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producer

your friend juniper: An Interview on Music, Love, and the Art of Feeling Everything

Posted on 26 February 2025

your friend juniper builds worlds where emotions are raw, love isn’t sugar-coated, and every note carries the weight of something real. With makesmehappy leading the charge for her next album, she’s taking listeners beyond the predictable highs and lows of love songs, exploring the in-between—the messy, unfiltered parts that make relationships human. In this interview, she opens up about crafting music designed to hit like a dopamine rush, the balance between creative freedom and self-promotion, and why Nashville’s storytelling tradition has shaped her lyricism in unexpected ways. From the way she assigns colours to her songs to her belief in slow, meaningful career growth over viral fame, Juniper’s perspective is as thought-provoking as it is refreshing. Read on to step into her world of sound, sonder, and sonic connection.


Juniper, welcome to A&R Factory! With makesmehappy kicking off the rollout for your upcoming album, there’s a lot to unpack about your creative vision and the way you approach music as a full-spectrum experience. makesmehappy offers a perspective on love that isn’t just about the highs but also embraces the messier, unpolished parts. What drew you to write a love song that challenges the typical narrative?

I know there are many songs out there that touch on so many aspects of love, but it tends to be in these certain worlds of either gaining it or losing it. There’s this whole middle area of navigating it that’s really the juicy bit. Love, in every kind of relationship, is really challenging, and sometimes it’s pure joy, and in others, it’s really putting aside your desires or expectations for the sake of another person, and it’s all driven by the same thing: love. I wanted a song that took me through that turbulent and wonderful journey of expectations and compromise and deep connection, almost like a simulator. I figured no one is ever alone, so there had to be other music lovers out there searching for that song as well. I think I honestly got too impatient and decided to make it myself.

You’ve described your music and visual content as designed to trigger a dopamine release, almost like an essential vitamin. How do you translate that idea into the way you produce and arrange your songs?

I desperately push for every second of my songs to inspire the listener to feel something. I’m a person with high expectations, and it for sure creeps into my music and content-making process. I had to really discover why I wanted to live this insane lifestyle and make music, and it came down to wanting to affect people in a positive way. Music and art are extremely powerful and I want someone who discovers me to have an experience from the second they go to my profile to the very end of the first song they hear and then have it just continue. I want my music and content to be like a good friend.

It takes a lot of time and effort, but it’s just so worth it. I make all of my own visual content as well as my music, and right now I’m really diving into a new aesthetic of sondering, which is the realization that you’re one of many complex lives. It can make you feel small in the existential sense but also fill you with awe and curiosity. So, welcome to my little world where we wander, ponder and most of all, sonder! 

Since you write, record, and produce everything yourself, what’s your creative process like when you’re shaping a track from the ground up? Do you start with a sonic idea, a lyric, or something visual?

My songs often begin with lyrics or weird voice memos of me humming a melody. Song seeds honestly come to me at the most inconvenient times, like when I’m in the shower or driving or trying to fall asleep. All of a sudden, lyrics will just start flooding into my brain, often with a rhythm. I have to get them down immediately or literally just repeat them until I can. Sometimes, I feel like one of those characters in a movie who has visions and the world stops, and they seem to lose control and have to draw something or write something.

I’ll always finish the song acoustically before I record anything. It starts with the main instrument and a vocal demo and then I’ll produce the song fully and often record the final takes of the vocal last before I start mixing. The ideas come as I go with production. I often hear a rhythmic part or a melody in my head and then figure it out on whichever instrument I’m hearing and layer things in until I can’t hear any more parts. That’s when I’ll go in and really strip back and take things away until it’s only what the song really needs. Sometimes, a simple production is the most effective. You have to be willing to undo and go back and redo and all these really annoying things but refusing to compromise with your songs has to be the main goal.

Your upcoming album is your second full-length project. How does it build on or contrast with your debut in terms of themes, production, or the emotional weight behind it?

My first album was really an attempt for me to just get all these songs I had in my bank out. It varies so much from song to song, and I truly love it and think all of those songs deserved to be released, but it’s not a cohesive album by any means. This second full project was more intentionally put together as an album, and there is definitely a strong cohesiveness throughout it lyrically and sonically.

Haley Heynderickx was my big inspiration for the sound of the album. I love the intimacy and saturation of her music. For the lyrical content, the moral of the story is really to sonder and realize how crazy this world is that we live in and that we only get one weird little life on it. I think as a species, we focus on all the wrong things and separate ourselves from each other in all these ways that don’t matter. Spend less time thinking about yourself and way more time thinking about the world and the strange and beautiful people in it. It’s medicine for the brain and the heart without the long list of horrible side effects while a lady twirls on a beach.

What’s been the most effective way for you to reach listeners who truly connect with your music?

Slowly. I know it sounds like I am being cheeky but slow and steady wins the race. I want an authentic, grassroots fan base grown through actual engagement, and that just simply takes longer. I could really spend most of my time trying to go viral and rise to fame quickly, but it’s not a great long-term investment and I’m a musician, not an influencer. I’ve had friends go viral multiple times and it’s great for the views on that one video and the streams on that one song but I haven’t seen it curate a true fanbase who stays with you. I’d way rather spend my time making really good songs, putting together a great live set, making authentic content that’s easy because I actually enjoy making it and then travel the world and share my music in person with people.

There’s a strong visual element to everything you do, from colours to the way you present each track. What role do visuals play in shaping the way your audience experiences your music?

I think music and visual art are soulmates. They can exist without each other and still be extremely wonderful but they’re even better together. Color is a really strange thing because it doesn’t really exist, at least without light. We really only perceive color based on the wavelength and the object it’s bouncing off of and that’s just insane and amazing. I always wanted color to be a part of my brand because it’s a universal language. Every song of mine is attached to a color that not only visually represents the song but scientifically does as well. Our brains react to different colors in different ways and I want to utilize that to enhance my songs. It’s kind of my way of adding frosting to a piece of music.

Nashville is known for its rich musical landscape, but your style stands apart from the city’s more traditional sound. How has being in that environment influenced your work, if at all? 

Nashville is a great place to be if you want to really grow as a lyricist and songwriter. Country music is about storytelling above anything else. It stems from the structure of classic 12-bar blues where every song essentially has the same movements but it’s the story and the way the singer tells that story over those movements that makes it unique. There’s a depth of forethought in country lyrics that I love where a line at the end will finally tie together a phrase or idea from an earlier part of the song. It’s like the whole song is connected in these really clever ways, like a novel or a movie rather than just a good hook and who really cares what we’re saying in the song you know? Being in this environment has absolutely helped me grow as a musician. It’s also really about talent in Nashville instead of clout or connections and that’s why Nashville is quality over quantity. Country music is definitely what makes up a majority of the landscape here but so many artists these days are blending genres, as they should, so it doesn’t feel so important that I am not a country singer.

Independent artists often have to balance the creative side of music with the reality of promoting it. How do you manage both without losing the heart of what you want to create?

Oh my gosh, I lose heart all the time! Musicians have to be so disciplined and work so hard and put so much of their own money into their careers without getting anything in return for a long time. I honestly don’t think anyone from any other field of study would accept the terms in their careers that artists are pretty much forced to accept. The music industry is broken…really broken so we have to support each other and really go back to basics. It really feels like every system is broken because nowadays pretty much everyone is working two or more full-time jobs and can’t afford basic essentials.

I’m still finding the balance and I think I always will be. I don’t think anyone ever fully gets it or finds the one true method because it’s so dependent on so many things. I had to find where the deficit was in my own process and make peace with the fact that I had to save up money to invest in marketing for my releases, tours and live shows. I’m still hoping to get a manager or a booking agent this year because it’s really overwhelming a lot of the time but I’m a big believer that nothing good comes easy and it proves to me every day how much this is my passion and my purpose because no matter how hopeless it seems, I just keep doing it.

You clearly believe in this album and its potential to connect with listeners. If people take away one thing from this record, what do you hope it is?

Sonder. Think about others way more than you think about yourself. Be beautiful in the ways that really matter. Forgive people as quickly as you can and for the love of Mary fight for a life where you’re spending most of your time doing something you love. If you let it, life will break your heart. Love yourself so much that you’re willing to sacrifice to be healthier and a better person. It’s not about indulging every feeling or thought like truly allow yourself to grow and change.

–

Find your preferred way to listen to your friend juniper’s latest single and connect with the artist via this link.

 

Interview by Amelia Vandergast

Preaching to the Converted: Nicco Lupen’s ‘Sunday at Church’ Reimagines Worship on the Dancefloor

Posted on 22 January 2025

Nicco Lupen’s latest single, ‘Sunday at Church’, doesn’t just bring beats to the congregation—it delivers the gospel of tech house with an intricately cultivated sense of purpose.

Hailing from Italy and now based in Prague, Lupen has carved his reputation on grooved-out rhythms, deep basslines, and euphoric melodies, earning recognition on platforms such as Spotify, SoundCloud, and Beatport. But with this release, he transcends the archetypes of house music by imbuing his production with a soul-affirming euphoria that hits deeper than the average dancefloor anthem.

By swathing his pulsating rhythms in sermonic samples, Lupen invites listeners to experience the transcendence of music as energy. It’s a far cry from the hand claps and foot stomps referenced in the samples, which bring the rhythm to church, but the mix is sanctifying sonic scripture all the same. Lupen wrote a New Testament by blurring the lines between sacred spaces and late-night clubs. The vocal outpours contextualise the track beyond its beats, urging reflections on how rhythm and ritual connect people across all walks of life.

The call to communion challenges the predictable structures of tech house and carves a cerebral edge into its hypnotic progressions. Nicco Lupen’s ability to bridge soulful introspection with dancefloor ecstasy solidifies his position as a standout in the electronic scene.

Sunday at Church is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Interview with Elevated Focusion: Channeling Two Decades of Motif Mastery into ‘An Electric Evening with Jonny Rhythms and the Magical Motif’

Posted on 12 January 2025

Elevated Focusion has always had a knack for turning personal moments into musical odysseys, and their latest venture proves it once again. In this interview, we step into their world of mesmerising motifs and rediscovered treasures. The backbone of this LP, An Electric Evening with Jonny Rhythms and the Magical Motif, dates back to 2001–2004, a time when a Yamaha Motif Classic keyboard was central to the creative spark. Fast-forward two decades, and these tracks find fresh purpose in 2025, offering a glimpse into the old-meets-new synergy that fuels Elevated Focusion’s style. From the subtle jazz infusions to the nostalgic Nintendo echoes, their willingness to experiment breathes new life into these long-lost compositions.

Elevated Focusion, thanks for catching up with us to discuss the launch of your LP, An Electric Evening with Jonny Rhythms and the Magical Motif. With the tracks being made in 2001 – 2004, the project has been two decades in the making; what inspired you to release the collection of tracks in 2025? 

The studio I mix my music in has an old Motif. So while mixing my 3rd album, I have been taking all my old music from my memory cards. I already released the album ‘Elevated Focusion’ under the name Jonny Rythmns.  I would say that album was 20 years in the making.  This was probably 5 minutes in the making…lol.

I am an impulsive artist and in the moment it seemed like it could be cool to do something with some of the mixed music from my old memory cards.

All the tracks were brought to life on a Yamaha Motif Classic keyboard; how did the instrument influence the creative process behind these tracks?

I bought this keyboard when I was 19 years old.  With the Motif, I used to play a lot more piano.  A lot of my songs would have piano in some way or another.  Which is funny, because I never use piano at all anymore.  So it really is like two completely different artists.

Do you feel its specific sound shaped the emotional atmosphere of the collection?

I love Jazz and 90s Nintendo music.  At that time, I really wanted to be a jazz artist, but I just didn’t have the technical skills to do it.  I was trying to make jazz, but it just ended up being whatever the hell it was…lol

I only ever had an original Nintendo and it was functional for a long time.  So, I guess subliminally, I always had Nintendo on my mind. So Nintendo “wanna be” Jazz was my thing I guess.

What was the process of professionally mixing these songs like, and how did it transform the original tracks?

I honestly did the bare minimum on these songs except for the last song.  I put a little time into that one because I wanted to see where the engineer could bring it.

I wasn’t planning on releasing these songs.  I just was doing the bare minimum to get them ready for possible use in TV & Film.

I mixed the song that is the final song on the album last week. I really wanted to do something with it.  So, I decided to put together an LP with my favorites of the songs I recently mixed.

Since creating this collection, what do you feel are the most noticeable ways you’ve evolved as a musician and composer?

I definitely feel like technology has made it easier to develop a song and collaborate with other artists.  My music was a lot more introspective back then.  I was just stuck in my own head.  I have a lot more life experience now.  It is a lot easier for me now to step away from my music and try to create from a third-person point of view.

Were there any specific life events or personal moments during 2001–2004 that particularly influenced the themes or emotions of these songs?

There is no doubt about it, that it was a difficult time in my life.  To be honest, I don’t really remember it. Those memory cards are really all I have.

I always want to create an experience with each release.  It sounds crazy, but this release really isn’t personal.  I wanted to create an immersive experience of what memories I took from those old memory cards.

Is there a particular track in this collection that holds the most personal significance to you?

I would definitely say the final track.  It was my attempt to create a symphony just using that keyboard.  I recorded each sound on its own track and filled up the 16 tracks on the keyboard.  It was really difficult to do at the time.

Now with having Logic Pro, all the things that were impossible on the Motif are now extremely easy.  But I am still really proud of that track for what it is.

How do you hope this collection connects with listeners, especially those who might not have experienced your earlier music?

This is an invitation to an intimate moment.  It is almost like sharing memories.  Most of my old music is poorly mixed.  These songs are professionally mixed.  So maybe someone would give this a chance, where they normally couldn’t get into my old music.

What’s next for Elevated Focusion? 

I am working on the mixing for my 3rd album which I hope to release by Fall 2025.  It is a lot of fun and I’m looking forward to sharing it.  Where ‘Dark Nights’ focused on dark themes, this is a lot lighter.

I honestly love doing this.  I am already working on my 4th album.  Each album will always have its own vibe, and I will always try to challenge myself to do something fresh.

–

Listen to An Electric Evening with Jonny Rhythms and the Magical Motif on SoundCloud now.

Interview by Amelia Vandergast

A&R Factory interview with the man, the muso and the audio legend, Manuel Sanchez

Posted on 3 September 2024
Manuel Sanchez

Manuel Sanchez’s interview with A&R Factory explores into his profound connection with music. His narrative begins with the discovery of this deep-seated passion and traces through his scholarship at Berklee College of Music which marked a pivotal point in his artistic life. His artistic arc showcases an unyielding adherence to personal authenticity, a theme consistent throughout his career and particularly evident during the Berklee audition where he presented an original piece.

The interview touches upon the challenges and cultural shifts Sanchez faced, from moving to Boston to establishing himself in the competitive Los Angeles music scene. His role at Igloo Music, alongside his transition into producing his own music, highlights his evolution and the various facets of his musical and professional identity. 

Manuel Sanchez, welcome to A&R Factory! It’s a pleasure to sit down with you and discuss your storied career as an audio engineer and musician. To start, can you take us back to the moment when you discovered your passion for music? 

My passion for music began when I was just 9 years old and started taking guitar lessons. From the very first moment, I felt a deep connection with music. Despite my limited knowledge of music theory at the time, I always found a way to express myself through it, creating original pieces from the moment I started playing. This drive to express myself inspired me to continue studying, striving to improve and communicate my emotions even more effectively through music.

Earning a scholarship to Berklee College of Music is no small feat. How did the scholarship shape your approach to music?

When I received the scholarship, I felt vindicated—it reaffirmed my belief in trusting myself and in what music truly meant to me. Many people don’t know this, but I wasn’t accepted into one of the universities I applied to in Colombia. Their requirements were very strict; to be accepted, I had to perform a prepared piece that demonstrated technical ability in a specific genre—Jazz—which I wasn’t very familiar with at the time. As a result, I felt like I wasn’t good enough.

However, for my Berklee audition, I decided to stay true to myself. I played an original piece with a full band because I wanted to show the jury what music truly meant to me: a way to express myself. When I received the scholarship, I knew that trusting my vision and passion had been the right choice. Years later, I had the opportunity to meet one of the jury members from that audition, and she told me it was one of the best auditions she had ever seen. No one else had the idea, nor the boldness, to bring a full band into an audition to play an original piece.

How much of a culture shock was it to move from Bogotá to Boston for your scholarship?

Arriving in Boston was a big shock. Not only because I had to learn a whole new language but because It was the first time I was living by myself. The culture was different, the food, the weather. In Colombia, we don’t have winter so being -26°C (-14.8°F) is a challenge for me. But Berklee was an amazing place to start over. I had many friends that were international students as well and we all supported one another. It was very interesting to me how so many people from so many different countries could just get together and become friends. It really showed me that humans have the ability to get along no matter how different we think we are.

You have successfully integrated into the LA music scene, a pipedream for most, what has been your experience of the industry in LA?

LA can be a really tough city at first. I felt more lonely and stressed moving to LA than I did moving to Boston from another country. When I arrived in LA, I was on my own, without a car or a stable job. I took on numerous internships while working, and eventually, I found a place where I could grow.

Your work at Igloo Music, alongside industry giants like Gustavo Borner, has been a pivotal part of your journey. What have been some of the most impactful experiences working there?

Definitely, learning from more experienced people has been invaluable. Even though they were often busy with many responsibilities, they were always willing to help and teach. And then there’s the importance of making mistakes and improving from them. Don’t be afraid to fail—every failure is an opportunity to learn and grow.

You’ve contributed to over 100 projects, including high-profile productions like Money Heist: Korea and The Glory. Out of all these projects, which one do you feel was the most challenging or rewarding, and why?

One of the most challenging projects I worked on was Who Killed Him? for Amazon. This project was particularly demanding because it centered heavily on the actors’ incredible performances and artistic vision. We had to ensure that we preserved and enhanced the original intent, staying true to the creative direction while bringing out the best in every detail.

Your career spans various roles in audio engineering, from mixing to recording and dubbing. How do you approach each of these roles differently, and what do you enjoy most about the diversity in your work?

Being able to switch between different roles is something I’m very grateful for. Every time I spend a long time recording, for example, it’s nice to be able to transition to a different aspect of my profession and continue being creative. Each role is like a different hat or character I need to play, and with experience, you can switch between them more organically.

You’re on the verge of releasing your first single and have several exciting projects on the horizon. Can you share a bit about what we can expect from your music and these upcoming ventures?

I’m thrilled to finally release my music project. These songs have been in the making for years—some for over five years—so they’re deeply connected to my journey. They represent how I’ve perceived and experienced my path and evolution throughout this time.

Your story is one of perseverance, talent, and an unwavering commitment to your craft. For those who aspire to follow a similar path in music and audio engineering, what advice would you offer based on your experiences?

I advise staying true to who you are and what you genuinely want. Don’t be afraid to take risks and demonstrate your desire to grow and learn. Nowadays, society is like a loud playground where it’s easy to get lost. So take the time to focus on your inner voice and truly listen to what your heart wants. Be grateful for what you’ve achieved, as that gratitude will give you the strength and courage to keep moving forward.

–

Discover more about Manuel Sanchez via his official website.

Interview by Amelia Vandergast

Alisma-Rei anthemised the cycle of connection and detachment in her dance track, While We’re Ahead

Posted on 30 August 2024

The emerging independent artist, producer, and mixing and mastering engineer, Alisma-Rei, has added to her repertoire of infectious dance anthems after unveiling her latest euphoric floor-filler, While We’re Ahead, which strikes all the right rhythmically kinetic chords.

While We’re Ahead infuses the soul of RnB and the introspection of singer-songwriters into the dance track which delivers an affecting vignette of the reality of fragile relationships heading toward their inevitable end.

The thematic depth is matched by an intricate production style, where subversive syncopated time signatures create a sonic landscape full of unexpected twists and turns. The rhythm, with its mercurial momentum, ensnares listeners, reflecting the track’s core message through its unpredictable beats.

The impassioned delivery of the fiery RnB vocals leaves no doubt that the track served as a canvas for cathartic expression for Alisma-Rei. The single unspokenly invites listeners to lose themselves in the rhythm, find solace on the dancefloor, and perhaps heal a little in the process.

While We’re Ahead dropped on August 8th; stream the single on all major platforms via this link.

Review by Amelia Vandergast

ARCTISKY countered divisive propaganda with his latest slice of reggae folk pop gospel,  Let Freedom Ring

Posted on 9 August 2024

By using MLK’s famous speech which shares a vision for an egalitarian future in the intro to his latest single, Let Freedom Ring, the Melbourne-based singer-songwriter, multi-instrumentalist and producer, ARCTISKY, affirmed that almost 80 years have passed since the revolutionary called for peace and equality, yet, tragically, his dream is yet to manifest.

The sublimely uplifting folk-tinged reggae rhythms counter the divisive propaganda perpetuated by the media which is playing a pivotal role in increasing hostility as ARCTISKY’s arcanely honeyed harmonies become conduits of compassion within the gospel-esque atmosphere of the cultivated single which paralyses through the purity within the crescendos.

Let Freedom Ring is an opportunity to slip into the sanctity of a conflict-free society, a reminder that we can’t stand idly by and hope that a resistance rectifies the pervasive prejudices that are destroying societies and making enemies of the innocent. The call to action which sets a tone of historical reflection and aspiration couldn’t hit closer to the bone.

Let Freedom Ring will be available to stream on all major platforms from August 9th. Find your preferred way to listen on ARCTISKY’s official website.

Review by Amelia Vandergast

Get into the groove with Ryan Alexander’s funk-chopped disco pop earworm, Stay the Night

Posted on 31 July 2024

Ryan Alexander’s latest single, Stay the Night, featuring pop vocalist Michael, is more disco than a disco ball with its funk chops which cut through the kinetic grooves to ignite dancefloors and send sparks of serotonin flooding through the psyche of anyone who encounters this synthesis of sonic nostalgia and salaciously amplified contemporary innovation.

The hit mainlines the guitar rhythms of Nile Rodgers with the beats of Daft Punk, while the infectiously euphoric pop vocals from Michael turn up the heat in this magnetic earworm, resulting in a track that showcases the immense potential of this independent producer’s talents.

Although Alexander is currently reverberating through the underground, it is only a matter of time before he breaks major ground and storms the mainstream with his flair for expansively fusionistic songwriting and producing.

Hailing from Glasgow, Ryan Alexander’s passion for music is evident in every beat of his rapidly growing discography, which is picking up major traction through his local performances in October Café and other revered venues around his hometown. There’s no doubt that a big break is around the corner.

Stay the Night was officially released on July 22; stream the single on Spotify now.

Review by Amelia Vandergast

khokkosh. incited an industrial art-pop riot with ‘pelicaning’

Posted on 16 July 2024

Exhibiting the artistic freedom of a mind that knows no creative constraint, the 20-year-old dark electro-pop producer and visual artist khokkosh. used her seminal single, ‘pelicaning’, prised from her sophomore two-track release, ‘pelicaning./a duck, a bear, and I.’ to conjure a macabrely avant-garde aural installation that haunts the middle ground of Poppy and Billie Eilish.

By mainlining the harsh elements of industrial into a hypnotically warped earworm which sonically mimics the effects of a trance spiral, the Indian artist found her place at the vanguard of the art pop revolution.  The self-written, produced, mixed, and mastered computer-adjacent, thematically visceral synthesis of caustic beats and scathing synths explores the self-invented phenomenon of pelicaning; the act of caging words inside you until they are forced to erupt.

With this two-track release feeding into khokkosh.’s merciless agenda of piercing through the veil of inhibition, regardless of how ugly we may appear to others we expose our true unfettered autonomy, the revolutionary isn’t just one to watch, her fearless authenticity makes her an artist to admire and emulate.

Stream the official music video for pelicaning, which premiered on July 8th on YouTube now.

Review by Amelia Vandergast

From Earth to Utopia: Galactica Tranctica Fearlessly Innovated the Trance Anthem with the Cosmic Unconventionality of ‘Cleopatra’

Posted on 11 July 2024

One of the most fearlessly innovative forces in trance, Galactica Tranctica, has made a name for himself with his eclectically styled and unapologetically unconventional singles and EPs. His eagerly anticipated debut LP, Forgotten Forever, which hit all major streaming platforms in June, etched his legacy.

His intuitive exploration of a cosmos of styles, textures, tones, and emotions prises the listener from material reality into interstellar journeys through utopias of ecstasy. The standout single, Cleopatra, is a progressive tour de force which teems with euphoric energy and filters diverse layers of electronica into a cohesive soundscape of bass-swathed beats, transcendent ethereal motifs, and experimental synths, which showcase an artist unafraid to explore new territories to lead his listeners to the brink of nirvana and beyond.

Influenced by Grimes’ ability to obliterate aural boundaries with sound, Jason Poole, the mastermind behind Galactica Tranctica, follows suit with his intrinsically originated, expansive as a solar system, productions which have earned plaudits from BBC Radio Introducing, Amazing Radio, and Wigwam Radio.

Stream Cleopatra and the Forgotten Forever LP on Apple Music.

Review by Amelia Vandergast

Spotlight Feature: Be Bigger Not Bitter with Tago’s Feel-Good Hip-Hop Juggernaut, Let Me Talk About Mine

Posted on 16 May 2024
https://www.youtube.com/watch?v=hsXyEZ7iyJU

Tago stepped back into the spotlight with his latest single Let Me Talk About Mine, which is set to be a significant moment in his career. The Dallas-based rapper and producer, who has spent the better part of a decade behind the scenes, enriching other artists’ careers, now takes centre stage, showcasing his own story with soul-infused conviction that demands attention.

With Let Me Talk About Mine, Tago crafted lyrics that are both sharp and introspective, set against a backdrop of electrifying beats and cutting-edge electronica aesthetics that shake the dust off old school while tapping into the grit of it.

This single is an unreckonable assertion of self-worth and an invitation to witness his ascension in hip-hop. His narrative is potent, steeped in personal growth and the gritty realities of forging one’s path against the odds. Tago captivates through this monolithic hit, employing kinetic rhythms that propel the listener through his journey of self-realisation and unflinching ambition.

It’s a track that will stand the test of time as a testament to Tago’s ability to weave traditional influences into a modern sonic landscape that pulsates with energy. If you’ve ever felt overshadowed, step into the limelight with his emboldening instant classic.

Stream the official music video for Let Me Talk About Mine from May 16th.

Follow Tago on Instagram.

Review by Amelia Vandergast