Category Archives: Interviews

SPOKEN WORDS and JAZZ VIBES but for a revolt

Mr. Corazon placed semi-finalist at the TMA’s last November with “The Dying Light”, a music video pamphlet in reaction to some of the worst moments of 2020.

Mr. Corazon is a solo artist and has been making his own self produced and directed music videos in Los Angeles. Self made artist, he shoots, edits, and performs in his own videos, creating all his content.

“The Dying Light” semi finalist place is a well deserved win as he uses poetic spoken words to engrave his screams.

We had him for an interview.

Your video is a protest song to support Black Live Matters. When did you feel the need to make this video?

The best way I can answer this question would be to say fear leads to anger, anger leads to hate, and hate leads to pain and suffering. 

The song takes the position that racism in America is a precondition to being black.  Therefore, if you are black, you will be subjected to racism and your life will be indelibly sculpted by it. 

Of this, there is no choice. 

The song tries not to instruct or preach, but presents its discourse about racism as sad reality that is familiar to us as our own skin or the sad refrain of a funeral march.  The first and second verses of the song reflect a feeling of numbness having been subjected to fear for so long.  But, when you have lived a life of fear and anger, eventually the suffering and the rage toward injustice seeps out and is heard in the lament of the chorus…”Shot by the cops.” 

A statement of fact I was taught to understand the moment I recognized my skin color was not the same as everyone else’s in America.  The song understands the evil of racism is as old as our culture and as persistent.  Yet, people wish to deny the facts and hide the truth to avoid their own responsibility, culpability, and hand in the crimes against black people. 

Dying Light tries to give a sorely needed acknowledgment that the History of racism is undeniable and continues to boldly and blatantly destroy black lives.  It contradicts the naysayers and deniers and says to black people, I understand you, and I believe you.

When did you complete it?

The general song structure was composed the day after Trayvon Martin was shot and it was completed at the start of 2020.  Unhappy with previous drafts due to the difficult subject matter, and my approach, the song took eight years to complete in its final form.

The video shows many graphic footage of many Black people victim of direct violence. Was it your goal to balance the visual violence with a soft musical atmosphere?

Yes, I felt the contrast between conversational verses and the potent images of real documented violence toward black people would signify the way we have normalized violence against black people.  Often we are stereotyped as “angry black people”, but the truth is we are expected to be calm and resigned to living in a country that has justified murdering members of our community by the very people sworn to protect us. 

This creates an inner conflict and stress that most black people feel forced to hide, and it hurts us.

Lyrics are also pretty explicit, but still it feels contained in a way. Where did you draw the line in the words you chose to use?

The point of the song was to invite people to listen, most people won’t listen when they are being screamed or cursed at, even if well deserved. 

So my approach to the lyrics of this song was to make the song conversational to invite people into a space where we can talk honestly

and if in agreement, then shout together what we know and see to be a sad truth in our lives.  The song is a rallying call to those who want to resist the undeniable racism we experience.

You are a one man band, playing music, writing the lyrics, singing, editing your own videos… Would you like in the future to form a band or collaborate with other artists?

I also have worked for years with one producer who I often collaborate with.  Jerry Andrews, from Zona Sound in Long Beach California.  He is a music industry professional producer who has worked for Universal, many well-known artists, and has supported my cause by making himself affordable to work with.  Without this rare opportunity, I would not be here.  But because of his nature and nurture approach with artists, I have two new albums coming out in early 2021.  I love music, and the joy of playing and creating.  If someone wanted to collaborate with me I’m always open to that possibility.  

What are you working on right now, what are your next projects? 

There are many hot irons in the fire! The first is the album by the same name as my single, Dying Light, explores forces which have tried to pull the world back into darkness.  The second new project to be released is called Unknown, which offers to be a soundtrack to the Pandemic we have all been suffering from. Both of these new albums will be released under the Sonic Frontier Record Label in early 2021 on Itunes, Amazon Music, Spotify, and Bandcamp.

Director Mikhail Romanovskiy unveils backstage secrets of TMA winning Music Video “Ashageta”

Mikhail, you won TMA’s Best Music Video back in March 2020 (seems so long ago already), congrats!)

First, I would like to say that Varya and I are very thankful to the TMA festival as it was an honor to get “Best Music Video” award.

To this day, “Ashageta” got more than 15 international awards at different types of film festivals.

The video shows artist Varya Demidova performing “Ashageta”. Did you work with her before? How did you get attached to the project?

It was our first project, but I am sure not the last one. I have been looking for long time for a performer whose songs could be filled with a creative spark, a performer who I connect with and can create things that are “outside of the box”. 

Varya is a very popular performer who has collaborated with world known group B-2, who’s songs are considered to be sort of classic in Russian Rock culture. I contacted Varya and we discussed the possibilities of making a music video for her new song. It was definitely a great opportunity to make something beautiful and creative.   

What is your background and what led you to the MusicVideo community?

My general background includes Commercials, Film and TV. These experiences have taught me the technology of production, to be open-minded and very detail oriented. Of course, I have done some music videos before “Ashageta”. The biggest plus of music videos as a form of art is that this type of project allows you to have more creative freedom. I love when an artist has a mind-blowing vision, it enables creative discussions and endless possibilities. As a result, you are getting a good amount of ideas to choose the best one from. 

You are from Russia, so is the artist. The music video takes advantage of astounding natural locations. Where did you film, and how many sets did you use?

“Ashageta” was mostly shot in Turkey, mainly. We went across that wonderful country to find these incredible places. Because of the dream sequence in the video, we wanted to have not only visual diversity like beaches, deserts, valleys, mountains, old towns, but also to show unusual characters like dervishes and fire performers. The stunts were done in Moscow with a big crew. Models who I have worked with before know that I love to do unique heart pumping shots, of course I offered Varya to do some incredible water and air stunts, and she was excited to do something like that. We found a huge pool to shoot the underwater part and had an incredible team of stunt professionals to make Varya fly up above the bed. At the end of the day we had around 15 different locations.    

These incredible sets are paired with Visual Effects that push the envelope and create an eerie atmosphere, underlining the journey of the main character. Can you sum-up the concept of the video?

The main idea of the video is she is going through a journey within herself while going through the dream. The girl who is looking for answers. She is traveling door to door, outside of time and space and through the worlds, where anything is possible, even several moons in the sky in the middle of a clear, bright day. She is struggling, trying to overcome her inner demon, who is attempting to distract her from self-journey, however as soon as she is able to find inner peace and harmony, as if it was a magical medallion, she transforms and redefines herself at the same time figuring out all the answers she was searching for. At the end she wakes, somehow still maintaining connection with her transformed inner self.

Back to the underwater scene: it must have required a very special setup. Can you walk us through the key specifics to make it happen?

Sure, any stunts require a team of professionals and a controlled environment. We needed to find a big pool with a glass wall or sort of a window. That is why we decided to shoot that part in Moscow. We found an incredible place, made a setup of black plastic inside the pool and sort of podium for jumps. Of course, we had a CPR certified person on stand-by, in case we had to provide CPR and/or first aid. We did some modifications to the singer’s dress, so each part of it could move more fluently and gracefully in water. The head of the Stunts department and Varya had to thoroughly go over and rehearse all the proper techniques and was on stand-by to make sure that each jump was safe. It was not easy for Varya, as she had to not only properly brace herself but also be able to flow it into graceful moves under water, immediately after the jump. It wasn’t always coming out pretty and graceful, as it was planned, however, Varya was super strong and wanted nothing short of perfection, as she kept on trying to do a take after take, in order to reach the desirable outcome.  As a result, we got a lot of incredible footage.

What is your next project, and where can we follow your work?

Right now, I work in NYC for RTVI TV channel as a chief production director. We have more than 11 million viewers around the world, people in 50 countries can watch our new shows. We already launched several incredible highly rated projects. For example, “Amazons of XXI century” is a series of documentaries about women who immigrated to the U.S. and found themselves on different paths of success. The leading idea behind the show is to empower women by demonstrating strong characters, revealing all the struggles these women faced, and their achievements when they left everything to come to America. The host of the show is Alina Polianskikh. We are preparing a new season of programming, which includes documentaries, entertainment and educational shows. 

But of course, I am always opened to new projects with singers and other artists. As I mentioned before, music videos give me a creative freedom and flexibility for storytelling, which adds value to my craft.  That is why I am always in search of and trying to get to know as many artistic people as possible.

MIKHAIL’s link:




TMA winner conny conrad – Interview

Conny, you won Best Folk / Acoustic song this April at the TMA’s with “Send me a little light”. What is the story behind this song?

First of all I like to say a great “thank you” from the heart to you! I‘m very excited that I won your award! The song is the center of my new songproject of hope. You know, too many suffer of the Covid-19 crisis, so the melody plus the lyrics will send emotional support. Obviously this helps!

Following the announcement of your win at the TMA’s, it appears the song rose over 15K streams on Spotify, and landed on the German top 10? That is just awesome!

The official release of “Send me a little light” was in the end of April. It’s been amazing to see the media feedback in Germany and worldwide. At the moment I‘m invited to some TV-shows where I play unplugged. This money will also go to my social projects plus to musicians in need. And of course I do a lot of interviews online and on the phone. 

So I‘m extremely busy but so happy to see that my work has a value for the people! 

So the song helps raising money for charity?

Those with a good financials can buy the song on my artist page on Spotify. All the money goes to my song project for children rights “Rock for your children” which supports children in need since 10 years.

You have 45 years of music experience. How would you describe the role music plays into your life?

I am born and I will die as a musician. The guitar is a part of my body.

I play guitar since I was 4. I‘m 61 and very thankful for living this life. In 1978 I released my first single with my school band. Until today I had some major deals but all in all I was independent. Since 2001 I have my own label: CoCo records international. Being authentic was always rule no. 1 for me. 

Your achievements over the years are very quantifiable…

It adds up to 125 released CDs, 250 digital releases, 1.300 songs, dozens of awards, more than 2,5 million sold copies and billions of radio listeners.

It is an extraordinary result for an independent “one-man-band”, isn‘t it? as a result I won an historical 10 awards of the “German Rock and Pop Award 2019”! And now the TMA’s! Fantastic! 

You have plans to make a music video to support the song. Where are you at in the process, any visual ideas already?

I share the vocals with my good friend Gerd Kannemann who‘s a part of my music since 1994! Because of the Covic-19 restrictions we both did some video recordings with our mobiles 🙂 These clips will go to a professional video-producer who will combine it with positive sequences. Then it will be released on all usual portals like Youtube.

The song also is available for free download on your website, as a response to give music a chance during the Covid-19 situation. How does the current pandemic affect you, as an artist?

God thanks 99,9 % of my work happens in my studio. As a composer and producer I don’t really need to travel around.

You also work as a producer for hire.

I also spend time on supporting newcomer singers worldwide. I compose songs for their voice. They record their vocals anywhere (at home, other studios or in my studio). Then I plug the vocals with the music. The final product (single or album) can be released by my label. I charge a low fee for the production and I give 50% of the income back to the artist. This model is very fair and established for more than 30 years. 

What are your projects, actions, ideas to adjust to the new state of the world, and keep creative?

Beside my studio projects I‘m really looking forward to get into the professional film industry in the USA as a composer. I‘d like to come over to meet important and reliable people, look for an agent.

What are your upcoming projects?

My next projects are the musical “Atlantis”, and, my new solo album, and I’ll keep crafting new songs for established and new artists.

Any links you want to share about all that?

My music is available worldwide on all download and streaming platforms.

Get Send me a little light here.
 My current and my future projects are always available on my website ( and on my Facebook page.

Many thanks again for your support!


Michael, you won best music this September 2019 at the Tracks Music Awards. How do you feel?

I feel very honored, especially after checking out some of the other winners this month! 

How would you describe your own music, you own style?

This is always a tough question. I suppose my music mainly falls into the contemporary classical category, but I prefer to think of my pieces as songs that are simply arranged orchestrally. They might have vocals or not, but they tend to rely on larger instrumental forces for their impact.

However, I also compose a lot of music that mixes orchestral and electronic atmospheres. This is the main incentive behind a work like ‘Inner Vibration’.

Here we have a piece that starts off with an electronic ostinato, and when the strings and human voice enter as accompaniment, it produces a kind of musical shock

despite the fact that what follows is more organic– the strings and the human voice. ‘Inner Vibration’ has only three tracks on it– computer-generated (the electronic ostinato at the outset), organically-generated (the strings) and body-generated (the human voice). Music comes from this inner vibration of our spirit– our urge to create something that aligns with universal vibrations.

My work is very often inspired by literary and artistic works as well. I have just recently finished putting together a film called ‘Todesfuge’, which is a piece I made for a piano trio to accompany the poem of Paul Celan as read by the author himself. The film itself is a very rapid stream-of-consciousness illustration of his poem, which is based on his own experience of living in a Nazi concentration camp in Romania during World War II. I have submitted it to a few festivals in Europe and the U.S., so it will be interesting to see how it makes out.

What made you submit your work to the TMA – Tracks Music Awards in the first place? Looking for recognition, promotion, buzz?

Yes, of course all of those things are appealing for artists! Most artists believe that their work should have a larger audience, and

TMA is especially intriguing to submit to because they are open to such a vast array of genres and styles. So many music festivals these days are centered on popular genres, so it’s refreshing to have festivals like TMA for composers like me whose music falls into the more niche categories.

‘Inner Vibration’, for example, is very difficult to categorize, so getting it into just the right music festival is a challenge. So I’m grateful for festivals like TMA for providing a platform for a work like this that normally goes underexposed.

Have you won any other prize or recognition for your music?

Yes, actually one of those was from TMA. My song “Nineveh’s Burning” won for best lyrics at TMA in August 2017. That particular song did quite well at many film and music festivals globally, mainly due to a wonderful video for it by the Polish director Lukasz Pytlik and a standout performance by actor Michał Przybysz.

The song is the prologue for my musical/ opera based on the Epic of Gilgamesh, which I am still at work on. It has become the main project for my Ph.D. in Music Composition at Bath Spa University in England, where I now live.

You have a new Music Video, using your track Inner Vibration, can you tell us more about it?

The video is done in only five shots. The first is a shot of film leader with a lifeline on a screen superimposed on it. The heartbeat depicted is this physical inner vibration, and then there are four shots of astral travel as that inner vibration moves out into space seeking a universal equivalent. The footage was licensed from some obviously very talented animators, so I’m proud to have it up on YouTube. 

What are you up to now, what is your next project?

My current project is my musical based on the Epic of Gilgamesh. I’ve been at it for several years, and it’s roughly 75% finished at this point. I’m not rushing through with its composition because I want it to be as perfect as can be. The story is humanity’s oldest extant story– about 4000 years old or so. There is an artistic responsibility to make sure that the music and the interpretation live up to such a story, but I’m doing my best. And now that I am working on it with such great performers and collaborators in my Ph.D. program at Bath Spa, I am confident that we will produce a worthy work together.

Fabio Bertagnolli talks melody, recognition, and scoring

Fabio, you won best music back in September 2017. What are up to now to get into the new year ?
I am currently composing the score for a short film. I have also been writing music for Velvet Green Music, a production music library based in Los Angeles. These days I have received a proposal to write the music for a TV mini-series, and I have some more projects in the horizon for the next coming months.

Cool ! How would you describe your own music, you own style?
Melody for me is really important.

“I often look for passionate and emotional melodies, supported by harmonies that I would describe as tonal,”

but with the introduction of innovative elements and the fusion of different genres. Recently somebody defined my music as “embracing a postmodern aesthetic without separation from the traditional fundamentals.”

What made you submit your work to the ATMA in the first place ? Looking for recognition, promotion, buzz?
I would say a little of everything you said. And the beauty of the ATMA is that you can submit a great variety of genres, so there is recognition and promotion for every kind of music.

Have you won any other prize or recognition for your music?
Yes. I won the Honorable Mention Awards at the “Film Scoring Competition at the Indie Gathering International Film Festival” with the score of a trailer, the Bronze Medal at the “Global Music Awards” with “Paradise”, a piece for orchestra. I have been waiting for the results of a couple of other composition competitions in Europe, where I am already in the semifinals. Furthermore I have also placed three other pieces in the semifinals (two) and final (one) of the ATMA !

Way to go… Listening to your Soundcloud, the piano seems to have a central place in your work. Is that correct ? How do you relate to that instrument?
For sure piano has an important role in my music. Piano is my first love, and I am a classical trained pianist.

“This instrument also helps me in my creative process: I often sketch my musical ideas on the piano and then I orchestrate them.”

I am also a trombone player and I love the versatility of this instrument. I know… I am a strange combination of a pianist, a trombonist and a composer.

You worked on two short films. When were involved in the process: only after the film is completed, or before the shooting?
As far as the first film (a documentary), I started working on it in the post production phase. I have been lucky enough to have the complete trust of the director, who gave me a great liberty for the choice of the genre of music, instrumentation, etc. Regarding the second film (a comedy), I have started my collaboration with the director since the beginning. I had the opportunity to read the script before the shooting, so I could start thinking of the music even before seeing any scene of the film.


Who would be the composers you like and that may have influenced your work?
That is a hard question, I like so many composers so different one from each other. If I need to choose some, I would say Chopin, Tchaikovsky, Richard Strauss, Rachmaninov for the concert music. For the film music, I love John Williams (who doesn’t?), James Horner and Thomas Newman.

Elena Berkovitch remixes Hans Zimmer

Can you tell us more about your winning song, how you created it, where does it come from ?

I had the idea to show my real “Time”, modern time from born until death with much of beautiful moments and totally stress. The time before death is pretty short and we have just a few seconds before „the gate of life“ will be closed.

Therefore the remix has a transition from the first almost classical orchestral part to the hard sounded dubstep part.

This is my first project in electronic (production) music, the remix of “TIME” by Hans Zimmer (the Soundtrack to the Film “Inception”). The Remix does not include the original samples or stems of Hans Zimmer, all of the instruments were played by me with the hardware controller and sound libraries.

It is not the first time you get selected to the American Tracks… How do you use your wins and selections to promote yourself ?

I’m just starting to use social networks to build my internet presence. So I shared a Link to the Facebook-Site of American Tracks Music Award and my image with laurel on Facebook and SoundCloud.

Now I plan my own internet site, where I will publish the link to your website under “awards“.

Cool ! As an artist, what are your goals, what are you aiming for ?

I have just graduated as an Audio Engineer (in SAE Institute) and now I learn and begin to compose music for films and TV. I’m looking for a way and for people to collaborate with and going this way together. This is my biggest dream, realizing it will make me completely happy.


What would be some of your references or influences ?

My russian and jewish roots and the folk music that my mother sang in my childhood influenced me.



At the age of 7, my sister gave an album of classical music to me. When I heard Beethoven’s symphony N 5, a thousand stars exploded in my mind…

… and I realized, that music is able to strongly influence me and that it has power. Later I played and sang jazz and blues songs with my bands at the age of 20 and the styles influenced my musical perception. And of course i have a big respect for the greatest composer of our time Hans Zimmer and his Remote Control Productions team. I hope someday to meet him.

Where can we find your music ? Spotify, Itunes … ? Give us the links !

I’m just starting now and have not published many of my productions yet. They are still “in box” waiting for great release, some titles you can listen here:

Jackson Wells rises and shines

We have amazing artists coming to the American Tracks Music Awards. One of them is Jackson Wells. Jackson won artist revelation back in September 2017, and was again selected in December 2017. Way to go for 2018 now !



You won artist revelation this September at the American Tracks contest. Congrats! You already got Finalist at the “Song of the Year” contest, and Semi-Finalist at Unsigned Only… It looks like your song has a great echo. Can you tell us more about the origin of the track? 

Sure! Originally the track came from a challenging period in my life. I always turn to writing music when I’m dealing with difficulties, because for me it continues to be a good way to cope with and understand what I am going through.

Most, if not all of my music, comes from real events I’m going through, for better or for worse.

Fallout was cathartic for me—I lost a best friend over a situation that hit me out of left field. Betrayal is a tough emotion to deal with, and I can’t tell you how important writing was toward processing that event.


You are NY born, but living in Nashville. Did you come down there in your search for rock’n’roll / country music? Do you feel Nashville still is the city for music opportunities?

Surprisingly, I didn’t move to Nashville to pursue music! I actually came because my family relocated due to a work relocation for my dad. But I did fall in love with performing and writing rock and country music living in Nashville, whereas in LA I concentrated only on pop music. I have had a lot of great mentors both in Nashville and in LA that have taught me so much over the years. I don’t think I would have the diversity I have now and would be the artist I am today without having lived in both locations. I do think that certain opportunities may be easier to pursue in Nashville, for instance if you are solely a country music artist, but I think LA holds equal opportunities for indie, rock, and pop artists. Nashville is definitely growing though in its scope of prospects for all kinds of artists. Americana is really on the rise.


Fall Out is the last song listed on your album Souvenirs & Secret Doors. And one of the last lyrics is “I HOPE ONE DAY YOU’LL FIND WHAT YOU’RE LOOKIN’ FOR”. What are you looking for with your music?

I just hope that my music brings something to others that matters to them, that it connects with them, when they listen to it, whether it be happiness, sadness, or whatever emotion is called for.

I think music, regardless of where you come from, bonds us all with simple truths. A lot of people have gone through the same things in life, and music allows us to voice that in a melodic way.

There is a saying, “When words fail, music speaks.” I can’t explain why music can touch so deeply, but I have always felt that it’s my best connection to people—much more so than a straightforward conversation, in my case. I’m more capable being honest and open in a song. Not that that’s ideal!


You published lately a song from Eric Church on your Facebook. Who are the artists that you would dream to work with, or that have an influence on your music?

Eric Church would certainly be one of them, because the way he connects with his fans is nothing short of amazing. I’ve looked up to him for years as far as how he works with his followers, and the way he organizes his shows as an experience for them. People go to shows to encounter moments. Jeffrey Steele is a master at this—his music comes from his heart, and his enthusiasm at sharing the stories behind the lyrics and connecting with the audience is remarkable. He’s honest, above all, and people can feel that. Along with those two, I would love to work with Rob Thomas of Matchbox 20. Rob’s music was something my parents and I bonded over on the car rides to school, and I’ve always loved the way he writes and produces quality content. Old songs, new songs—they just don’t age.



Do you perform on stage? What are your next shows?

I do perform on stage–its probably my favorite thing about my job! I currently have some upcoming dates in China, which is where I spend about half of the year, both studying for my master’s degree and touring with my band. I’ve performed there for the past six years for audiences between 50 and 10,000, at festivals, live houses, and university campus concerts. I have a number of songs that were written in English, but I’ve translated the choruses into Chinese and that works out great. But I am currently putting some things on the books in the greater Nashville area too!


Black Mirror breaks records at the American Tracks

They took 3 wins out of 3 nominations in the September competition. They even got finalists against… Themselves. Boy, that’s a way to be 100% certain to get the trophy !
We had to know more about this dark and sensitive duet… Here is the Black Mirror interview for the ATMA.

Hi, can you tell us more about Black Mirror : are you a band, where does the name come from… What’s your backstory ?

We are Inés Bonet and Arsenio Cavada from Spain. We started back  in 2014 when we met accidentally, and as a game we made several spontaneous covers of songs by artists that we admired. We did it during our free time, it was fun but soon we felt need to start composing our own songs, writing our emotions and turning them into music. The musical connection between us was surprising and ideas began to emerge immediately.

We started to share them on social networks (SoundCloud, Youtube, Hispasonic …) enjoying the simple fact of creating, sharing and interacting with other people.

We are indeed a band, but an unusual band, we almost don´t see each other´s face, our inspiration and work process has always been mediated by distance,

behind a computer screen, swapping files, so Black Mirror is the dark surface of a display accidentally turned off when we are in front of it, it reflects us and makes us think about our life.

You just won at the American Tracks Music Awards (September edition) and you set a new record : you got 3 wins out of 3 nominations win Best  Lyrics, Best Independent Artist and Best International Song. How does that feel ?

We are grateful and surprised. It is an honor for us. We never thought that we could be selected among so many artists, particularly in an international competition. There are fantastic artists all over the world, in the shade, we appreciate that many people share with us this music passion and that there is so much talent everywhere.

These types of competitions are a perfect way to give a chance to all those who are out of those habitual ways.

So, thanks …

For that latest category (Best International Song) : you got finalist with Cloudy Day, competing against… Yourself, with another song “Satin Gloves”. This is a first in the ATMA history. You have to know the Judges votes for the tracks in an anonymous way. They noticed the same style and “brand” but you beat the competition. Are you used to that type of winning ?

In fact, it’s the first major prize we’ve won. It is really gratifying, also the fact that our own style is perceived in our music, that means that we are honest and coherent and that inevitably our music is impregnated with a unconscious own brand that is always printed in our songs.

How does your music come together ? What s your writing process, the way you compose ?

Black Mirror’s way of working is based on an individual work in our personal studios and exchange of digital files, which frequently include domestic noises, birds, dogs, crickets, etc. These imperfections make our music is, in addition to music, a capture of the circumstances that existed at that time, everything remains as it was, as a result of something that happened, a photo of the past.

Production goes hand in hand with composition in a linear additive work, a bidirectional input dialogue that lasts for a few days per track.  There is sometimes a real uncertainty about the end result, often unorthodox and unplanned, but that process produces unexpected fruits and it’s very gratifying artistically.

Cloudy Day, Half Life and My Innocence : are these tracks all part of the same album ? 

Cloudy Day and Half Life are songs from our album “No colours for Concern”, in fact we never had intentions or expectations of publishing any album, but one day the record label from Tenerife “El Hombre Bala Records” proposed us to edit an album with a selection of our songs. It was a surprise too…

My innocence was a song we made after the release of the album, and we think it has a new level of maturity.

Where can people by your music ?

Our album can be purchased in Bandcamp, Amazon, iTunes, Spotify, Google Play, etc.

Our music can be listened on SoundCloud and Youtube too.

Your music has some melancholy in it, beautiful melodies but also an obvious dark side of some sort. What are your influences or references ?

Of eclectic musical tastes, our influences are various and include classical music, the British pop of the 60s, Symphonic and progressive Rock, the American Folk and more recently the music developed by bands like Massive Attack, Portishead, Depeche Mode, so also we are influenced by Trip Hop and electronic music, in a more aromatic than formal way.

Do you perform on stage ? Have your concerts schedules for the months to come ?

We are not a usual band, we don’t even re-interpret our songs once they are finished.

What are your projects for 2018 ?

Our project is to continue having these moments of pleasure making music in the same way that until now, enjoying the process and without compromises that turn it into something unpleasant or overwhelming.


And here is the brand new video music of BLACK MIRROR : “Worms”, which is the first single from their new album.


French Star AUREGAN WINS Twice at the tracks music awards

Singer songwriter Auregan won Best Country Song last week with her song “Shelter in the Storm” featuring Billy Ray Cyrus.

 According to our Judges cards, Auregan took the song to the final win thanks to her voice and her “delicate and strong” performance.

Born in France, singer songwriter and composer Auregan recently took a smooth turn towards country music after an immensely successful career in France and Europe, with her album “Rock Movie” and its follow up “Tortuga”. 

Jeremy Campagne, a long time guitar player for Auregan, explains “It felt natural for her to evolve as an artist from cetic rock to country music. That’s something she wanted to pursue for a long time”. As a matter of fact, country music finds its roots in Irish music, and most of the tunes we listen to everyday on the Highway and Sirius Xm come from a long Celtic musical tradition.

Auregan in the studio.

The French singer shares with us: “my name Auregan can translate to ‘Born from the sun’ or to ‘Golden Voice’”.

No surprise then to hear Auregan’s golden voice singing with Country Music legend Billy Ray Cyrus on “Shelter in the Storm”.

“Billy just recorded his new album Change My Mind” says Auregan, “which is just the perfect balance between road vibes, country groove, and modern, heartfelt music. I just released my album Tortuga”.

“Billy listened to Auregan’s work and he loved it” says Auregan’s promoter Emma Malkovich, “he was really excited to work with her. He picked her and they picked the song together” she adds.

When asked what drew her to want to work with Miley Cyrus’ father and “Achy Breaky Heart” singer, Auregan drops: “his voice. I’ve always loved Billy’s deep voice, and I felt both our voice would really, really match”.

The song was recorded part in Los Angeles, and part in Paris. “Working with Billy was amazing. But I have to say working with Brandon Friesen was equally satisfying”.

Brandon Friesen is an American, Grammy Award nominated and multi-Juno Award winning music producer and audio engineer. His body of work include recordings with Avril Lavigne, Nickelback, Mötley Crüe and producing shows starring Justin Bieber, Kesha, Selena Gomez.

Auregan working in studio with producer Brandon Friesen.

“Brandon and I discussed a lot before stepping into the studio. We were looking for the right performance, the right sound” shares Auregan. 

“The pre-production got her working on the song in Los Angeles, London and Paris” adds Malkovich. “The journey she made with Billy Ray Cyrus and Brandon Friesen helped them grow the song into what it became. This is the only duo Billy Ray Cyrus ever made with a non-American artist”.

Auregan working in studio with producer Brandon Friesen.

“A French girl doing Country Music? It’s bonkers” drops producer Brandon Friesen. “She is a first class musician, you can feel that when she’s in the booth” he adds. “Her approach to music was something like I never heard before. She knows the genre through and through, she knows the songs” concludes Friesen.

Auregan’s website, Instagram, Apple Music.

“Shelter in the Storm” was reviewed by our panel of international Judges including Grammy Award Winners producers and nominees, multi-awarded artists, established managers and musicians.

James Bell

Stefan K, very 1st score award winner, talks to us

Stefan K. (standing for Kristinkov) was our very first winner for a score, back in December 2016. He also submitted the same motnh with another track that got finalist… The same category, against himself !

We went back to him to get to know more about his music.

Stefan, you were one of the three winners of the inaugural edition of the American Tracks Music Awards, back in 2016 (score category). Do you remember submitting and why?

Yes, I remember submitting. At that point, RJTD had already received a few awards and was featured on a few film festivals.

I was browsing through the Filmfreeway for festivals accepting music scores, and found American Tracks Music Awards. And I thought that it would be an appropriate place to submit. I was not disappointed.

Later, it was included in my album of film music titled “1:31 AM”.


Do you consider RJTD like a classic or regular music score ? Or what’s its originality ?

Well, the film music genre is still young, so, I believe it is too early to determine what is classic in it and what is not. There are constant experiments going on. People are trying different things to better convey the message they want to deliver.

RJTD is definitely experimental in all aspects, and, like everything I do in music, it also combines and fuses elements from different styles.

In addition, it is written using the compositional technique that I am developing, which, I believe, is well suited for conveying different, even contrasting emotions. There are no “clean” emotions in real life. It is always mixed – happiness and pain, sadness and hope and so on. And in RJTD it needed to be funny and scary.


You have a solid music background. Can you tell us about you and your music path ?

I started studying music at 5. Then music school, music college, conservatory, university. I was and am performing and recording with many wonderful musicians, in different countries and in many different styles and situations. All this has definitely influenced my compositional style.


Do you perform on stage you own music or are you a performer for other bands?

Yes, both, but not as often lately…


You published many songs and tracks already. Where can we find them ?

My music can be found anywhere where people usually get their music. iTunes, Amazon, Spotify, iHeart Radio and so on.


Is there something special bounding you to music made for film?

Music in film tells a story. It is there, because there is something that cannot be told with other means – visuals, dialogues, sound effects. This is usually about emotion, emotional state, feelings.

I like to do this, especially in situation when music tells something different, and really influences viewers’ emotional response.

Besides, musically it allows doing things that are not possible, or not appropriate in other genres. Thus, this enables a composer to be as creative as possible, which is very rewarding.

What are your music plans and projects for the next months ?

Recently, I wrote a score for a series pilot – e very nice, fun and non-violent story, or a series of stories, if there will be a continuation, which is expected. If so, I will be working on that.

My new album titled “A.M.A (Ask Me Anything)” is coming out these days.

So, please, check it out when you have nothing else to do. It is a first full-length album featuring me as a composer and a clarinet player. I’ve nicknamed it “clarinet, like you never heard before”, because it features clarinet in many unusual situations, which was never done before. Not on one album, at least. I have plans for my next album, and a few interesting collaborations are in the works.

The pair behind “House of Disaster” talk their double win at the American Tracks

Sergio and Elena form the two-side faced artist behind the “House of Disaster” project. This August, they got selected to 4 different categories during the same competition, and eventually took home Artist Revelation and Best Music. What a run ! We had to get back to them for an interview…
House of Disaster is the first submitter to win two different categories in competition on the same edition at the American Tracks Music Awards. Many congratulations. Can you tell us more on who you are, and how both of you form “House of Disaster” ?
House of Disaster is an Italian’s production and artistic couple and Company with a very special collaboration. We are also a real couple in our Life. Sergio is the musical part of the group; he comes from the electronic music, he was an international DJ. Elena comes from the theatrical and artistic world. She studied at the “Liceo Artistico” and  worked as costume creator in several touristic villages. After that she developed her ability in make-up-FX :  she is able to create with her crafts several scenographic effects. Both involved in artistic world but in different ways. 
You won best music with “Towards Glory”. This award usually goes to musical tracks, or instrumentals within our contest. This is the first time is goes to a score / film music. How would you define your own music : music for films, or music in another way ?
The best definition for our music is “our  polyhedrical feel”.
It is simply the product of our emotions, our love for any artistic field and of our synergy in our private Life such as in working Life.
Fortunately we are able to produce several type of music and, for this reason It could be used for films, spots, cinema, TV, media…
You won Artist Revelation, which is a big deal, with another track : “Dark Angel”. What about the genesis of this track, and the album that comes with it ?
The title “Dark Angels” was inspired by our personal vision and dark universe. In fact some of our Friends told us that our love for the dark and horror world is always in contrast with our kindness in real Life. We are the angels of the dark art ! 

Are both of these tracks pertaining to existing films ? Short or features ? 
Only “Dark Angels” has been use for a small segment in our short “Le Ombre di Sheila” fully produced and directed by us. 
Following on that short film, “Le Ombre di Sheila” (The Shadows of Sheila). What is it about ?
This is a short film that touches a very important theme for young boys and girls who live in very self-righteous families. But when everything seems loose… Something supernatural happens. Every moment of the work has been spiced with our dark and horror touch. This is just like our signature.

What was the job each of you assumed in this project ?
Together we have been the mind and the arms of the entire project in the dame ways. We first wrote the screenplay, selected the actors after a big casting. We both directed the actors and the camera operator. Sergio oversaw the audio and Elena the makeup, costumes and scenography. Together we assumed the entire organization from the begining to the end of the set. Sergio then composed all the tracks and worked on the sound design with the help of Elena.

Checking on your website, you have a lot of music to listen to here, your “Colonne Sonore”. You seem pretty creative. How long does it take you to compose a track ?

There is no a fixed time to compose. It depends on the particular sensations during the moment I’m composing.
Generally for a complex track with a complex mix of instruments the timing is about 2/7 days.
We have been asked for a soundtrack for an USA horror serie and in 1 day I have completed the entire track. 
Can you tell us about some music references you may have ? Some role models ? And some films you look at your own personal classics ?
My inspiration is my life, my family in which I can find all my energy and effort. I think my music is something innovative and different, this is the reason why I can firmly say that it is not a copy of anyone or inspired by no-one than my personal feelings. 
What are your ongoing or soon to come projects ? 
We can only say that we are going to work to another cinematographic project, surely another album and a couple of other top secret projects. 
Sorry but we can’t be more detailed for the moment. 🙂