Browsing Tag

Soundtrack

Honeyed country-rooted consolation rises through the blue-colour blues of Eddie Rose’s ‘Steel Clocking In’

Eddie Rose opens Steel Clocking In (Alternate Take) with the kind of steady-hearted presence you only get from someone who has lived the graft rather than posed beside it. He writes from the life he knows, shaped by long shifts, heavy expectations, and those quiet late-night moments when you try to keep your hopes intact before the next alarm goes off. The single offers a glimpse into the larger project he has been building around narrative-led country storytelling, tied to upcoming releases for a podcast and TV series aiming to fuel people pushing through their own daily loads. That context gives the track a lived-in weight, though the song already carries enough tenderness on its own.

Rather than romanticising the struggle of blue-collar blues, Rose delivered a single fraught with consoling resonance for the unsung heroes who keep capitalism’s cogs turning. Void of pity yet swarming with acknowledging nods to the fatigue and the resilience held by everyone who keeps toiling, the accordance-rich, radio-ready release settles into the most tender parts of your soul, guided by the humble timbre of true-blue Americana instrumentals and Rose’s infinitely affecting vocals. Every inflection, soaring harmony, and pensive vibrato within his honeyed and honed vocal range hits exactly where it’s supposed to, making its impact through carressive soul. In an era when the grind is glamourised, Rose strayed from the path directed by façade and ego to reach out to the world-weary. It’s the sort of track you’d put on after a long week, letting the warmth spread while thinking, alright then, maybe it’s worth keeping on.

Steel Clocking in (Alternate Take) is now available on all major streaming platforms via this link. 

Review by Amelia Vandergast

Through the Noise by Kaleita Scored the Fractured Frequencies of Modern Life into Sonic Clarity

Kaleita

The inaugural strike from Kaleita, the solo alias of the UK-based, Italian-born guitarist and composer Filippo Faustini, refuses to skim the surface of sonic expression. Through the Noise creates its own altitude above generic genre lines, dissecting the post-rock landscape with a methodical precision and a deft hand in ambient experimentation. Faustini’s disquieting guitar tone smoulders through a brooding cinematic prelude before spiralling into a controlled implosion of texture, timbre, and tonal grief.

The composition stays emotionally articulate as it decays and reforms with haunting clarity. The cello work from Maya Mc Court adds weight to the gravity Kaleita generates by tuning the strings of existential dread into something that doesn’t buckle under its own contemplation. Each instrumentalist works in service of the storm; nothing feels self-serving, every element is meticulously placed to hold space for the commentary within.

Underneath the cultivated composition lies a thematic excavation of contemporary disorientation. Climate anxiety and digital dissonance ripple through the accompanying visual narrative, but Through the Noise never drowns itself in abstraction. Instead, it filters the chaos through a lens of raw human sensitivity. In doing so, Faustini doesn’t just score for the now, he sets a new standard for what experimentalism can evoke when anchored by intent and executed without ego.

The track’s crescendo reaches beyond sound design into cinematic emotionality, inviting those who still listen closely to embrace the signal within the interference.

Through the Noise is now available to stream on all major platforms, including Bandcamp.

Review by Amelia Vandergast

Mountains Moved by Emotion: James Shumway’s Neo-Classical Confession, ‘To the One I Love’

James Shumway doesn’t need lyrics to convey the kind of sentiment that leaves an imprint. In To the One I Love, the composer and pianist lets his chords speak with a sincerity that cuts deeper than the average confession. Written as a love letter in sonic form, the piano solo articulates what most fail to find the words for—how love can exist in extremes and still be real.

The piece, recorded alongside visuals of Shumway playing against the peaks of Mount Timpanogos in Aspen Grove, carries the same magnitude as its setting. He moves through the composition with the emotional conviction to shift the mountains he’s playing for. At its most impassioned, the performance soars, before it is grounded again by the encroaching shadows of a darker motif midway through—those reverberant notes underscore how even unconditional bliss can be strained by disquiet. But nothing here stays bleak for long. As the turbulence lifts, a gentle playfulness takes its place, reaffirming the resilience of affection when given space to breathe again.

With a musical career that started at six and original compositions penned since the age of nine, Shumway has carved his own lane in neo-classical music. While comparisons to Romantic Period giants like Rachmaninoff surface often, the emotional signature on his latest release is unmistakably his. Following IOU and Regrets, which mapped the emotional extremes of love and loss, To the One I Love is the connective thread that proves he understands both sides too well.

To the One I Love is now available to stream on all major platforms. For the full experience, stream the official music video on YouTube. 

Review by Amelia Vandergast.

Contrasts Collide: The Eclectic World of ‘Abyssinian’ by The Soft Parts

With abyssinian, the standout single from their sophomore album, The Soft Parts unfurled a texturally intricate sonic tableau which refuses to settle into predictability.

Opening with cinematic neo-classical grandeur, abyssinian invites listeners to stroll through the golden age of film scores, before the chill of avant-garde influences begins to weave through the organic warmth of the basslines. Playful polyphonic keys soon take centre stage, creating a delicate tension as each instrumental element works in purposeful juxtaposition to the next. When the neo-classical keys return with greater tenacity, they anchor the composition, ensuring it never spirals into abstraction despite its eclecticism.

The Soft Parts, the project of a Houston-based composer and sound artist, brings together a unique palette of influences spanning classical music, art rock, cocktail jazz, and lounge music. These influences shaped abyssinian into what could best be described as funk-inflected art pop, dipped in the moody magnetism of New Tango and Arab musical textures.

abyssinian pulls listeners into its orbit, making them feel the landscape of its creation as it swaggers, scintillates, and soothes in equal measure. If you want to stray away from sonic monotony, hit play.

Abyssinian was officially released as part of The Soft Parts’ sophomore LP, innuendo, on January 3rd; stream the single on all major platforms, including Spotify, now.

Review by Amelia Vandergast

Martin Packwood narrated a ‘Suburban Story’ with his cinematic instrumental rock panorama of ambience, awe and raw emotion

Martin Packwood’s Standout 2024 single, Suburban Soundscape, paints with sound rather than strokes, proving words aren’t always necessary to articulate raw emotion.

The Birmingham-born composer and instrumentalist, who rediscovered his creative spark after years away from the scene, channelled decades of experience into a dynamic instrumental track that balances nostalgia and innovation with unflinching precision.

The track opens with a pulse of 80s-inspired atmospheric reverb, gently coaxing listeners into its cinematic ambience. Then, angular guitar notes slice through the backdrop of shimmering synths, setting the stage for orchestral strings to swell and stir. Packwood’s love for rock is unmistakable as the guitar tones build with a classic fervour, only to be softened by meditative electronic motifs that tether the record to a state of hypnotic tranquillity.

The arrangement defies the boundaries of rhythm, offering a panoramic experience that shifts between introspection and awe, creating a sonic environment where stillness and movement coexist.

Packwood, who cut his teeth as a teenager playing across Birmingham’s live circuit, clearly honed his craft across genres ranging from heavy rock to jazz. After shelving his guitars to focus on family and career, the COVID lockdown gave him the space to build his own home studio and reconnect with his creative roots. That rekindled passion radiates throughout Suburban Soundscape.

Suburban Story is now available to stream on all major streaming platforms, including SoundCloud.

Review by Amelia Vandergast

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

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

Jeff Goldsmith – Before Dawn: Stillness in Electronic Neo-Classic Motion

This Beast by Jeff Goldsmith

Ahead of the release of his This Beast EP, the award-winning Minneapolis film composer and sound designer, Jeff Goldsmith teased the reflective ambience to come with the unveiling of ‘Before Dawn’.

The instrumental score captures the beauty of the stillness before dawn breaks and the humdrum of modernity unfurls. The electronic synthetics reverberate around the softly plaintive keys which keep the momentum quiescently pushing forward through the layers of ethereal reverb which border on ominous as the single progresses reaches a subtle crescendo.

The track then winds back down through an installation of artfully composed neo-classic trip-hop, exhibiting Jeff Goldsmith’s versatility as a musician and engineer. His ability to beguile through electronic sound design fused with treated samples and evocative acoustic instrumentation has earned him several accolades in the industry.

When he’s not composing for the airwaves, he’s scoring soundtracks for horror and thriller films. His most recent project, This Beast, may be a departure from his industrial leanings, but for the sonic sanctuary it delivers, it is more than worth your attention.

Stream and purchase Before Dawn on Bandcamp now.

Review by Amelia Vandergast

Tact rendered ‘Catharsis’ in their neo-classic homage to human resilience

Tact, led by the visionary Franco Tartaglia, has earned a revered reputation for kindling their compositions with heightened emotion since their 2009 formation. With their latest jazz-infused neo-classic soundtrack, Catharsis, they reached the pinnacle of evocative poignancy while celebrating the resilience of the human spirit.

Ensuing from a diaphanously ornate feat of cultivated ambience, the instrumental arrangement, as suggested by its name, leads the listener over the brink of emotional release through a strikingly thematic crescendo of jazz-instilled rhythmic complexity.

Leading up to the crescendo, the delicate touch of minor key piano notes hit deep, stirring the senses before the addition of fluid, finger-picked classical guitars injects palpable warmth into the piece. Wordlessly, the piece reflects the often-overlooked beauty within humanity; our ability to physically, psychologically, and spiritually endure atrocity in the tumultuous human experience and take it within our stride.

Catharsis stands as a vibrant testament to the band’s journey and evolution; recorded at Temple Studios and accompanied by a film crafted by Kenneth Scicluna and Klara Vassallo, the release is the ultimate homage to inner strength and dignity.

Stream the official video for Catharsis on YouTube now.

Review by Amelia Vandergast

The Primary Phase Principle has unveiled their cerebral post-industrial fable, The Subdued Mechanist

Taken from the debut EP, Echoes of the Mechatronic Age, the standout post-industrial electronica score, The Subdued Mechanist, from the Winnipeg-hailing solo artist, The Primary Phase Principle, paradoxically pacifies the senses while heightening emotions to such a visceral extent, it is almost primal.

The concept EP implants listeners in a fictional civilisation which depends on a universal mechanism they can no longer fully understand to deliver the ultimate parable of the AI-dominated future we are sleepwalking into.

The atmospherically filmic ambience of The Subdued Mechanist cerebrally alludes to Orson Welles’ belief that there is no confidence equal to sheer ignorance; it’s a liberating, quasi-Stoic score that holds a mirror to humanity and its willingness to evolve beyond its own comprehension.

By pouring influence of NIN, How to Destroy Angels and Tangerine Dream through a science fiction lens, The Primary Phase Principle unlocked the narrative power of post-industrial. He has a superlative gift in his ability to chronicle immersive fables simply through juxtapositions of harsh mechanical synthetics and crystalline flashes of enlightenment. His EP is so much more than just another addition to the airwaves, it’s a beacon of higher consciousness.

Stream The Subdued Mechanist on Spotify.

Review by Amelia Vandergast

Victor Moreno delivered nyctophoria with his original film score, Ascend All Night

Victor Moreno’s original film score, Ascend All Night, opens an unflinchingly scenic aural space; he takes a score- opulent in emotion, yet aligned with a sense of unease -past the usual remits of neo-classical into a disquieting sci-fi territory that slips away from gravity.

Thick with unsettling intrigue, akin to a dark corridor you ache to explore, Ascend All Night unravels a nyctophile’s sonic dream by painting a twilight canvas in an ocean of depth which rushes forward into the static of intercepted radio signals before moving past them into the depth of the unknown.

Celebrated for his refined compositions, Moreno has a background enriched by his time at the Swedish Center of Electroacoustic Music and Sound Art. His collaborations with figures like Oliver Ackermann and Wolfgang Tillmans, and his reuniting with sound engineer Rupert Clervaux—who has worked with Spacemen 3 and Spiritualized—bolstered the polished audial textures that define this score.

This evocative piece, central to the narrative of the short art film Ascend All Night, crescendos through a rapture of rich textures, blending piano, violins, synthesisers, and the irreplicable draw of Spanish acoustic guitar. Drawing comparisons to the likes of Nick Cave and Warren Ellis, or Thom Yorke, Moreno’s work has ensured that the short film is already making waves across the film festival circuit, promising a vivid journey for audiences everywhere.

Stream the original film score here.

Review by Amelia Vandergast