Browsing Tag

singer-songwriter

The Raven (G185TARR Vandal Mix) – A Hypersonic Surge of Industrial Chaos and Alt-Rock Melodicism

Posted on 12 March 2025

The G185TARR Vandal Mix of Ami Leigh’s seminal single, The Raven, detonates with hypersonic industrial electro rock before the mechanical intensity makes way for indie rock melodicism that finds new intersections through punk ethos. It’s a sonic collision course, where rallyingly magnetic vocals evoke alt-90s nostalgia as they glide across white-hot guitars and the brutal percussive force driving the track forward.

Bringing the rough with the smooth, the seductive with the savage, Leigh lands in an intrinsically distinctive alt-rock domain, toying with elements of post-hardcore before tossing them aside in favour of a pop-hooked chorus. The contrast is a masterstroke—every shift in momentum feels calculated yet completely untamed.

The mix affirms that Ami Leigh isn’t just making noise in the North East—she’s forging a path with her fearless genre fluidity. As a fixture on BBC Introducing and international radio charts, her ability to adapt and innovate is on full display in The Raven. It’s the epitome of an infectious anthem, engineered to leave an imprint long after the final synth riff signals its departure.

Stream the official video of The Raven Remix on YouTube now.

Review by Amelia Vandergast

The Siren of Jazz, Ippi Roy, Hits Every Note with Effortless Elegance in ‘Dat Dere’

Posted on 10 March 2025

Ippi Roy proves she’s a soulfully sublime force to be reckoned with in the jazz scene with her latest single, Dat Dere. Laying her expressively rich vocals atop swanky piano keys, she crafts a soundscape that hypnotises with its effortless grace. The keys are ornate enough to bring a neo-classic touch to the release when they’re not injecting bluesy grooves that underscore the depth of her reverent connection to aural expression.

With an extended piano solo, there’s plenty of opportunity to lose yourself in the instrumental panache before Roy’s vocals return, carrying even more impassioned zeal. Her voice has all the power needed for international stages rather than a smoky jazz bar, and if Dat Dere is anything to go by, it won’t be long before the rest of the world catches up.

From her early days fronting Delhi-based blues outfit Big Bang Blues to making waves across India’s festival circuit, Roy has long been making her mark. With a jazz degree from the prestigious University of North Texas and accolades like the Paris Rutherford Jazz Leadership Award, she’s now navigating the US jazz world with a reputation that’s impossible to ignore. Dat Dere is just another step towards the recognition she deserves.

Dat Dere is available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Ben Z Breaks the Mould with the Shape-Shifting Alt Trap Pop Anthem, ‘Wanderin’’

Posted on 10 March 2025

Ben Z made an unapologetic introduction with Wanderin’, a debut single that refuses to follow a straight path. What starts as a cinematic composition that wouldn’t be out of place in Zimmer’s repertoire chameleonically morphs into a moody trap flow, with bars blazing over the sharp beats that bring intensity to the production, amplifying every syllable that Ben Z lays down with conviction and charismatic swagger

Succeeding in his mission to lay down hits that blaze past the mould right out of the gate, the innovator has a promising career, and if the visceral impact of Wanderin’ proves anything, it is that he’s an artist with the fortitude and fire to deliver. The seamless transition from orchestral grandeur to brooding hip-hop dynamism is a bold move, but one that pays off by showcasing the full force of his creative instincts.

With a vision this sharp and a debut this potent, Ben Z has already set the bar high. If this is just the starting point, whatever comes next is bound to hit just as hard.

Wanderin’ is available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

James Pots Cradles the Right Words for Devotion in the Lo-Fi Folk Reverie of ‘Close My Eyes’

Posted on 10 March 2025

James Pots doesn’t waste a second of Close My Eyes trying to impress with grand gestures. Instead, he lets his whispered reverence do all the talking. The short and sweet burst of idyllic folk reverie is a love letter penned with unflinching adoration, performed with an impassioned quiescence that draws you into the centre of the intimately minimalist performance. With little more than the rugged pulls of his guitar strings and the warm reverberations of his honeyed harmonies, he strips romance back to its rawest form—delivered with the quiet conviction of someone who knows exactly what devotion sounds like.

Featured on his debut LP, Everybody’s Gonna Know Your Name, Close My Eyes is just a glimpse into the album’s broader meditation on love and commitment. Where so many artists overcomplicate what those three little words mean, Pots keeps it unpretentious and unguarded.

At just 18, Pots has already proven himself to be a master of understatement. With a growing catalogue spanning acoustic folk, pop, and even dance EDM, he’s building a reputation as an emerging Australian artist unafraid to explore his creative instincts. If Close My Eyes is any indication, he’ll be one to watch as his sound continues to take shape.

Close My Eyes is available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

JohnnyTheWidower’s ‘My Lady is Gone’ Rains Soul into the Blues

Posted on 8 March 2025
Broken Piano by Johnny The Widower aka The Solar Guy

JohnnyTheWidower, AKA The Solar Guy, doesn’t just touch on loss in My Lady is Gone—he lets it simmer, steeping every note in raw feeling without letting the weight drag the groove down. The Brooklyn-based songwriter, producer, and engineer channels blues, R&B, and afrobeat into a smoky, jazz-kissed atmosphere that feels less like a structured composition and more like a session that caught fire in real time.

With a cohesiveness that gives the impression of a seasoned band rather than a solo project, the track makes space for fluidity without sacrificing precision. The instrumentation carries the kind of ease that can only come from instinct, stripping back the years to a time when music was created for catharsis, not marketability. It’s indulgent without excess, hitting that rare sweet spot where musicianship and emotion are balanced without tipping too far in either direction.

For those tired of surface-level soundscapes, JohnnyTheWidower delivers oceanic depths, leading listeners further out before hitting them with a visceral crescendo in the outro. It’s impossible to walk away unaffected.

 My Lady is Gone is available to stream on all major platforms, including Bandcamp.

Review by Amelia Vandergast

Wil Hinkson’s ‘Mystic Cries’ Holds the Stillness of the Cosmos

Posted on 8 March 2025

Wil Hinkson’s latest single, Mystic Cries (The Mystic Cries) isn’t in any rush to prove itself. Instead, it lets the weight of its tranquillity settle, making space for listeners to breathe in its celestial echoes. With classic pop foundations softened by jazz’s fluidity, the soundscape never forces transcendence—it simply allows it. The layers move like shifting constellations, effortless yet intentional, with no trace of ego shaping the composition.

Hinkson, the sole architect of the piece—writing, performing, and producing—delivers something that feels both unshaken and boundless. His vocals don’t overreach; they resonate with the kind of ease that makes every note feel inevitable. The track’s poetry leans towards perception-shifting rather than indulgent introspection, guiding rather than dictating. Fans of Peter Gabriel’s contemplative atmospheres will find comfort in its restraint.

In a world that demands constant movement, Mystic Cries offers stillness without emptiness. It’s a rare thing—a song that doesn’t just accompany reflection but facilitates it, giving the listener permission to detach from the grind and let their soul feel whole.

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

To discover more about Wil Hinkson, visit his official website.

Review by Amelia Vandergast

Leah Nawy’s ‘ordinary’ Turns Vulnerability into a Cinematic Spectacle

Posted on 5 March 2025

With all the intimacy of an impromptu demo recorded in a moment of creative ignition, ‘ordinary’ by Leah Nawy is anything but. The indie folk-pop progression is cinematically ornate, building crescendos that ooze the golden age of Hollywood while the duality running through the track keeps its emotional weight balanced on a knife edge.

With a vocal range that floats between seraphic and soul-stirring, she lets the narrative unfold syllable by syllable, pulling listeners deeper into an introspective world full of bitter-sweet, close-to-the-bone confessions. Within the abstract poetry of ‘ordinary’, tendrils of insecurity, uncertainty, desire, and regret intertwine, painting a panoramic view of what it means to be human in an era where meaning is something we have to define for ourselves.

A songwriter, producer, and multi-instrumentalist with deep roots in rock and classical music, Nawy’s ability to craft arrangements that feel instinctively right is second nature. From her time playing Jersey Shore venues to earning her Master’s at Berklee NYC, her refined ear and raw experience shine through in every note.

‘ordinary’ is the kind of song you hear once, feel your existence affirmed by, and refuse to let go of.

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

Review by Amelia Vandergast

Denim Dan’s Cover of Things Have Changed – A Time-Warped Waltz Through Unchanged Chaos

Posted on 4 March 2025

Denim Dan’s take on Bob Dylan’s Things Have Changed doesn’t chase imitation—it struts with the eccentric zeal of a Tom Waits fever dream, drenched in 70s pop panache. The playful shake-up of Dylan’s quasi-waltz groove lets the walking basslines and jangly piano keys call the shots, keeping things rooted in their era while the intricate guitar work wraps the production in a fully immersive haze.

There’s no forced nostalgia here. Instead, it’s an exploration of the human psyche that feels just as relevant now as it did when Dylan penned it. The paradox is baked into the song itself—everything changes, yet the absurdity of existence remains consistent. Denim Dan leans into that contradiction, using his well-worn storytelling instincts to breathe new life into the track without stripping away its weariness.

Denim Dan’s legacy stretches back to the mid-’90s, but this cover makes it clear they haven’t lost the spark that first set them apart. With a lineup featuring veterans like Dave Gellis and Garden Kent, their latest work taps into decades of experience without feeling weighed down by it.

Things Have Changed is available to stream on Spotify.

Review by Amelia Vandergast

Shahev Sen Dips a Brush in Nostalgia and Paints a Soul-Soaked Indie Dream with ‘You Know Why’

Posted on 3 March 2025

Shahev Sen sings like he’s unburdening his soul, letting every note spill out with the weight of lived experience. His sophomore single, You Know Why, pulls from the golden days of new wave indie and the dreamy haze of ‘60s psych pop, creating a sound that feels like slipping into a world where the colours are richer, and reality softens at the edges.

Hailing from the streets of old Calcutta, Shahev’s journey has been anything but straightforward. His early days as a bassist and vocalist in the city’s club scene shaped his raw, blues-infused rock ‘n’ roll sensibilities, but after his band dissolved in 2015, the pull of music never fully loosened its grip. In 2023, he returned as a solo artist, bringing with him the weight of time, reflection, and a refusal to bow to trends.

You Know Why is steeped in personal reckoning, wrestling with the struggle of prioritising values over financial stability in a world that doesn’t always make room for sentiment. His vocals cascade through the track with an unfiltered honesty, carrying the ache of repressed anger and betrayal. Instead of leaning on a predictable guitar solo, he swaps it for a sweeping orchestral middle eight, giving the song a grand, cinematic depth, resulting in a soul-stirring indie gem that doesn’t play by the rulebook.

You Know Why is out now on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

From Ballads to Bold Anthems: Megan Wheeler on Her Artistic Evolution – An Interview

Posted on 3 March 2025

Megan Wheeler has always been a storyteller, but with Now That I’m Gone, she steps into a new chapter—one shaped by collaboration, growth, and a sharpened sense of artistic direction. The track sees her breaking away from her piano ballad roots, embracing an up-tempo sound that captures the strength in walking away and knowing your worth. In this interview, she discusses the influence of working with producer Channing Nuon, the challenge of sifting through hundreds of unfinished ideas, and the impact of her time in Nashville. From early inspirations to the producers she dreams of working with next, Megan offers insight into her evolving craft and the themes shaping her upcoming projects.

Megan Wheeler, welcome to A&R Factory! Your passion for songwriting has been evident from an early age, and it’s exciting to see how your music continues to evolve. Now That I’m Gone feels like a turning point in your songwriting, showing growth from your early work. What emotions and experiences shaped this track, and how does it reflect where you are now as an artist?

This track came from the inspiration of an artist and song I love. I came to the point in my songwriting where I wanted to try collaborating and also write something up-tempo compared to piano ballads. I wanted to write something that gave a sense of empowerment in knowing your worth and knowing not to go back to old habits. I would say this reflects a part of where I am now as an artist. I have a lot more range in my songwriting to continue to show.

This is your first time collaborating on a song. How did working with Channing Nuon influence the final sound of Now That I’m Gone, and did the experience change the way you approach songwriting?

Working with Channing Nuon was a great experience. He produced this track, and we co-wrote it, which is something I’ve never tried before, so he definitely had a big influence over this track. This experience gave me a new approach to try. It helped me become more comfortable in collaborating, sending ideas back and forth, and writing over a track already produced for the first time. I’m used to producing the tracks myself, so it’s incredibly helpful to have another person work on this project.

You’ve mentioned that storytelling has become a bigger focus in your music. What kind of stories do you find yourself drawn to, and do you feel like your songwriting process has changed as a result?

The kind of stories I find myself drawn to are ones I can relate to and also stories that make me think of things in a different way. I love songs with lyrics that make me think “I’ve never thought of putting it that way before”. Songs that are relatable to my life make me feel heard and my feelings validated so I automatically become drawn to them. I definitely think this has changed my songwriting process as now, I focus on writing lyrics that can make people really feel and relate to what I’m trying to say.

With over 200 unfinished pieces stored on your phone, how do you decide which ideas are worth developing into full songs?

There are certain ideas I feel drawn to more than others. I know I want to work on developing an idea if I find myself listening to it over and over again, feeling that sense of rush in writing something I love and think others will. There are some ideas I hear and think, it’s okay but I could do better. The more I write, the more I find ideas that excite me to develop them.

Your time at Belmont University and in Nashville must have given you a fresh perspective on the industry. Did your experiences there shape your vision for the kind of artist you want to become?

Being in Nashville and in a school surrounded by songwriters, I see the dedication and work ethic people put in and it inspires me. I have met professors that have done things in their careers that make me think my dream is possible to achieve. It instills confidence and inspiration in me to be surrounded by such talent. My vision for the kind of artist I want to become now is someone who takes the inspiration of others and turns it into motivation to reach my fullest potential.

You’ve expressed an interest in working with producers who have helped shape the careers of well-known artists. If you could collaborate with anyone right now, who would it be and why?

My dream producer collaboration would be with either Max Martin, Jack Antonoff, or Dan Nigro. These producers have created songs I’ve grown up listening to and inspired me to be like. They’ve created possibly some of my favorite songs with some of my favorite artists and I’ve always wondered what kind of songs I could create with producers like them.

As someone who started writing at a young age, how has your relationship with music evolved, especially since taking time to focus on your mental health?

When I was young, I used to write for fun as a hobby of mine before even knowing how to develop a full song. Over time, my relationship with music has evolved into something more fulfilling. There were times, especially when struggling with my mental health, when I questioned if this was something I really wanted to pursue. Taking time to focus on myself has taught me that this is something I really am passionate about, and if I didn’t at least try, I would regret it for the rest of my life. Now, I feel confident in the path I’ve chosen for myself.

Your music is deeply personal but also relatable to your peers. What kind of impact do you hope your songs have on listeners going through similar experiences?

I hope listeners feel validated in their feelings and in their thoughts. Hearing songs that are relatable yet personal can create a connection I hope to have with my listeners on a deeper level.

Looking beyond Now That I’m Gone, are there any themes or sounds you’re experimenting with in your upcoming projects? 

In my upcoming projects, I’ve been experimenting with more production ideas and instruments I haven’t used before. Something that can still feel authentically myself while expanding and creating my own sound.-

Discover more about Megan Wheeler via her official website; and listen to her sophomore single, Now That I’m Gone, on Spotify from February 28th.

Interview by Amelia Vandergast