masses and see whether customers/consumers like it for themselves. This helps me grow & develop into the artist that I want to be!!

Your music rejects societal pressures and encourages self-investment. Was there a particular moment or realisation in your life that solidified this ethos?

Great question, Amelia!! By being alive long enough & realizing there’s too much negativity in this world. This yet again solidifies my non-sheep mentality because there’s too much conditioning from the powers that be. Hence, I strongly advise people to self-invest in themselves to grow & develop. When people do this, they will realize a lot of predicaments are by design. How are we as people supposed to make this world a better place when too many people are following lies & garbage? I don’t want to sound too political; I’m not a perfect Human being as everyone makes mistakes. However, I’ve been putting my actions where my Mouth is especially, in my music.

You’ve worked with industry veterans like Nick Michaels and Phil Curran. What’s the most valuable lesson you’ve taken from these collaborations?

Working with Nick & Phil has taught me a lot of things & it also keeps me humble. Because there are skills I either lack or need improving on, honestly, everyone has or at least should have a team behind them. No one truly makes it by themselves, even great artists like Prince, MJ, George Michael & Freddie Mercury, etc. It’s also important to have a team that resonates with oneself as this can further enhance a harmonical professional relationship, environment & better music.

I remember when I first worked with Nick & Phil, the Production owner Nick gave me about 2 hours for free to show me what they could do to my track: It’s all within time (travelling through the stars) (which is also on my debut Album Hazard). What I’m about to reveal is very personal, so here goes. I had tears in my eyes that I quickly wiped so they wouldn’t see how overwhelmed I was. It was truly amazing & I knew from that moment this would work out.

With influences ranging from Prince and Stevie Wonder to Billie Eilish, how do you merge classic inspiration with a modern sound while keeping your music distinct?

I’m glad you’ve asked this question because for me, the best artists & music for the most part, came from around the 60s to the 80s. Not to put too much emphasis on my age, those eras were before my time & even I realise the greatness of those eras & how much inspiration that has continued to inspire artists like myself to this very day. Those great artists took chances to express themselves & went by instinct, which is exactly what I do. I don’t care if I’ll never be on their level; I’ll be ecstatic if I was 25% of their level. As a result, because I’m different to what is currently being produced & released. This helps me keep my music & my brand more distinct.

Also, when people listen to my music, especially my vocals, they usually mention Prince, Bee Gees, MJ & George Michael. Mentioning Billie Eilish is very crucial not only because I’ve listened to some of her music previously & I do quite like her sound. Billie is also a contemporary artist & generally, when people discover an artist they’re interested in, they want to know as much information about that artist, including their inspirations, because it can illustrate to the assessor whether the artist is worth their time & investment. If the assessor likes the artist’s inspirations (& other aspects) like myself, the assessor will more likely give me a chance because we have something in common. Unfortunately, most of the artists that I’m heavily inspired by are no longer alive. At times, when I make my music, it feels like I’m paying tribute to the greats who have impacted me not only musically but also overall.

Your debut single, Say it like you mean it, digs into the pain of unreciprocated love. How personal was this track for you, and what do you hope listeners take from it?

Yes, Say it like you mean it is my debut Single & my song clarifies the importance of valuing one’s time and energy while delivering a message about self-worth as well as learning to read between the lines by not always expecting or wanting someone to be direct & honest about any circumstances. About 90% of communication is nonverbal or indirect. I’m a man & men generally make the first move on a potential love interest. I’ve wrongly chased women in the past; I didn’t realize they were not interested & I got my feelings hurt. I’m confident my song will resonate with a lot of people. I would like my listeners to know that a smart person learns from their mistakes but a wise person learns from the mistakes of others.

Genre constraints clearly don’t interest you, with your music spanning everything from funk and soft rock to trance and metal. Do you think audiences are becoming more open to fluid genre-crossing, or do you still feel resistance?

I think people are probably more open to different genres of music. There still is/always will be a bias towards certain genres, which is Human nature & that’s not really an issue. For me, I would find it limiting if I was to focus on one, two or even three genres because I look at music like MMA. Why should I use a few elements when I can use as many as I want? Music is an art, art is an expression & that expression will mean different things to different people. All I have to do is market and promote my stuff towards the right people who resonate with my art.

Growing up with special needs, you faced and overcame significant hurdles. Has that shaped the way you navigate the music industry, and do you feel a responsibility to represent those with similar experiences?

Growing up with Special needs was an extremely difficult experience that I still struggle with to this very day. However, I’m dealing with it; I’ll have my bad days & I’ll have my good days. I have personally learnt to embrace this because it helps me overall keep my sanity & no one is perfect. I’m not a machine, I’m a Human being & nothing in life is always perfect. My Special needs have greatly shaped my outlook in life. I have decided to channel this energy for the most part in my music, not only to blow off steam but also to musically help people even though at times I struggle to help myself. Not only is this a message to myself, but it’s also a message to other people that you’re not alone!! Music to me is like therapy; I really love the euphoric feeling music gives me from Writing, Singing, Producing & Sound engineering, etc. Music, at times, makes me feel so alive. Everything I’ve mentioned in this interview is a part of my brand, hence why I NEED to manifest this.

You’ve got your sights set on touring globally. What’s the ultimate vision for your live shows, and what can audiences expect when they see you on stage?

I really can’t wait for this to happen. In short, my brand will physically reflect what I’m going to do on stage. The same way I listen to other artists, I watch other artists perform & anything that’s treading, I either won’t be doing it or I’ll do my own alteration of it. I don’t necessarily need to have the best performances. I’ll have performances that people will be compelled to engage with. Watch this space.

Tell me a little bit about your cousin Deyaz (UK artist).

No problem. I’ll quickly go over a few things. Deyaz is my cousin who’s in the Music industry as an Indie artist. Even though we no longer speak as he has stupidly cut off the vast majority of his family members in his life, apart from his mother. I like to call this, I’ve made it syndrome. It’s good for him that he has got to where he’s at initially, with no Music buzz; however, I’d say it’s very sad how he has dealt with this situation. Because some people like myself who did help him out got cut off. Deyaz was never taught to be like this; he has or got a drink & drugs addiction. It’s natural selection. When my name starts getting out there more, I’ve promised myself I’d never stupidly lose my identity/brand. I’ve heard of these things happening to other artists. Me & Deyaz were supposed to collaborate but that never materialised.

I remember I took Deyaz to the Hospital when he asked me to, when he showed up late to my mum’s place. I thought something had happened to him. I was thinking of the worst-case scenario. Deyaz even got punched by his own brother for being “ungrateful” & all the things that were done for him. It seems more like a personality trait. If there are any setbacks in my life, I’ll try very hard to look at things as positive to grow, develop, remain determined, take courage & persevere. On a lighter note, I was recently in talks with Nines’s (UK Rapper) Music manager. Only time will tell if anything comes out of that.

Stream Say It Like You Mean It on Spotify now.

Stay tuned for Stephan Folkes new releases on Instagram and TikTok.

Discover more ways to listen and connect with Stephan via this link.

Interview by Amelia Vandergast

Exploring Vulnerability and Growth: Daniela Talks ‘Waiting’ and What’s Next

Posted on 21 January 2025

Italian-born, London-based singer-songwriter Daniela, known for instilling emotional depth into jazz-inspired textures, joined us for an intimate discussion about her latest single, Waiting. Daniela shared the personal experiences that shaped her track, reflecting on love, heartbreak, and life’s moments of anticipation before touching on how her Italian roots and London’s diverse music scene influenced her sound, how collaborations with accomplished musicians like Robin Banerjee shaped her vocal delivery, and the balance she strikes between honouring classic inspirations and exploring new sonic territory. Daniela also opens up about the vulnerability she aims to convey in her music, the contrasting energy of intimate jazz bars versus festival stages, and her ambitions for the future.

DANIELA, welcome to A&R Factory! Thanks for sitting down with us after launching your latest single, Waiting. We’d love to know the backstory of the single. 

Thank you! I’m really excited to share more about Waiting. This song is incredibly personal to me, and it’s rooted in a relationship that had a strong impact on my life. I fell deeply in love with someone, and even though we’re no longer together, those emotions are still very present in this track. I’ve always loved intensely and fully, but I’ve come to realise that sometimes love feels like a luxury I can hardly afford. There’s a song I love called ‘You Don’t Know What Love Is’ and it says: “You Don’t Know What Love Is, Until You Know the Meaning of the Blues”, and that line really resonates with me because, in a way, that’s the essence of Waiting. It captures that bittersweet side of love—where the joy and pain go hand in hand.

I think anyone who’s truly loved knows that love doesn’t always last forever and as reality set in, it hit me harder than I ever expected.

Originally, ‘Waiting’ was supposed to be a “happy” love song, but after the relationship ended, I kept going back to it, changing the lyrics, trying to make sense of what I was feeling. The final version reflects that whole journey—the dreamy warmth of falling in love, the waiting game that could lead to something beautiful or, as it often does, to a heartbreaking end.

This song holds a special place for me because it’s the result of a lot of introspection. I wrote it during a time where I was navigating a lot of emotions, almost like I was in this in-between space, and I think we all have moments like that. Personally, I felt this sense of waiting for something to shift, like I was on the verge of a breakthrough in my own life but didn’t know how or when it would come. The song became a way for me to process those feelings. I wanted the sound to reflect that build-up of emotions, almost like you’re holding your breath, waiting for that moment when everything finally clicks and you know who and what is in front of you.

After writing it, the meaning of the song extended beyond just love. It became about waiting in general, that feeling of anticipation, where we’re waiting for the next step, the next moment that could change everything. After-all, aren’t we all waiting for something in life?

How do you feel your Italian heritage and London experiences have shaped the emotional core of your new single?

Haha, isn’t there enough drama in that pre-chorus to tell you I grew up in Italy?! Oh, and did I mention the person in question is from London? Did I say too much?! Anyway, to answer your question a bit better, I think it’s like blending the passion and intensity I’ve always known with the complexity and introspection that come from living in a place like London. This city can be both exciting and isolating at the same time, and that sense of navigating life while still holding onto those deep, emotional roots definitely influenced the tone of Waiting. It’s about creating moments within all the noise—even those quiet, vulnerable ones where you’re waiting or falling in love.

How have your collaborations with seasoned musicians, such as Robin Banerjee, influenced the way you approach vocal expression?

Collaborating with seasoned musicians like Robin Banerjee has been such a rewarding experience. We actually met years ago at various jam sessions in Brixton and South London, and since then, I’ve always loved his vibe. Jazz musicians like Robin have this incredible ability to express emotion in such a soulful, free, fluid way, and being around that has definitely influenced how I approach music.

In “Waiting”, I found myself exploring different textures in my voice—whether it was a softer tone to express vulnerability or a more raw, emotional delivery for certain lyrics. Working with jazz musicians over the years has helped me grow both as a singer and a songwriter. They’ve taught me to be more intentional with how I convey emotion and to embrace the nuances that make each performance unique. That’s something I’ve carried with me into all my projects.

When you look back at your background in swing and jazz, what elements have you carried into your latest material?

My background in reinterpreting and performing jazz repertoire has deeply influenced me, especially in a live context. On the EP, you’ll hear some of that influence with a few friends playing horns and guitar, adding layers to the music. Jazz, as a genre, has been crucial in helping me explore different musical styles and develop my skills as a vocalist. It taught me how to really listen and feel the moment, which has made me more flexible and expressive in my performances. The London jazz scene is rich and diverse, where different influences blend into the mix, nurturing a unique perspective. This has pushed me to experiment with different sounds, allowing me to find my own voice and evolve as an artist

How important is it for you to challenge your listeners with themes that reach beyond surface-level storytelling?

Crucial. I want my music to spark something deeper, to make people think and feel. Life isn’t just about the highs or the lows—it’s about everything in between, those moments that are complex and sometimes hard to express. I think as an artist, it’s my job to dive into those complexities and invite my listeners to explore them with me.

I’ve always been drawn to songs that don’t just tell a story but also evoke emotions, reflections, and even questions. So, I try to do the same with my work, pushing beyond the obvious to explore themes of love, loss, hope, and vulnerability in ways that aren’t always straightforward. I want my music to feel like it’s a conversation, not just with myself, but with the people listening, offering them something they can relate to, challenge their perspective, or even make them look at things in a new way. That said, I love a good catchy hook!

How do you determine the balance between honouring classic inspirations and pushing into unexplored sonic territories?

To me, it’s about what feels good—some people may connect with it, others may not, but I think that’s the beauty of art. For example on the single “che si puo fare” inspired by the Barber Strozzi’s composition, I love how that piece captures emotion so beautifully, and I wanted to take that sense of depth and emotion into my own work, while allowing myself to explore my own voice and sound.

Working with good musicians and producers has been essential in making this balance happen. They help me take the classic inspirations I hold dear and bring them into the present, using modern sounds and approaches to create something fresh. It’s a collaboration of ideas and visions, and having a strong team to push me creatively is what allows me to stay true to my roots while also exploring new sonic landscapes. That’s the space where I find myself most creatively fulfilled.

Which aspects of your identity as a performer do you want audiences to feel most strongly when they hear your voice?

When people listen to my songs, I want them to feel my vulnerability the most. I believe that’s where true connection happens—when you’re willing to be raw and open, letting people into your world and your emotions. Vulnerability is where the depth of a song comes alive, and I hope that when listeners hear my music, they feel like they’re experiencing something personal, like if someone has finally found the words to say what they have been going through all along.

Do you ever feel pulled between the intimacy of a cosy jazz bar and the scope of larger festival stages, and how does each setting influence your artistry?

Absolutely, There’s something incredibly special about performing in a small, intimate space like a jazz bar. It’s so personal—it’s just me and the audience, and in those moments, I can really let my guard down and experiment with the music, knowing that every nuance in my voice or every small shift in energy is felt by the crowd. On the other hand, larger festival stages have their own magic. The energy is different—there’s a bigger crowd, more excitement, and a feeling of shared experience. It’s more expansive, and I get to tap into that collective energy. The performance becomes a bit more dynamic, with room for movement and more elaborate production. Both settings push me to connect with the audience in different ways, and I love that contrast

After the release of Waiting, what ambitions are driving you forward in your music career?

I’ve got a new single coming out soon at the beginning of spring, which I’m incredibly excited about. On top of that, I’m thrilled to announce a special live show on the 17th of April for Korak Music Events, a fantastic new platform dedicated to emerging artists. You can find more details about the event here: Korak Music Events – A Complete Live Music Journey. These next steps are all about continuing to grow, share new music, and engage with listeners and fellow artists. There’s so much more to come, and I’m excited for what’s next!

Discover Daniela’s music on Spotify, and discover more about her via her official website.

Interview by Amelia Vandergast

Shoegaze collides with post-punk in The Silent Era’s latest visceral vortex, Oscillations

Posted on 15 October 2024

With powerhouse vocals that follow in the ethereally haunting footsteps of Desperate Journalist filtering into the monochromatic shoegaze meets post-punk atmosphere, the latest single from The Silent Era will leave you spellbound, scintillated, and desperate in anticipation for their debut album, Wide and Deep and Cold.

The engorging walls of sound, glistens of goth rock glamour, vortexes of kaleidoscopic mesmerism, angular guitar notes and pulsative percussion pull together in the radio edit of Oscillations to pour an alchemic cocktail which may pay ode to pioneers of post-punk and shoegaze, but there’s no mistaking The Silent Era’s own ingenuity within the aching authenticity of the single.

If Oscillations feels this good through headphones, the live experience will undoubtedly leave you kneeling at the altar of The Silent Era.

Stream the official lyric video for Oscillations on YouTube now.

Review by Amelia Vandergast

London Alt-Metal duo Glytsh unfurl their fury in an interview with A&R Factory

Posted on 5 October 2022

Following the release of their latest scathing stormer of a single, SAV@GE, A&R Factory caught up with the Swiss guitarist, Hella Sin, & the French singer, Luna Blake, from the London-based Alt-Metal duo Glytsh to discuss the motivation behind the momentous hit and their plans to encourage inclusivity in the music industry.

Your latest single, SAV@GE, is a massive hit of vindication for anyone that has ever voiced a valid opinion only to be dismissed as hysterical and too emotional. Was there a particular facet of misogynistic culture that inspired your new release?

Luna: As a woman you have to face misogynistic behaviours everywhere from an early age. Like a curse from the womb that begins with IT’S A GIRL!

In my case I’ve experienced misogyny within my family, friends, at school, from strangers and in the music scene. Misogyny is the closest cousin to racism, it’s a vicious, underlying disease rooted in education and society. Not only men are to blame, but many women are also conditioned to think this way. Most of the time it expresses itself in the most sneaky and passive way dressed as an advice, a joke, or a compliment.

Hella: As a female guitar player, one of the questions that comes up the most is sexism in the scene. What I always reply is that it’s not really a music industry issue specifically, but more like a recurring issue in any male-dominated field. Our music is mostly inspired by our personal lives and experiences, so writing an angry song about the frustration of navigating the music industry as women is something that comes quite naturally to us, as we’ve both been professional musicians for many years and have a book worth of stories. Although it is important to talk about them, I sometimes feel focusing on them too much instead of the music makes the problem even bigger. I see myself more as a musician in music than a female in music, but I understand the reality is what it is!

It is clear you are intent on making your legacy more than just a music discography; where does that drive come from? 

Luna: Music has played a big part in my education therefore my first motive was purely for the love of it. I’ve realised quickly that I had to fight for it and earn the respect I deserved as a musician and not only as a female musician. I’ve never been scared of voicing my opinions, but I did feel not taken seriously and diminished many times as if my point of view had no value. If anything, it made me stronger, it has fueled my fire and has given me a good reason to scream louder!

Hella: For me, it comes from the fact that I have put limitations on myself when I didn’t have to. This is on a musical level but also in my personal life. If there’s one thing I want more than anything is inspire people to go for what they really want, no matter how much self-doubt you feel. I put off writing my own music for a long time because I didn’t think I was capable of creating my own project from scratch. And now, even at a very early stage, the fulfillment I am feeling when working on this band really improves my life on a daily basis and pushes me to keep going.

In a time when ‘wokeism’ is a trending buzzword to dismiss social justice, and political chaos is driving liberal-minded people who don’t align with the ‘ideals’ of a conservative society further towards apathy, how does it feel to be a force against it?

Luna: Our first motive was and still is to write good music for everyone. I won’t describe Glytsh as political but for the reasons we’ve mentioned above, the need to fight for our place as women in music has become very intertwined with the creative process. We are trying to maintain a balance as we’d like to be seen first as musicians who also happen to have a great message to deliver instead of a political party that voices its great conviction through music.

Hella: To be honest, I don’t think we have an intentional political message in our music. I get why people think we do, but this is not something I can really answer as I’m just trying to come up with great music and inspire people to go for what they want in life and stand for themselves.

In addition to speaking for the marginalized through your music, you’re also striving to make your future shows more inclusive for members of the LGBTQ+ community; can you tell us about your plans? 

Luna: Our main goal is for people to recognise themselves in our music, whether it’s for the sound, the message, or the image. I also want young girls and women to feel empowered when they listen to Glytsh and finally book this boxing class or guitar lesson they’ve been dreaming of taking.

Men are more than welcome too in our adventure. Fortunately many of them have been really supportive and respectful, seeing us as peers. We’ve been working with truly kind and talented ones, and it creates a great balance and dynamic. We’d like our gigs to be a safe space, where everyone can be themselves regardless of their gender, sexual orientation, background, and ethnicity.

Hella: The best way to fight for something is to lead by example in my opinion, rather than shouting aggressively about it. As a member of the community myself, I try as much as possible to be a voice in the scene and hopefully show our fans they can be themselves at our show without any fear or concern.

In your view, what are the biggest barriers for marginalised communities in the music industry, and beyond your efforts for inclusivity, what changes would you like to see implemented?

Luna: Standards! that in my opinion are completely dated and defined by people who should either retire or accept changes. Like with Black Lives Matter, so many big brands have started promoting their products with more black people than they’ve ever done, same with movies which is a true evolution. Everyone deserves to be able to relate and identify themselves to something or someone they like, that they are part of the society like everyone else. Now saying that, I wonder where the line is between the hypocrisy  and the real desire to change. When you know that around the meeting table only white people were having this conversation about how to save their image and don’t discuss how to make a real change from the inside by hiring more people of colour for key roles too. Same with the music industry, giving power to the marginalised communities in the music industry would be a huge progress.

Your timely new single dropped at the same time as the ISM report, which declared sexual harassment and racism endemic in the music industry, with 66% of professional musicians experiencing discrimination, a substantial increase from a previous 2018 report. Can you tell us about your own experiences and observations? 

Luna: The music industry is mainly a white male owned business and the metal scene is too. I’ve been to metal gigs with and seen black musicians being called terrible names in the crowd or a black female singer being judged on the type of music ‘she should be singing’ instead of being in a metal band… this makes me cringe!

Sexual harassment is way too familiar, even more with social media. Some guys still think you breath and exist for their enjoyment and have no shame voicing their sexual needs or making sexual comments to you.

 Hella: First, there isn’t much I can say about racism as this is not something I’ve personally experienced. Having heard some of my friends’ stories it is very clear there’s a massive issue in the metal scene for sure, and coming from a family with different roots, this is an important topic for me, but I don’t want to pretend like I understand it fully because I don’t. However, sexual harassment is something I am very familiar with, but again I see it more as a universal issue rather than just a music industry issue. I am trying to not focus on it and again, dedicate myself to be the best band we can be and show we don’t need a separate category such as “female-fronted bands” for our music.

 Off the back of your own success and protective resilience, if you could give one piece of advice to women or members of marginalized communities looking to get into the music industry, what would it be?

Luna: Do what you love, defend your convictions, surround yourself with people that matter and don’t give up!

Hella: Honestly, don’t focus on it. If you have a desire to make music and all you can think about is riffs and melodies, don’t wait until you find the perfect role model. I know it sounds weird, but you don’t need to look up to anyone if you can’t find anyone who you can relate to. Instead, become a role model!

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Watch the official music video for SAV@GE on YouTube, or add it to your Spotify playlists.

Follow Glytsh on Facebook & Instagram.