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Talent In Borders - Entertainment, Music & Media

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Talent In Borders - Entertainment, Music & Media

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Anastasia Elliot
Photo provided by PFA Entertainment Media & Marketing

Anastasia Elliot gets in the holiday spirit with her rendition of ‘Last Christmas’

Anastasia Elliot‘s holiday alter ego, Elfstasia, is celebrating the most wonderful time of the year with her take on the Wham! classic holiday single, “Last Christmas.” Elfstasia brings a fresh new perspective on the hit single, featuring a powerful performance that showcases her magnetic vocal range. Featured in the official music video, Elfstasia and her band, Whamstasia, are surrounded by Christmas decorations wrapped in a bow. Watch the video for “Last Christmas” below:

“I have always been a fan of “Last Christmas” because it’s a fun sonic spin on a story of heartbreak,” shares Elfastasia. “This time of year is where I shine! Between the presents, cookies, and Santa the whole world changes pace for a few weeks and there are so many smiles and delicious treats!”

Anastasia has recently released her debut single, “Cigarettes and Gasoline,” in which she has received critical praise and fan acclaim. The official music video for the single has received over 200,000 views on YouTube, and can be viewed here. Anastasia’s forthcoming debut features themes of beauty along with the experience of trauma, showcasing her incredible talent.

Find Anastasia Elliott on Instagram, Facebook and Twitter. Stream her music on Spotify and Apple Music.

Source: Press Release

Jade Alice
Jade Alice Photo by Trudi Treble

Jade Alice talks earliest beginnings of music, her electro-pop sound, latest single and positive anthem ‘Pretty Cool’

Melbourne-based electro-pop musician, Jade Alice, is also a singer-songwriter and producer, who creates dreamy, synth-infused songs that electrify and infuse the listener with those feel-good vibes with her intriguing melodies. Alice’s inherent talent has resulted in her receiving the 2015 Melbourne Music Bank songwriting competition, and had three songs in the top five of a songwriting competition in Music City Nashville, Tennessee. Alice has been featured in a variety of major platforms, along with her music receiving critical and fan praise.

Alice’s latest single “Pretty Cool,” is a gorgeous song about being comfortable and ‘pretty cool,’ in your own skin, and she exudes passion for being ‘cool’ in her own skin with this latest single. In our interview with Alice, she chats with us about her earliest beginnings with music, what draws her to the electro-pop sound, playing piano and guitar, and her fun music and entertainment favorites. Get swept up in Jade Alice’s music and learn more about her!

What was your first introduction to music?

Jade Alice: My parents are musicians, so growing up they introduced me to a lot of music! They met when they formed an ABBA tribute band so right from the beginning I listened to a lot of ABBA!

What inherently draws you to the electro-pop sound?

Jade: I really love the energy you can create with the production! The possibilities are endless when it comes to creating electronic sounds. I love being grabbed by melodies and hooks. When I hear really cleverly constructed pop songs by other artists, the songs are so easy on the ear and instantly memorable, but under the surface they can be quite complex to create!

What is your writing and recording process like?

Jade: It changes around a lot! Most of the time random melody ideas pop into my head, so I have hundreds of them as voice memos in my phone! Other times if it’s an emotion that’s hit me I create chord progressions and then melodies over the top. Sometimes I hear songs in my dreams! But almost always, the lyrics come last.

Your latest single, “Pretty Cool,” is a positive anthem about being cool in your own skin, however that may be. What was the influence behind the single, and how does it resonate with you personally?

Jade: It was about shifting the way I saw myself, and my self-esteem. I feel like self-love is something we all have to practice getting better at, especially in the culture I have grown up with. There’s a lot judgment at face value. There’s self-deprecating humor where we make fun of our insecurities in the hope that people won’t think we take ourselves seriously or think big of ourselves. Which is so sad, to diminish the things that make you great instead of celebrating them! I wanted this song to promote confidence in people and help them feel empowered!

The music videos for your singles are just as vivid and engaging. What do you like the most about producing a music video? The least?

Jade: This one was great fun for me because I got to sort through so much old footage, so many memories and hilarious moments caught on camera! I’m so lucky that my parents took all that footage. I wanted to capture a form of myself where I really had no inhibitions or cares in the world about what people thought, and I feel like that’s the place we all start in as kids! The thing I like the least I guess is just how time consuming the editing process can be, and the frustrations of technical hiccups!

You also play guitar. What was your first introduction to the guitar, and are there any other instruments you play?

Jade: My grandmother bought me my first little guitar, I started learning to play it when I was around 10, and soon after that I started writing songs on it. I do play a bit of piano too, and recently I’ve been writing more songs on piano than guitar.

You’ve released a number of singles, thus far, is a full album in the works?

Jade: There is definitely an album waiting patiently to come out! I have this stack of songs that I want to put out, probably two albums worth actually! But it’s just been a matter of timing and testing the waters with singles first.

What’s next for the remainder of 2019, heading into 2020?

Before the end of the year I have a few live shows but I’ll mainly be hiding out in the studio recording! I have a lot of collaborations with producers planned for 2020!

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Brittain Ashford
Photo provided by Hip Video Promo

Brittain Ashford on her love of musical theatre, her own music and music videos for “I Could Have Danced All Night,’ & ‘Sonya Alone’

Musical theatre actress and singer-songwriter, Brittain Ashford, has taken one of theatre’s most popular song “I Could Have Danced All Night,” from My Fair Lady, and has given it her own lush version, slowed down and let the song lyrics slow down to where you can feel and hear the song more deeply. Ashford’s background with theatre consists of performing in Dave Malloy’s musical Natasha, Pierre, & The Great Comet of 1812, in which she earned critical and fan praise. She also toured in Malloy’s Ghost Quartet, that showcased Ashford’s range of talents, including singing, playing the keyboard, autoharp and percussion.

Ashford’s love of music is her own, which began at an early age. Although musical theatre is something she enjoys doing, her music is a reflection of her own personality and talent, and is reflective on her latest album, Drama Club, featuring her own, stripped down versions of songs from famous musicals like Grease, Annie, and the latest, Hamilton. Another single from Drama Club is “Sonya Alone,” from Natasha, Pierre, & The Great Comet of 1812, and is an ideal complement to the meditative and wryly humorous clip for “I Could Have Danced All Night.”

Find out more about Brittain Ashford in our interview where she discusses musical theatre and what it means to her, her passion for singing and performing and the recording process of Drama Club.

It’s safe to say, you have a lot of love for musical theatre, as it’s embedded in your music and lyrics that you create. What is it about musical theater that you love so much?

Brittain Ashford: I’ve never really thought of my own music as particularly theatrical. Listening to musicals in high school gave me an appreciation of the theatrical, but I don’t feel that the American Musical has made a mark on my own compositions. Yes, I’ve made this cover album of show tunes, but prior to sitting down to make the record I don’t think I’d ever heard a single song from Wicked.

You were also in Dave Malloy’s Broadway musical Natasha, Pierre & The Great Comet of 1812. What was that experience like, and how did it flourish your continued love of music and music theatre?

Brittain: I never intended to get involved in the theatre world, but I recognized fairly early on that Dave Malloy was doing something very unique. When I was invited to participate in the first Comet workshop it didn’t seem like a good fit for me, but I’m glad that Dave pushed me and saw something in my work that I was unable to see myself. It was a difficult and rewarding process, particularly at the beginning when I didn’t entirely know what I was doing. The long days of tech were exhausting and something that even my saltiest touring days couldn’t have prepared me for, and the eight-show week of Broadway left me with little time for much else than the show. I know that I learned a lot, including what I would and wouldn’t do again. I loved doing Comet and would need to see something very special in a show to dedicate myself to something similar again.

You also toured the country in Malloy’s Ghost Quartet, which explored your extraordinary amount of talent, including singing and playing a variety of instruments. What was that experience like, and would you do it or something similar again?

Brittain: I love performing this show with this group of people. I would definitely tour with Ghost Quartet again or take on a similar type of show with people I trusted as much as I did this crew. To me this felt more akin to the type of touring I was used to with my own band, though obviously a completely different music machine.

When did you first pick up an instrument, and discover your passion for singing and performing?

Brittain: From a fairly early age I was singing along to the radio, dancing in the living room, and pounding nonsense songs out on the family piano. While I never took lessons, music was always something that was present in my household. It wasn’t until I was a freshman in high school that I began to teach myself guitar and really write my own music; I was pretty sold on the idea of seriously pursuing music when I was 16 or so.

Your new album, Drama Club, explores your love of melancholy-pop and your own interpretation of some of your most favorite scores from famous musicals. What was the recording process like for this album?

Brittain: The idea for this album was conceived with my dear friend Shenandoah Davis, so right off the bat we were both doing something we hadn’t done before. Though the both of us have made a handful of records, it’s a different thing all together to simply pick the songs you think might be fun to record versus methodically writing and re-writing your own songs prior to recording. Once we made choices about what we wanted to record, the process was similar to other records I’ve made: we laid the basic tracks and spent many months arranging and recording in various home studios.

You have two music videos out for “I Could Have Danced All Night,” including “Sonya Alone,” which both highlight your strong talent for performing and singing. What was collaboration like as being a director and working with fellow director, Tim Chaffee?

Brittain: Working with Tim was great – he was so gracious and brought so many good ideas to the table. It was also a tremendous pleasure to get to work with Jonathan Taylor, who did the choreography for “I Could Have Danced All Night.” I’m eternally grateful for both Tim and Jonathan for their flexibility and humor in the process. On the other hand, making the video for “Sonya Alone” was an entirely different method and execution, one that didn’t really need too many people to make it a reality. Generally speaking, I’m more excited to work with good people to bring something to life. But it’s nice to know I can make something simple on my own when I need to.

What’s next for you the rest of 2019, and into 2020 that you can share with us?

Brittain: I have been writing a lot this last year and will hopefully start working on a new album in January. I had hoped to tour Drama Club, and maybe come the spring I will, but right now it doesn’t feel like my main priority.

Fun Questions

Who was your first concert, and do you have a favorite?

Brittain: Growing up in Seattle I saw a LOT of music. I don’t remember my first, but it was mostly likely either Sleater-Kinney or Modest Mouse.

What was your first album on cassette, CD and/or vinyl?

Brittain: I had a beloved cassette of Paul Simon’s Rhythm of the Saints as a kid, but the first album I remember buying with my own money was a used CD of Nirvana’s Nevermind.

Do you have a guilty music and/or entertainment pleasure?

Brittain: I love Billy Joel. I’m not ashamed. Also a soft spot for Boyz II Men.

Find Brittain Ashford on Instagram, Facebook, Twitter & YouTube.

Jamie Hart
Jamie Hart Photo provided by Hip Video Promo

Jamie Hart chats about how she almost quit music altogether, using ‘contact improv’ for her music video and single for ‘Get Closer,’ and her creative and inspiration process

Singer-songwriter Jamie Hart has recently released the music video for her single, “Get Closer,” with the video released in late October, and the single of the same name released in September. Hart has been a member of the voice faculty at Berklee College of Music since 2012, and she has been classically trained and focuses her music efforts in the genres of rock, pop and blues. Hart almost quit music altogether in 2017, and took a two-year break. During that time away from music, Hart focused her efforts on receiving certifications as a spiritual life coach and yoga instructor.

With “Get Closer,” Hart used “contact improv,” where dancers immerse in the experience and respond to each other. “It’s a mindfulness practice because you have to focus so much and tune in to each other’s energy to move through the song.” Hart explains that “it’s a mindfulness practice because you have to focus so much and tune in to each other’s energy to move through the song.” Hart and her co-star James Novakowski were directed in “Get Closer” by Jay Golde, and is an excellent portrayal of Hart’s new sound. Hart talks with us about her musical journey, from almost quitting, then returning, using “contact improv” in the music video for “Get Closer,” how and why filming the video was a “Synesthesia experience” for her, collaborating music and lyrics with her guitarist, producer and drummer, and what she’s looking forward to most in 2020.

You almost quit music altogether beginning in 2017, and having taken a two-year hiatus have come back with more depth to your lyrics and creation of your music overall. Please share some of this journey with our readers.

Jamie Hart: Being an independent artist is hard. Sometimes it feels like I’m pushing a large boulder up a mountain. I burnt out and needed to step back. That led me to delve deep into the big questions regarding my true desires and intentions around doing it, and trying to understand what part of it would give me joy again. I decided to switch gears to healing my past and grappling with some intense emotions. Healing is like peeling an onion , and once I worked through a layer, there was always clarity and immense relief. This became the most important endeavor in my life and is now entirely informing the way I create my music.

How have your lyrics and music evolved with your own personal growth?

Jamie: The songwriting now revolves around this process and the awakenings that ensue from deep healing and spiritual work. It’s all I want to talk about and write about now. The real s***. The deep things that can keep us from our joy and keep us stuck in old patterning and pain.

You used “contact improv” with the music video for your single “Get Closer,” which is a mindfulness practice. What was that experience like for you and the other members of the music video?

Jamie: Luckily, James and I have practiced this a few times before for fun, so we got to know each other’s movement style slowly over time. There is bound to be awkwardness and “mistakes” when you’re improvising and that’s also part of the experience–to get really vulnerable and present in the experience. The video only shows the pretty parts ha!

The creative and inspiration process for the video was “a Synesthesia experience” for you. Can you explain what that’s like for you?

Jamie: It was an effortless process for us because I could close my eyes when I listened to the song and see it. The movement and expressive pieces are very easy for me, but I had to work with the Sure Fire team to determine if the colors, lighting, and dreamy vibes I saw in my mind were possible. And as you can see from the video, it was, and Jay Golde surpassed my expectations.

You have a collection of songs that you wrote with guitarist Jason Jagentenfl and producer/drummer Shaq Duryan. What is your writing and recording process like?

Jamie: I write the melody and lyrics by myself. Sometimes while taking walks, sometimes in the car, sometimes in the bath (smiles). If I’m not in the mood to sit at a piano and plunk out chords, I call on Jason to collaborate with harmonic ideas. He and I work really fast and it’s a blessing to have talented and creative people on my team! Then we take the basic structure to Shaq and he works some mystery magic to create the whole production aesthetic. He adds, takes away, stretches my mind and really helps me expand my vision

What’s next for you and your music throughout 2019 and into 2020?

Jamie: 2020 hopefully brings clarity for me and my musical mission. Trying to find the right flow for me to make the process enjoyable and intentional. We plan on releasing an EP which will be a collection of songs about this awakening journey of mine which will hopefully serve as an inspiration to other people on this wild ride of life.

Fun Questions

Who was your first concert, and who has been your favorite so far?

Jamie: New Kids on The Block! I think I was 6 (smiles). One of the best shows I’ve been to has been Kimbra. That woman knows how to entertain.

What was your first album on cassette, CD and/or vinyl?

Jamie: I think it was Whitney Houston’s first tape!

Which five albums and/or artists would you not want to live without?

Jamie:

Tori Amos – Little Earthquakes
Fiona Apple – Tidal
Sade – Lover’s Rock
Beatles – (all of them)
Aretha Franklin – Lady Soul

Do you have a guilty music and/or entertainment pleasure?

Jamie: I don’t want to be guilty about my pleasure (smiles). But some of Celine Dion’s older music is a little cheesy and I just love every second! She is the queen.

Connect with Jamie on Instagram and Facebook. Stream her music on Spotify and SoundCloud.

Lovers & Poets
Lovers & Poets Photo provided by Hip Video Promo

Lovers & Poets talk about their new single and music video for ‘Sugar High,’ unique covers of ‘Barely Breathing’ & ‘Ashes to Ashes,’ more

Lovers & Poets is the 80s and 90s music loving duo, husband and wife, Shannon Hurley and Ben Eisen, with Hurley providing vocals and keys, along with Eisen playing bass and additional programming. The duo are influenced by musicians and artist like Portishead, Air, Ivy, Massive Attack, along with Duncan Sheik, whose hit single “Barely Breathing” was covered through a trip-hop version. The duo also covered David Bowie’s single “Ashes To Ashes.”

Having released two previous cover singles garnering traction with popular fan acclaim and rotation on Los Angeles’ well-known KLOS, the duo released their new album with their first single “Sugar High.” The song is about trying to avoid something one shouldn’t be doing, but divulging anyway, and the music video features Hurley and Eisen in an overexposed, ultravioletroom, with intermittent patterns and imagery, that flash across the screen.

Hurley spoke with us about creating music solely for three months while in Vietnam’s Saigon Park Hyatt, creating music with her other half, Ben Eisen, the influence behind their latest single “Sugar High,” and working with director Matt Dinan on it’s accompanying music video, along with their invested in 80s and 90s music.

Lovers & Poets

Photo by Brandie Bell

What led you to spend three months creating music in Vietnam’s Saigon Park Hyatt, and how did that experience help you grow and evolve with your music?

Shannon Hurley: I was referred by a fellow musician friend to perform there. It was the singularly the most character-shaping event I’ve ever experienced. I was performing 4 hours a night, 6 nights a week, for 3 months. I had to learn a large number of covers in a few days, and was taking requests, work-shopping new original songs, and meeting an international audience for the first time.

You and your other music half and husband, Ben Eisen, have created unique cover versions of Duncan Sheik’s hit single “Barely Breathing,” and David Bowie’s “Ashes to Ashes.” What led you guys to choosing these singles to cover, and do you plan to do future covers?

Shannon: We only cover songs we feel strongly attached to, and have something we think we can add as a cover. “Barely Breathing” came as a result of me performing the song in a crazy 90s pop medley (with Backstreet Boys, Savage Garden, & more) as a solo artist, and I rediscovered how great that song is.
“Ashes To Ashes” was our tribute to [David] Bowie. I had been feeling so dazed after the news of his passing, and this cover helped heal me. The beat and tempo was Ben’s idea. We will definitely do future covers, as long as we feel we can add something unique to the song.

Your newest single is “Sugar High,” from your latest album. What was the influence behind this song?

Shannon: I sat down at the piano, and the melody and lyrics came at the same time and it just wrote itself. Then when it came time to record, we just knew we wanted a 90s electronica feel. We turned to Elastica, Garbage, Luscious Jackson, and Lush.

The video for “Sugar High” is mysterious, featuring unique imagery, and other vivid details. What was the collaborative process like working on this music video?

Shannon: Ben and I met with our director Matt Dinan and told him we had an idea of making a Garbage-inspired music video. We wanted to borrow some aesthetic and direct concepts from their video for “Stupid Girl”, like the slate and the graffiti glass. But once we got into the cyclorama studio, we were having so much fun doing our own thing, like putting a mannequin on keyboards. We felt like we got to add our own layer of personality on top of it all. A lot of the magic came from Matt and assistant camera Benjamin Versher, and Matt’s post-production.

You both are also big fans of 80s and 90s music. What about those decades in music inspire you the most?

Shannon: Ben and I are a big fan of hooks and great, singable melodies, and the 80s and 90s were chock full of them.

What’s next for the remainder of the year and into 2020?

Shannon: We are talking about collaborating with a member of a big late 90s trip-hop group (one of our favorites) and we are pretty excited about that!

Fun Questions

Who was your first concert, and do you have a favorite?

Shannon: I went to a Don Henley concert with a high school boyfriend. Then my very next concert was Lollapalooza. Concerts that left an impression: Morcheeba was magical. Ben Folds is a genius. Joe Jackson and his band are tight and energetic. I see Keane every time they come to LA, and they exude so much joy performing. I finally saw my fave 80s band Duran Duran in 2016 and they were fabulous. Bird & The Bee are dreamy and smooth.

What was your first album on cassette, CD and/or vinyl?

Shannon: Duran Duran’s Seven And The Ragged Tiger was my first record.

Which five artists and/or albums would you not want to live without?

Shannon: Keane, The Beatles, Duran Duran, Prince, The Cars.

Do you have a guilty music and/or entertainment pleasure?

Shannon: ABBA, Olivia Newton John, The BeeGees, Smash Mouth, Barenaked Ladies, Hall & Oates.

What are you currently listening to, reading and/or watching?

Shannon: We just watched every Quentin Tarantino movie. He curates amazing music for his films. We are available to perform the theme song!

Keep up with Lovers & Poets on Instagram, Facebook and Twitter. Stream their music on Spotify.

The Bobbleheads
The Bobbleheads Photo provided by Hip Video Promo

The Bobbleheads’ John Ashfield talks about their latest album, Myths & Fables, music video and single ‘I Really See You,’ more

Based in San Francisco, The Bobbleheads, have kept true to their sound of pop-rock with infectious songwriting. The guys that make up The Bobbleheads are fully of joy and love, which radiates through their music and each of their own personas. Since they put out their first record, Automatic Fun, The Bobbleheads have continued their quest to write, create and perform music that their fans will enjoy, and they’re doing a fab job in doing so. The quartet also write and sing about important matters, which is prevalent on their new album, Myths & Fables, out now. The album still contains their fun and catchy songs, but they also focus on the mature matters, exemplified in their latest single and music video for “I Really See You.” The single tackles hope, yet acknowledges the communication problems that all people in relationships face.

The Bobbleheads’ music video for their single “I Really See You” features the band’s hometown of San Francisco, and features a young couple on a date, although there is a mysterious quality to the both of them, especially with the man’s face covered in gauze. Watch the music video below to find out why!

You guys have been creating music since 2003. How do you all keep the creativity and passion for your music flowing?

John Ashfield: Music is fun, and there are always new things to try! New sounds, new chords, new newness. The latest lineup of the band has been totally inspirational as well! Everyone in the band likes a lot of different music, so things can run in a bunch of directions. The thing to remember is that while you sometimes have to work on music, you “play” music. Keeping the process playful is important.

Your latest album, Myths & Fables, features the signature sound and writing of The Bobbleheads, while also dealing with real issues like communication between individuals. What was the writing and recording process like for this album?

John: The writing process happened a few different ways. Some songs I brought in fully formed, some were only half formed, and some came out of jam sessions with the guys in the band. The recording process was with Doug Hilsinger and he usually would have us run down the song live, then start one by one layering up the parts. So… this way you get a live feel, but you can work on a lot of detailed parts as well.

The music video for “I Really See You” is visually engaging and quite interesting and mysterious. How involved with the conception and direction of the video were you all?

John: Fred Gebhardt directed that video and came up with the concept. One of the ideas was that you see the band in a given scene because the main character has his headphones on! The Bobbleheads go with you!

What’s next for the remainder of the year?

John: Gigs, rehearsals, new songs for the next album! More fun and grooviness!

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Luke Mitchem
Luke Mitchem Photo provided by artist

Luke Mitchem chats about new album ‘Which Wolf Will You Feed?,’ collaboration with Joshua James, Kickstarter and his fun music favorites

Poet, writer and musician, Luke Mitchem, is gearing up for his latest release, Which Wolf Will You Feed?, available on all DSP’s November 15. Previously, Mitchem has released five albums, and his latest with Which Wolf Will You Feed? savors his increasingly mature voice, lyrically and sonically. Working with the folk artist and producer, Joshua James, encouraged him to branch out with his voice. The album was funded through Kickstarter, where Mitchem raised over $8K from fan supporters.

In our interview with Mitchem, he shares insight into the writing and recording process for Which Wolf Will You Feed?, what he’s learned from working with fellow musician, Joshua James, the unique album title, upcoming music video along with his fun music and entertainment favorites.

What was the writing and recording process like for Which Wolf Will You Feed?

Luke Mitchem: I have been living with most of these songs since my 2015 release, For You, I Built a Mountain. “Cocaine Blues” has been a song list centerpiece for at least 3 years now and I finally decided that I needed to get these songs down on tape and out of my head so that I could move on from them, though I never truly move on from my songs. When I entered the studio on January 1st, 2018, I had a really good idea of what the album was going to sound like, or so I thought. We only recorded one song on the first day in the studio due to several factors; late flight, long night, and a serious case of jet lag. But the album really starting taking shape on day two and by day 7 we had a record. It is amazing how fast things move once you get one song anchored.

You collaborated with fellow singer and songwriter, Joshua James, on this album, including your previous album, For You, I Built A Mountain. What do you like most about working with James?

Luke: I’ve known Joshua for about 8 years now. We met at one of his shows at Jammin Java (Virginia) and he and his band called me after the show and said that their prior sleeping arrangements fell through. We chatted late into the night and I raised the question of recording with him and the boys. It took us two years to get on each other’s calendars, but the result was For You, I Built a Mountain. The thing I love the most about working with Joshua is that the raw, unfinished songs I write are going to sound completely different once he gets his hands and his mind circling in his head. Many of the songs we have recorded with one another are “images” of our collected minds and I truly love that blending of minds to produce albums.

The album title is intriguing and unique; what led to it being the album title? Were there any other titles you were considering?

Luke: I’d been kicking around a lot of different album titles for the past few years and Which Wolf Will You Feed? came out on top. I’m not sure when or where I first read the Native American parable about Two Wolves but it has been there, living and breathing, in my mind for quite some time. I’ve never been able to shake it, even after recording the album. The corresponding song dives into a few of the “battles” that have been going on inside me for quite some time and I hope that the listener will allow themselves to reflect on their own battles. There are several personal reasons for my choosing this title but in the end, it comes down to this idea of light versus dark, love and hate, good versus bad and that constant battle that rages in my heart and mind.

The original album title was going to be “All Those Mourning Hymns” but I decided against it for several reasons but mainly because of the central theme/song “Mourning Hymn #2, or for Lauren Shera” did not make the cut for this album. We’ve tried to record the song during the last 2 recording sessions but we can’t seem to get it right or more to the point, it just doesn’t match the song/sound that is in my mind. But the plan is to use this title for the next record.

Another title that I really loved and still do is “All Those Ships in the Harbor.” I got the idea from a Jason Isbell song and the title and corresponding song deal with all those dreams we leave behind and how I’m trying/working to keep all of my dreams alive, still floating but not setting sail just yet, especially those that don’t involve music.

This album was your second time using the Kickstarter platform. What led you to pursue the Kickstarter platform to help fund your album?

Luke: Kickstarter. That’s a tough subject to talk about. I love the platform and I love the idea of creatives working with their fan base to help bring a project to life. But I really struggled with the idea of asking folks for their money to help produce my music, especially after I released 4 albums with my own money. However, my work life changed in 2015 and I was no longer able to afford to pay for my records to be released so I turned to Kickstarter to help cover the costs of For You, I Built a Mountain.

I think the “second ask” was even more difficult for me to swallow. I had cashed in my 401K to be able to record the album but I still needed funding to release the record. But my doubts were vanquished rather quickly after launching. I doubled my supporters from my previous Kickstarter campaign and I raised over $8k to help with producing all the rewards and for paying some of the recording costs. My faith in the platform and my music was restored, you could say.

However, I won’t be using the platform for the next record. I’ve been rewarded, twice, by my small but loyal fan base and I don’t think I could bring myself to ask a third time.

You’re going to release a music video for one of the singles from the album in November. Is this your first time releasing an official music video? If so, why have you decided now is the time to do so?

Luke: Yeah, the plan is to work with D.C. filmmaker Harold Jackson III on a music video or short film for the title track. We may do a trilogy of music videos that tie in a lot of the recurring themes from the record but that is to be determined. I was hopeful that we would film and release the video by the album’s release date, 15 November, but Harold has been extremely busy promoting his new film “Unarmed Man” all over the country, so the intent is to film as soon as possible and start releasing the videos or short film in 2020 so folks can see a different side of my creativity.

You’re also going to tour for this upcoming album, as you’ve done with your previous albums. What do you like most about touring and being on the road?

Luke: The goal is to do a few album release shows along the East Coast in November and December with a much larger tour in the Spring. Graduate school and work keep me tethered to Northern Virginia these days and my goal is to shift more into music video producing and developing my short stories for publication.

I love touring. The world and the muse are ever-present and ready to be absorbed into a song or two. The best part and to paraphrase something my pops once told me, “You can’t see the country from the interstate, you gotta trek the backgrounds and experience the two lanes to get a thumb on America’s heartbeat.”

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Bootstraps' Jordan Beckett
Bootstraps' Jordan Beckett Photo by Steven Duke

Bootstraps’ Jordan Beckett talks about new album, ‘Demo Love,’ Lucinda Williams influence & growing up in the Pacific Northwest

Jordan Beckett creates music under the moniker, Bootstraps, who grew up in the Pacific Northwest (Portland, Oregon), which has had an impact on the music he creates today. As Bootstraps, Beckett has previously released two studio albums, Bootstraps and Homage, including one EP, To Each His Own. Bootstraps’ music is dreamy, ethereal and lush, providing a beautiful, descriptive canvas with his music, which has been compared to Bon Iver, Ray LaMontagne and Band of Horses, to name a few.

Also influenced by Lucinda Williams’ writing and music style, Bootstraps’ music career took off when he wrote music for the film, Take Me Home, which won Best Music In A Film at the Nashville Film Festival in 2011. Since then, his music has been featured in Parenthood and Suits, and other film and television placements. His rendition of Whitney Houston’s “I Wanna Dance With Somebody” was featured in Grey’s Anatomy, Supergirl and in an ad for the Venice Film Festival. Additionally, his version of Ben E. King’s “Stand By Me” was featured in the film Power Rangers, Lethal Weapon on Fox, and Hawaii 5-O on CBS, and his cover of Fleetwood Mac’s “Everywhere” appeared on Supergirl.

Bootstraps has released his third album, Demo Love, out today via HyperExtension, which focuses mainly on the dichotomy of the word “demo,” and he chatted with us about his use of this word and what specifically drew him to it, his love of Lucinda Williams’ music, influences surrounding him growing up in the Pacific Northwest and some of his fun favorites with music, film, books and television.

I love your new album, Demo Love, and the themes used in the creation of it. What’s your writing and recording process like?

Jordan Beckett: Appreciate that!

I try to write everyday and demo out guitar and vocal versions of songs. If the raw demo holds up I’ll start producing around it. Nowadays, anyone with GarageBand can produce and record great sounding full, dynamic tracks. So, the bare song is the real beast. I think songwriting is closely related to stand-up comedy in that, you riff and work something until it becomes funny. What’s funny from one comic to another varies, their joke writing process, style and delivery may be different but the net result should be some kind of visceral response from the listener. The same is true in songwriting.

I love that you were intrigued by the dichotomy of the word “demo.” What drew you specifically to this word, and what ultimately led you to focus on this theme?

Jordan: A year ago, I found a book called “Both Sides Of Sunset”, a beautiful L.A. photo book depicting the great disparity in this city between luxury and poverty — the two sides co-existing. That concept and the parallels personally gave me something to explore— to demonstrate and demolish something. Also holding onto “Demo Love” as a musician is being unwilling to change, clinging to the past and beauty in something rough and unpolished.

You’re heavily influenced by Lucinda Williams’ writing style; what about Williams’ writing draws you in?

Jordan: She exposes her humanity in a raw, disarming way. To me, she’s like Meryl Streep in that, you don’t watch her and think, “Wow, this is good acting.” Nothing is sold, forced or gimmick-y. You never sense her ‘working’, it just is; and the human-ness gets under your skin and pulls you into a world. When nothing reads as false, reductive or sentimental you hit another stratosphere that supersedes performing or lyricism I think. The work speaks louder than the person making it and that (for me) is the ultimate benchmark.

Your music is also heavily influenced by growing up in the Pacific Northwest. What are your earliest memories of being drawn to music?

Jordan: I played some songs for the director Gus Van Sant early on and he was supportive and encouraging. The best of the Northwest spirit inspires creative freedom and nurtures self-expression. The worst of it is a Portlandia sketch. I remember Gus seeing some originality in me, looking back, he could’ve easily critiqued everything because it was rough and I was super green. But I left that experience feeling stronger and more self-sufficient. I love Gus for that.

Is a tour to promote Demo Love in the works? What’s next for the remainder of 2019?

Jordan: We’re working on a big music video we’re gonna release in the next few weeks. Not sure about touring…

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Luke Mitchem
Luke Mitchem Photo provided by artist

Luke Mitchem to release new album, ‘Which Wolf Will You Feed?’ on November 15

Official music video, single and fall tour coming soon!

Pre-order available here

Announced in a recent press release, renaissance man, musician and all-around purveyor of life, Luke Mitchem’s mission is subtle, yet determined. Luke has been pursuing music for nearly a decade now, and during that time he has released five albums to critical and fan acclaim. His upcoming release, Which Wolf Will You Feed?, is indicative of his growth as an artist, personally and professionally. With this album, his voice has become weathered and mature. As Mitchem states, “working with Joshua James really brought out my voice. He really pushes me to expand the vision of my simple songs, especially artistically.”

With Which Wolf Will You Feed? Luke’s ability to convey heartfelt emotion, empathy, joy, sadness and revelation in layers of metaphorical lyrics has been pivotal to his songwriting growth. Mitchem’s more cognizant, yet guarded and confident in his seasoned voice, leading him to express himself in such a bold way. It’s fair to say that Which Wolf Will You Feed? might be Mitchem’s most ambitious pursuit to date.

His latest album was funded through Kickstarter, where Luke raised over $8k and received backing from more than 70 people, nearly doubling his previous Kickstarter campaign in 2015.

Included in the Kickstarter rewards are a digital download of the album, hand poured candles, coffee mugs, limited edition t-shirts, house shows and Luke’s first collection of short stories titled “All Those Mourning Hymns, Volume I.” Which Wolf Will You Feed? will be available on all DSP’s on November 15, 2019, and the pre-order link is available here.

Connect with Luke on Facebook, Bandcamp and his blog. Stream his music on Apple.

Red Tan
Red Tan Photo provided by EMPKT PR

Interview with Red Tan; talks about dedicating her music to her late husband, how music and songwriting helps her heal, more

Dance pop singer and songwriter, Red Tan, has cultivated a platform to express herself through the beauty of music. Tan, who is a young mother and widow, has overcome the most unexpected circumstances to see herself compete and win two medals at the World Championships of Performing Arts in Los Angeles, and write songs to encourage and uplift others despite whatever challenges they face.

Having studied and performed music since the age of 16, Tan has performed as a jazz singer in Manila, Dubai, Guam and Malaysia. Although she lost her beloved husband in 2010, it was his encouragement that led her to continue her pursuit of music, to this day. After his sudden passing, she decided to continue what her husband encouraged her to do; she competed against other artists from 60 countries, winning two medals. She also continued her training for musical masterclasses in London, and has performed at the famed O2 Arena as a grand finalist in Open Mic UK.

Tan will release her debut EP, Don’t You Dare, which is dedicated to her late husband, this fall, and she took some time to chat with us about the writing and recording process of it, how music and songwriting helps her heal, working with her engineer and mentors, Luke Adams and Chris Grayston, and her music favorites.

Watch Red Tan’s new music video for her single “Don’t Let Go!” below:

You’re gearing up for the release of your debut EP, Don’t You Dare, dedicated to your late husband. Can you tell us the writing and recording process for it?

“Don’t You Dare” is composed of all my sentiments in the past year put together to create a very honest track. I was alone in a place very unfamiliar to me when I wrote and recorded that song. Luke Adams aka St Luna created the music first. I was there in the River Studios the whole time he was doing it to make sure that he’s getting the sound that I want. He actually surpassed my expectations. His music was stronger than what I have expected and I really like it. I remember being excited writing the lyrics for it.

How does music and songwriting help you heal in life’s circumstances?

I used to sing covers a lot before I had my son and it’s a good way to relax and forget about troubles. After the passing, I started to put into writing all my sentiments and this helps me shut down the world and focus on what lies ahead. Writing, singing and listening to music is a great way to strengthen my coping skills. Music is a salvation to me personally and I would like it to be a salvation to my fans and supporters as well. Especially to those who are ignored, misjudged and rejected, to those suffering from mental health issues, and to those who are fighting their own battles.

How did you get connected with your engineer and mentor, Luke Adams (St Luna) and Chris Grayston, and what has it been like collaborating with them?

At first I was apprehensive. After being in the studio with them, we clicked and worked really well together. We exchange ideas and for me, I had so much fun learning. They taught me a lot about my music and my voice, which is the best route to take, and helped me show my potential. It was a great experience and helped me continuously develop myself and make improvements.

You just recently released your music video and single for your inspiring and anthemic, “Don’t You Dare.” What was the atmosphere and interaction like working on the video?

The filming of the video was so much fun! I was first not sure what to do as it was my first music video, but once I got there, the team was really professional and they made me feel at ease. Lora explained each step to me and the process and I was involved in every step of the way. The dancers helped me as I was very nervous but the result was amazing, I was so self-conscious about my dancing as I am not a natural dancer. They taught me my steps and went through it and felt so comfortable after and I was so happy with the end result.

What do you hope listeners take away from your music?

To be a strong person, don’t give up, to work hard and to follow your dreams. You will hit barriers along the way but keep pushing yourself, keep learning and go outside your comfort zone as it will help you grow and build your confidence. Singing is a passion. If you feel you have it, you need to utilize it and not prioritize thinking about what money you can make but what the music does to the listeners.

As cliche’ as it may sound, I dream that my music would lessen suicidal incidents and help a lot of people as much as it has helped me in my healing process and in gaining back my strength, confidence, and wisdom.

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