VENTS Magazine 150th Issue

Jerel Xavier Alston

Photo Credit: marie thomas photographer

We’re very happy to be speaking today with acclaimed actor Jerel Xavier Alston; greetings and salutations, Jerel! Before we dive down the proverbial celluloid Q&A rabbit hole, is the freshly-minted New Year treating you and yours?

It’s treating us well. I can’t complain at all.

Major congratulations on your star turn in the new season of the hit Starz series BMF (or Black Mafia Family for those readers who are acronymchallenged)! Starting at the top, can you explain to anyone late to the party what BMF is all about and how your character of Kevin figures into the proceedings?

BMF is the story of these two brothers in a drug business trying to take over the nation. Kevin’s father just so happens to be hunting these two and since he moved with his dad, things have been bad.

How is Kevin different from where we last left him in season 2 of BMF?

Beginning of season 2 Kevin is this nerdy little kid with not that many bullies and not much to complain about. Beginning of season 3 Kevin is a whole 180. Everything in his life is just dragging him down and it seems like he’s at his lowest point.

Setting the Way Back Dial quickly, what initially appealed to you as an actor about your character of Kevin Bryant in BMF? And what, as an accomplished actor, do you feel you bring to the character which is not explicitly written on the printed page?

I really liked that I didn’t have to change too much about Kevin. Kevin loves comics and is himself and I love comics and strive to be myself. I think that’s one thing I bring is that I don’t really have to “act” in Kevin.

You work with such a talented cast in BMF, including the likes of Steve Harris, Demetrius Flenory Jr., Da’Vinchi, Russell Hornsby and Michole Briana White among many others. What’s it like exercising your own considerable acting chops alongside this brilliant cast of thespians?

I can really tell that they love what they do. The art and the work that goes into it and it’s helped me learn a lot.

Ahead of the season 3 premiere of BMF, Starz announced that they were renewing the show for a fourth season -Congrats! How does it feel to be in a series which has so obviously connected with so many people out there?

It feels amazing. I became an actor so I could entertain people and it’s really nice to see that I’ve done that.

What fascinates you the most about acting?

The creativity that goes on with every single person on a team and how the slightest choices are still made even if no one will pick up on it.

Your first credited work on screen came in the form of 2019’s The Atlanta Child Murders miniseries. Any special memories of that freshman production?

I remember being really excited seeing myself on TV and then cringing really hard because I was on TV.

Word ‘round industry campfire has it that you’re a particular fan of the horror movie genre. What is it specifically about that genre of filmmaking which attracts you?

Usually, when I say horror I mean psychological horror. It’s just so beautiful how the people in the roles play with your emotions and make you feel how they want you to feel. A 2-hour movie can feel like 5 minutes and 5 days at the same time.

2023 was a very busy year for you: On top of BMF, you delivered knockout performances in the short film Worn Thin and the rightly acclaimed miniseries The Crowded Room. What does 2024 hold in store for you beyond BMF? Can you give our ever-inquisitive readers a hint or three as to upcoming projects you might be working on?

I’m hoping to get into modeling this year. I’ve always been told I have a model face and I’m deciding to use it. I’m still down for anything anyone has.

When you’re not acting, what do you enjoy doing just for fun?

I love being a teenager. I love hanging out with friends, watching anime and movies, taking naps, and playing video games.

Final - SILLY! - Question: As a Leonardo DiCaprio aficionado, which of these DiCaprio films ranks as your favorite - This Boy’s Life, What’s Eating Gilbert Grape, Marvin’s Room, The Aviator, The Departed, Shutter Island, Once Upon A Time in Hollywood, or Don’t Look Up?

1000% Shutter Island. Amazing film.

Sasha Neboga

We’re very excited to be speaking today with acclaimed actress Sasha Neboga; greetings and salutations, Sasha! Before we meander down the proverbial Q&A celluloid pathway, how is the freshly-minted New Year treating you and yours?

Greetings! Each day is more freshly-minted than the last, thank you for asking.

Major congratulations on your star turn in the new motion picture Knox Goes Away! Can you tell readers a little about the film and how your character of Ludmilla figures into the proceedings?

Thank you! The film centers around a hitman, Knox, played by Michael Keaton, who has one last job to finish while facing the diagnosis of a rapid onset of severe memory loss. Categorized as a noir thriller, I believe the film’s true depth lies in its cinematic exploration of more significant themes such as facing one’s own decline, the importance of family, and redemption. Xavier, who is my husband in the film, is played by Al Pacino and is Knox’s closest friend and confidant. Of the two men who have faced a hardened lifetime of success and loss together, I see Ludmilla as a grounding place of safety for her husband and Knox via the display of her strength, grace and femininity. To me, she represents the value of love and companionship no matter how dark the circumstance.

Did you know as soon as the script for Knox Goes Away from wordsmith Gregory Poirier crossed your desk that this was a production you wanted to be a part of?

Long story short: Yes.

Since the Ukrainian war started, I couldn’t rationalize continuing to pursue acting and creative work while my people and family faced their own mortality. I had been turning down projects for close to a year and told my agents I was done. My manager cautiously slipped this script to me and thought I should read it. I did, and it was the first time I felt a sense of invigoration sparked in a long time. I think it was ultimately a unique formula of not only seeing Mr. Keaton attached to the project but that the role itself was written to portray a strong yet loving Ukrainian woman which I found incredibly important to me for this point in time. Usually from my experiences in Hollywood casting, Eastern European characters are captured in a very flat way: you’re either a villain or a victim, often times there’s no additional substance beyond that. Thank you to Mr. Poirier for capturing a more authentic essence for the women in my culture.

Your director and fellow actor in Knox Goes Away is the legendary Michael Keaton. What was it like to collaborate with Michael on this film? Is he what some actors might refer to as “an actor’s director”?

My first encounter was a phone call with Michael. To my understanding, the role of Ludmilla was between myself and one other so Mr. Keaton had arranged a call to see if we would be the right fit. Immediately, he was gracious, clever, authentic and quick-witted. What I respected most was how direct and self-aware he was. It was a spirited dance in itself keeping up with him on the phone, but I must’ve done something right.

With Mr. Keaton being a veteran in the industry, I would definitely consider him as an actor’s director. As a director, he has the ability to make you feel respected and most importantly, trusted. He is a treasure of a human being and watching him juggle as many responsibilities as he did without losing any integrity was a gift in itself.

Speaking of legendary, your fellow actors in Knox Goes Away - Michael Keaton, Al Pacino, Marcia Gay Harden and James Marsden - represent a Master Class in what it means to be a serious actor. What was it like exercising your own considerable acting chops alongside this ensemble of thespians?

‘No pressure’ right? The bar was definitely set as high as it can go. I’ll add Joanna Kulig’s name to the list too since I’ve admired her ever since I saw Cold War. (I’m happy to report she and everyone else is as absolutely lovely in person as I imagined them to be).

I think the biggest challenge for me with this project was remaining centered within the story without being overwhelmed thinking that you’re in the same room as everyone you’ve ever looked up to. The great thing about Mr. Keaton was he was an active collaborator and encouraged you having a voice and creative input. Altogether, the task of having to cast aside all insecurities in order to be fully present was the best exercise I could have ever got.

Who inspires your own craft of acting?

Everyone. Everyone I meet and come across. I’m constantly listening to vocal intonations and scanning expressions of strangers having a conversation when I’m out, whether it’s in the subway, out in public or in a restaurant. Is that creepy? With friends and family, I have a tendency to encourage their story telling and go beyond ‘in depth’. Most people I know have told me I should be a therapist because I’m very good at listening. The truth is I’m fascinated with deconstructing motives, attempting to empathize without judgement and how genuine authenticity sounds and looks like so I can portray that in my own work. My mother is actually the inspiration for any Eastern European accent-related work I’ve done- I’ll call her and have her repeat sentences to me so that I can memorize what she sounds and looks like. It’s my own little extended way of honoring her.

Your first credited on screen acting role came in the form of a 2011 episode of Blue Bloods. Any special memories of that freshman production?

Oh wow! Okay, so this was one of the first jobs I’ve ever booked and if I recall correctly, I actually got it from submitting myself through a Backstage Casting Call submission (I was fresh so no agent, etc.). It was to be an extra on the episode, but, after showing up to set, production had my hair and make up done and ended up placing me alongside the leads at their table as a Maid of Honor in the scene so I ended up getting to spend time with everyone on set. It felt magical.

Along with being one of the finest actors on the scene, you’ve also tried your hand at co-producing for the television series Work in Progress. Is producing something you would like to do more of in the future?

I LOVE producing. I was in the first round of students that studied Directing, Screenwriting and Producing at Relativity Studios when they first launched their school (I believe they’ve renamed it since). It seems that I have a (verifiable, please ask around) gift for multi-tasking, paperwork, juggling personalities and thriving under pressure. Unsure where this came from (or whether this is entirely healthy), but it does prove very useful in running a production and brings a copious amount of fulfillment to me! Maybe I just crave bringing order to chaos? Would love to hear your personal thoughts on this...

I do miss it and will most likely do more in future, though it seems to be ingrained into me. I’m currently reading The Master and Margharita by Mikhail Bulgakov and can’t stop thinking of how to reproduce it into an American film and whether to have Denis Villeneuve or Taika Waititi direct it, which direction I would take it, etc. It consumes me in a delightfully manic way.

Along with the March 15 theatrical release of Knox Goes Away, what else do you have cooking acting-wise for 2024 and 2025?

Nothing is solidified in stone yet but there are a few potential projects I’m excited about! Remember how I mentioned being good at multi-tasking? I don’t do well with sitting still so at the moment for the in-between periods, I’m continuing my studies in pre-law and enjoying shooting photography, I recently shot Elijah Wood for a new film he’s in, in addition to shooting Sofia Boutella for the Oscars season, so I’m feeling grateful for the journey I’m on overall! It’s an honor to meet and be around accomplished creators and I’m again, very grateful for the moment I am in now.

You were born in the Ukraine. How do those roots inform you as an artist and as a person?

I’m sure most people don’t want to read about a rough reality but I think it important to say that my country has faced significant tragedy throughout its history, including genocide, which appears to be repeating in our modern day. The beauty of our people is that we have not allowed it to embitter us and are instead resolved to continue to rebuild, see lightness, and grow in multi-faceted ways. The struggles faced continue to guide me in my personal quest in identifying humanity and beauty in the simplest of things. Simultaneously, it has taught me to relinquish control over everything but my own self- a lesson I’m still learning to this day. Collectively, these roots provide a rich tapestry of experiences to honor, learn from, tap into and grow in my work.

Final - SILLY! - Question: Favorite movie about the making of movies - Once Upon A Time In Hollywood, Barton Fink, The Player or Living In Oblivion?

Obviously we can all agree that these movies are all exemplary. If I had to personally choose only one I would have to go with Living in Oblivion! (Apologies to Mr. Tarantino- though he does come in at a close second).

Stephen Bluhm

We’re very excited to have some time today with acclaimed singer, songwriter and performer Stephen Bluhm; greetings and salutations, Stephen! Before we dive into the proverbial Q&A mosh-pit, how is 2024 treating you and yours thus far?

2024 has found me at a crossroads in my life, which is really exciting. I got hit by the layoffs affecting the tech industry back in December, after working for Etsy for 12 years! But the timing couldn’t have been better, as I was just about to release this album. It’s been a blessing to have this time to focus on giving the album release my undivided attention. I’m having a great time!

Major congratulations on your freshly-minted sophomore album Out of the Nowhere. Into the Here. which is set to premiere this April 19! Starting at the tip-top, can you talk a little about what inspired one of the very best LP releases of 2024?

Thank you so much! I wanted the album to be like stepping into another world, somewhere between dreams and reality. I have a very eclectic taste in music and I wanted to stretch in a different direction from my synth pop debut.

A few themes weave through the songs. The original idea was a collection of lullabies for grown ups and many of the songs mention night, sleeping, dreams, and love. I refer a lot to religion and God and the mystery of where ideas come from. I like to say I use religion as a theme I go back to in a Leonard Cohen sort of way, it’s not religious music but it references these things.

Also, I’m driven by challenges with writing. I wanted to write songs that are more mature, to write about love and sadness without being silly. I have to admit I couldn’t escape my sense of humor with these songs, but that’s just the way I see the world. Not exactly cheerfully, but whimsically.

Out of the Nowhere. Into the Here. will be released on April 19 as a 12” LP vinyl, CD, digital download and streaming platforms and 2xCD set including both vocal and instrumental versions. Regarding the 2xCD set, was it always a given that you would release both a vocal and an instrumental version of the new LP?

It wasn’t always a given, it came together while I was making the album. A friend told me it she loved the instrumentals of my songs, even the earlier synth pop stuff. And my brother mentioned something similar after hearing the new songs live. Next, I started noticing a huge market on Spotify for instrumental music to study and work to, let alone that instrumentals are needed for licensing to TV and film. And it seemed like releasing a companion instrumental album had never been done before, at least to my knowledge.

I thought, why not? Where the piano wasn’t playing the melody, I recorded a musician playing either clarinet, oboe, violin, or heckelphone, which is a rare combination of bassoon and oboe. For There Was a Light, I wrote a heckelphone and clarinet duet, to make the piece more varied.

I figure most people will think of the version with my singing as the main version, but there are some, like my filmmaker friend Brendan Faye, who are more tuned in to instrumental music and actually prefer the instrumental version, in his case because he’s so attuned to film scores.

You recorded, mixed and produced Out of the Nowhere. Into the Here. What are the advantages to wearing all of these multifaceted creative hats? And are there any downsides at all in your opinion?

There are some definite advantages, like not having to pay more people, and, if you have a strong vision, not having to worry about someone else messing with what you’re trying to do. When you work with other people, it’s a mix for more stuff to go wrong, like with scheduling, reliability, and personalities. The more you can do yourself, the more certain you can be that it’s going to get done, and you only have yourself to blame if it doesn’t.

However, there are some major downsides to working alone. The flip side of not worrying about someone messing with your vision, is you don’t have a collaborator to share ideas and make it stronger, or catch your flubs earlier. When you do everything yourself, you’re the only one who’s thoroughly invested in your project, which makes it harder to get it out into the world. Each person you collaborate with is another person who cares about the project and will share it with their circle and help it succeed.

The reality is you really can’t do absolutely everything alone, and you shouldn’t. I doubt there are very many who work in a total vacuum. There are a million little decisions to make when creating music and releasing it. To quote Sondheim, “every minor detail is a major decision.” Enough to drive anyone insane. To help myself not go insane, I brought in my friend Andrew Stein who I bounced questions off, like the tempos on certain songs, or if a vocal take was right. My friend Heidi gave me valuable feedback on the vocals, lyrics, and where to make cuts. And I asked multiple people for feedback on the mixes. All of these people’s input, and more, helped make it a better album.

In your humble opinion, what differentiates Out of the Nowhere. Into the Here. from the Distinguished Competition on the 2024 music scene?

Well, I try not to think of it as a competition, and to actually have a humble opinion, ha. But I get that you’re being a little tongue-in-cheek. I do think it’s a great album, or I wouldn’t be putting all this effort into making it and getting it out into the world.

When mixing Out of the Nowhere, I listened to loads of albums trying to find a similar album to use as a reference. I really couldn’t find anything that sounded quite like Out of the Nowhere. I ended up mainly using Rufus Wainwright’s Unfollow the Rules, which I love. But all the orchestral albums I could find are big orchestras, not the small ensemble I used, or they added other instruments, like synths and drums, that I didn’t use.

So I think Out of the Nowhere has a unique sound, but more important than that, I hope people find the songs come from my unique voice, which is at once playful, whimsical, thoughtful, sensitive, and sincere.

Can you introduce our ever-inquisitive readers to some of the other very talented musicians who lent their musical alchemy into making Out of the Nowhere. Into the Here. a reality?

Sure, I live in the Hudson Valley, and most of the musicians came from Bard College’s The Orchestra Now, Bard’s post-grad orchestra, and a few from Bard Conservatory Orchestra.

I’m a regular at Bard College’s concerts, and I walked up onstage after a concert. This is a large Frank Gehry-designed hall. I asked the French hornists, who were all standing around getting their photo taken, if anyone would like to be on a local musician’s album. A bunch of them were really into it, but I only needed one, so I chose the one who seemed most eager. This was Ser Konvalin, who was studying classical, but really wanted to play indie music, so it was an absolutely perfect match for both of us.

I’d wondered what these orchestra musicians would think of my music. Would they be stuffy and only be interested in classical? My sense is that might be true of the older generation, but the younger people generally love all kinds of music and are down to play anything. They loved the songs and my arrangements, much to my relief, and they loved playing something different from what they do for school.

There are also a few great local musicians on the album, like Francesca Hoffman, who played flute and piccolo on Out of the Nowhere. Since our recording session, she’s been performing her own music.

Who inspires you musically?

A great many people in a great many styles. For this album specifically I had a few models, John Cale’s Paris 1919, Nick Cave’s The Boatman’s Call, and maybe Beach Boys’ Pet Sounds. Not that I was trying to make another one of any of these albums, but I used them as sort of a frame of reference for quality and maturity, and the musical world they created.

I love jazz, especially when it gets deeply spiritual like Alice Coltrane and John Coltrane. I’m a huge Burt Bacharch fan, and all the American Songbook writers, like Irving Berlin and the Gershwins. I love classical, like Mitsuko Uchida playing Mozart piano concertos.

I was very sad when Stephen Sondheim passed, and I realized it was because he was such a teacher. I’ve learned so much from his books, interviews, Youtube videos, etc. I think every songwriter should read the intro to his collected lyrics Finishing the Hat where he breaks down lyric writing. Even if you’re not writing for the theater, this is great stuff to know. Brian Wilson’s work has long been my very favorite stuff to listen to. I love the mix of humor and maturity, the adventurousness in the melodies and harmonies, the sensitivity and spirituality in so much of the music. I’m very sorry about his wife’s recent passing and hope he’s doing OK.

Your musical stylings have been described as “chamber pop.” Would you agree to that particular moniker, or would you lean towards another description?

These monikers are just marketing, but when you’re an emerging artist, a little bit of marketing can go a long way. I actually put that moniker on the cover art, but I have to admit it’s not a great one, because not everyone knows what it means. I just couldn’t think of a better one. Some people say it’s folk, but that always feels weird to me. All the typical related genres ‘indie rock,’ ‘alternative,’ ‘singer songwriter’ call up things that are not Out of the Nowhere. If anyone knows what genre the album is, let me know. I should actually put reward posters around town. “Missing Genre! $500 Reward if Found!”

In the wake of the April 19 release of Out of the Nowhere. Into the Here., can fans look forward to catching you on the touring/performing circuit?

Why yes! The album release party is at Avalon Lounge in Catskill, New York on April 25th. And I’ll be at Green Kill in Kingston, New York May 22nd. That show will be livestreamed, and anyone with internet access will be able to buy a ticket for that once they’re on sale.

I’ll also be in Philadelphia at Abyssinia Upstairs on June 1st, and I’m about to announce dates in New York City and New Bedford, Massachusetts.

Beyond that, I’m currently booking more shows. Folks can follow me on social media or visit my website www.stephenbluhm.fun to know where to find me.

How is Out of the Nowhere. Into the Here. similar to your self-titled freshman 2017 LP? How is it different?

The obvious difference is the instrumentation. The first album uses synths and drums and has a couple longer disco songs. For Out of the Nowhere, I decided to not use any drums, synths, or samples. The whole album has a more moody, dreamlike feel.

But the main difference in my mind is just that I think the songs are at a higher level of quality and more consistent.

I actually love when people say the two albums sound similar. They’re both melodic albums with neat harmonies and intricate arrangements that come from my way of putting words and music together. I could have set the songs to synths and drums if I’d wanted to. It’s funny to me how you can take the same song and give it different instrumentation and suddenly it’s a different genre.

Out of the Nowhere. Into the Here. is being released via Vintage Annals Archive. What makes Vintage Annals the best home for you and your music?

Vintage Annals Archive is sort of a collective of a few artists in different media. It’s centered around a popular Instagram page and podcast run by my dear friend Rich Wexler. For the podcast, Rich has interviewed loads of interesting musicians, artists, filmmakers, characters of all sorts, like Greg Turkington, Amos Poe, and Ann Magnuson. I recently interviewed Paul Williams about songwriting and his work with ASCAP as part of a Vintage Annals Archive event.

The spirit of Vintage Annals Archive is of kindness and generosity. Rich is a very supportive person and takes good care of his friends and the people he works with. He actually got me my very first shows after seeing a photo of me online and reaching out to book me. A lasting friendship built on a photo.

At the end of the day, what do you hope listeners walk away with after giving many-a-spin to your beautiful new LP Out of the Nowhere. Into the Here.?

I don’t have a specific message, but I hope listeners are moved by the beauty, the intricate work, the love that went into it. One of the really rewarding things that happens as a recording artist is when someone tells you your work touched their life in some way. Words + melody = such powerful stuff.

Camilla K

We’re super-excited to be speaking today with acclaimed pop musicchanteuse Camilla K; greetings and salutations, Camilla K! Before wedive into the proverbial Q&A mosh-pit, how would you describe your styleof music to a fan just beginning to discover you? Though we used the term ‘pop’, we also hear some real strong and sweet R&B refrains and rapbaked into your music!

Thank you so much, I’m excited too!

I’d describe my style as multi-genre with a strong foundation of commercial pop and definitely influences from rnb, rap, soul and reggaeton. I tend to not box myself in too much into one style or genre as l believe creativity is part of my freedom in everything l make, whether it be music, clothing or art.

Major congratulations on your freshly-minted new and

uncompromising single Pretty Bitch Gang! Starting at the top, can you talk about what led you to record this sassy gem of a ditty?

Thanks a lot! It took a while but l’m finally back with new material so it’s very exciting!

It’s funny because during that time l was heavily influenced by Natti Natasha and Becky G and l was in the studio experimenting with those types of sounds. I had another lead single coming out and on the night that we finally finished recording it, we jumped straight into production of another track, and that ended up being Pretty B*tch Gang! Once we had written the song and recorded the demo for it, we all agreed that it’s too good of a track to not be put out first. So, my 2nd single release was extremely delayed but l’m so happy that it was this song and not the first one we worked on. This one made much more sense!

In your humble opinion, what differentiates Pretty B*tch Gang fromthe Distinguished Competition on the 2024 music scene?

First l’d like to say that l do not compare myself to any other artist than myself. I think we’re all so very unique that we all kind of land in our own little pockets in the industry. However, l will humbly say, that l’m very proud of the progressiveness of Pretty B*tch Gang. I have yet to hear another UK pop artist experiment with so many different styles on one track. I think one artist that comes close, who l absolutely look up to, is Stefflondon.

Who did the producing honors on the new single and what did the collaboration between artist and producer look like in the studio?

I was introduced to producer Mav P through Giggs team. I was already working with other talented producers from the same team, but when l explained the sound l was looking for to Mav, he nailed it in the first go. Me and Mav have very similar work ethics as we let nothing slide in the studio, so our sound is always perfected before being put out. That means that as much as we vibed so well together, we also had a moment of bumping heads too,haha!

How is Pretty Bitch Gang similar to some of your past music such as Down For You? How is it different?

Pretty B*tch Gang is completely different from Down For You, but that’s very intentional as my goal with my music is never to create carbon copies of my last material, rather the opposite, to create something completely different. Ultimately l want to have a body of work where people can at least vibe to ONE song out of the collection.

You were born and raised in Sweden, and you can proudly boast a rich heritage: Your mother is of Finnish heritage and your father is Iranian. How do those seemingly disparate roots inform you as both an artist and as a person?

l think having such a diverse upbringing with culture clashes & a mixture of languages and traditions has kept me extremely openminded with other cultures and backgrounds. I think this may be why l don’t like to box myself in one way or the other when it comes to my music. I feel like l’m a mixture of everything and that there’s more to me than black or white, left or right.

Word ‘round industry campfire has it that a portion of proceeds fromyour music is being given back to children in the form of music and artvia your charitable foundation “Chelsea House.” Can you talk a littleabout how you came to start Chelsea House and what it does precisely?

l love that this is being highlighted in the industry as this was such a passion project of mine. I grew up extremely underprivileged and it heavily affected the way l saw my future and the hopelessness in who l truly wanted to become. I didn’t think it was possible for me to be an artist. As a child l could have only wished for a charity such as Chelsea House to

exist. So as an adult l decided to create it; Chelsea House is a children’s charity for underprivileged kids that want to pursue music or arts.

With my first run of the charity l was able to put 10 children through a 5-week music programme at Point Blank recording school. It’s a worldwide renowned music school, that l was able to create a partnership with. I was also able to secure free lunches for the kids through another partnership with By TheBridge Café which was right by the school.

This is one of my proudest accomplishments and l can’t wait to do a second run with the charity!

With the release of the new single, can fans look forward to an EP or LP release from you sometime in 2024?

l have so many new singles lined up so those will definitely come out first! I can imagine making all those into an album in the future if everything goes right.But first things first... a music video for Pretty B*tch Gang!

What does your touring/performing dance card look like in the coming weeks and months?

We’re currently building a schedule for the shows in London this year but l’d love to branch out and perform in other cities in the UK aswell! I can’t wait to perform more and finally get to meet the fans.

When working on new music, what does your creative processgenerally look like? Is there method to the creative madness?

I feel like a lot my creative ideas often just hit me out of nowhere. But they also come from being inspired by real life events and listening to other music. I usually call in my co-writer AV Allure to help me express what l want to say as English is my 4th language and AV is a genius. Sometimes l even feel like he reads my mind haha!

Who inspires you musically?

Growing up it was Mariah Carey all day every day. Vocally and lyrically. She’s untouchable. On the other hand, l used to perform Whitney Houston songs, so l definitely learned a lot from that. Later on, l was inspired by Ariana Grande, The Weeknd and one of my current favourites, Natti Natasha! Natti just has that edge to her that l love and she has such strong stage shows. Her strength in her personal life inspired me a lot too. She’s the full package in my eyes.

Do you have any final thoughts you might like to share with readersabout your new single Pretty Bitch Gang?

Just a huge thank you to anyone who has been streaming it! And l look forward to dropping more heat all 2024. I’m ready!

Saint Heart

Images by Michael Tari

We’re very excited to be speaking today with acclaimed actress and singing artist Saint Heart; greetings and salutations, Saint! Before we meander down the proverbial celluloid and musical Q&A pathways, how is the freshly-minted New Year treating you and yours?

My year started off wonderful looking forward to working on some new projects this year and working on a new album.

Major congratulations on a very busy couple of years for you as a critically lauded actress: You’ve graced no less than 20 films in the short span of just two years! The first question we want to put to you is this - When do you find time to sleep, let alone maintain a life outside of acting?

I do find time to get my beauty sleep and yes, it is exhausting but it’s also rewarding because I love what I do and if you love what you do, you don’t feel like it’s a job.

Fans who know a good thing have already discovered your indelible acting craft as the lead in the new Amazon Prime production of Deadly Western, as well as in the upcoming Paramount Plus film Alien Storm; kudos and accolades! For anyone late to the party, can you talk a little about both your role in Alien Storm and your leading role in Deadly Western and how your characters - Annie and Jane, respectivelyfigure into the proceedings?

My role and deadly western, I played Jane a gun slinging cowgirl that was out for revenge on Buck for killing her sister. I love working with the crew and the experience. It was so natural for me because I’m a Texas girl.

Working on Alien Storm was very enjoyable. The producers flew me to Vegas, and I worked on set for about two weeks. I got to fight some evil aliens and I built a relationship with the crew. Now, they’re like family.

What was it like collaborating with director Adam Werth in Alien Storm? Is he what some actors might refer to as “an actor’s director”?

Adam Werth, it was such a pleasure to work with him. He’s so kind and humble and very talented. Adam was very patient and understanding with his crew. I enjoyed working with him and I would love to work with him again.

Speaking of collaborations, you really knock it out of the Wild West park in Amazon Prime’s Deadly Western;kudos! What was it like working with directors Gregory Hatanaka and Geno McGahee in this production?

Gregory Hatanaka was the first Director to really give me a chance and give me my first lead role. He’s very widely known in the film industry. I just adore him!

It was cool working with Geno again. I got to work on another movie called “Amityville Emmanuel” where I played psychic. Deadly Western is a great western movie with a sci-fi twist.

Who inspires you, acting-wise?

My inspirations are Margot Robbie, Angelina Jolie, Elizabeth Taylor, Robert Downey Jr., Johnny Depp, and Evan Peters. I love how different they all are, and how they can take on any role and make it their astounding way.

You’ve got a tremendous slate of movies and television productions in the pipeline waiting for audiences to discover them: In no particular order - and glancing at your handy-dandy IMDb page! - there’s Bollywood to Hollywood, Who’s Gonna Take Care Of Me?, Solar Storm, Class Act, Funny Old Ladies, Back Burner, Julie’s Place, Cursed Waters, David, Bring It, Yesteryear and Boiling Point. Can you briefly give our ever-inquisitive readers the dope on what they can look forward to with this impressive list of projects?

My role in “Bollywood to Hollywood” was a pilot that I was asked to be a

part of by my music producer Andrew Lane. At the time, I was mostly working on my music.

In my role in “Who’s Gonna Take Care of Me” I got to play a pregnant wife, which was really fascinating to research, it is based on a true story. I just recall there is a scene with Oreo cookies that I was craving them and going crazy as you would call “pregnancy cravings” and I think that was one of the highlights of the movie.

Solar storm is an international action-packed film in preproduction. At the moment I will be playing a detective.

Juile ‘s place, class act and funny old ladies. They are all intertwined. It is a sitcom TV show where I will be playing a very young mother of triplets, and a lot of insane stuff happens. We start shooting in the Fall.

In “Cursed Waters” I got cast to play a sexy siren that seduces all the pirates and kills them. It was a cool action fighting scene with choreography and blood and wearing the prosthetics was so different for me. I couldn’t even recognize myself. I looked so scary.

The movie “David” is in preproduction as well. It is the story about King David’s life. I will transform into biblical character. Bathsheba. I’m looking forward to working on the faith-based film next year.

Bring it is a LGBTQ movie where I will be playing a female assassin that is in love with a villain.

Boiling point was a crazy movie to make, warning there’s a lot of screaming I do, which will be releasing very soon on Amazon Prime.

Yesteryear was a lot of fun to make with Q’orianka Kilcher. She’s so satisfying and very humble.

Before hitting the ground running in the world of acting, you were (and still are) an accomplished and respected music artist. What can you tell us about your forthcoming EP which is in the works?

My new music’s going to be based on personal experiences with my mental health, family, and love. I feel like this album is going to be the best one yet.

You hang your fedora in Los Angeles and are originally from Austin, Texas, How do those seemingly disparate roots inform you as both an actress and a musician?

I think being from Texas my mother raised me to be very humble, and that’s one thing you have to be in this industry is humble.

Your first credited screen work came in the form of the 2010 television series The Maybelline Girls. Any special memories of that freshman production?

My first movie was “The Memory Scanner” in 2021. Based on a book and won tons of awards in film festivals for being so creative and knowledgeable. I did not start pursuing acting until 2021.

With all of the many productions which you have coming up, is 2024 and into 2025 shaping up to be another busy acting year?

I’m getting busy again and auditioning, as well as doing a lot of networking. You got to be in it to win it, right? NEVER GIVE UP!

Final - SILLY! - Question: Favorite movie about the making of movies

- Once Upon A Time In Hollywood, Ed Wood, The Player or Living In Oblivion?

I absolutely love “Once upon a time in Hollywood.” The ending scene was brilliant, Quentin Tarantino is just magnificent! I know he’s retiring, but I am highly anticipating seeing what he creates!

John Ondrasik

We’re very excited to have some time today with acclaimed singer and songwriter and Grammy-Nominated artist John Ondrasik who is perhaps known best far and wide by his famed nom de plume Five for Fighting; greetings and salutations, John and welcome to Vents Magazine! Before we venture into the Q&A mosh-pit, how is the freshly minted New Year treating you and yours?

Very Busy! Waving goodbye to most of my New Year’s resolutions. ��

Major congratulations on your efforts for the Music Matters Challenge which is set to launch this March 26! For the uninitiated out there, could you talk a little about the Music Matters Challenge and explain what it’s all about?

We are so excited! The Music Matter’s Challenge is a national contest that anyone can participate in to fully fund a music teacher for a school in need for three years at a salary up to $300,000. To enter all you have to do is make a short video telling a story about a music teacher, or someone who influenced your life through music, sing a little bit of the song “Let Music Fill my World” and upload your entry at www.LetMusicFillMyWorld.Com. There are cash prizes and a $25,000 grant school prize so schools can compete against each other!

Would you talk about why the Music Matters Challenge is a very important cause for you? What specifically about this amazing endeavor resounds for you and inspired you and Cayley Tullman to create it?

When LA Unified cut all music funding for schools in the 1970s, my mom volunteered at Van Gogh Elementary School and began putting on full musicals with the 5th and 6th grade classes. The impact that my mother had on me, and my classmates resonates over 50 years later. Many students still keep in touch with my mom, and for the most, music has continued to be instrumental in their lives. With 4 million kids in America lacking a music teacher I wanted to pay it forward, so last year Cayley and I partnered with Farragut Career Academy, a public school on the West side of Chicago,to write the song “Let Music Fill my World” with 8 amazing students. They wrote the whole lyric themselves. Through that effort we funded a full-time music teacher for three years at Farragut! You can watch the music video with the kids and I here - https://www.youtube.com/watch?v=eATSUqEqJ1s.

Speaking of Cayley Tullman, how essential is she to the equation which is the Music Matters Challenge?

Cayley, her father Glen, and the Tullman family are doing incredible philanthropic work across the nation, and this happens through Cayley’s leadership, willpower, and passion to change lives for the better. Cayley describes their nonprofit philosophy as “patriotic philanthropy,” which I love. Cayley shared that she used music and guitar to get through challenging times while serving our country abroad. She personally understands the healing power of music and we share the same goal that once we are done, every child in America will have a music teacher in their school!

Looking into the Magic 8 Ball, how do you envision Music Matters Challenge growing and evolving over time? What are your hopes for this powerful tool and lifeline for all of the music programs in the nation’s underserved schools?

Our Let Music Fill my World non-profit will continue to move forward with events, challenges, songs, and raising our voice. We will sing loud and proud from schools across the country to the halls of Congress.

Conversely, would you like to see a day and time when the Music Matters Challenge is not needed because schools all throughout

the land invest the proper care and time and money into their music programs?

That is our mission! And we can do it! I hope everyone enters the Music Matters Challenge, one doesn’t have to be a singer to participate. You can play an instrument, read a poem, paint a picture. We all can agree music matters to our kids, and this is just the first step!

The tune which you’re asking Americans to create an original rendition of - Let Music Fill My World - is a real gem of a ditty! For the folks out there who will participate in the Music Matters Challenge, what advice would you give them in crafting a compelling and engaging take on this tune? What’s the secret of a successful cover-song?

Be Yourself! Have Fun! Be creative! And anybody can win! Whether you have one follower or 10 million followers we all have a role to play. Remember whether you are a finalist or not, your effort will participate a school without music getting a full time music teacher.

Who are some of the other visionaries behind the Music Matters Challenge? Who are those people who have added their own contributions to something which you and Cayley spearheaded?

Every teacher who has taught music, including my mom, knows the magic of music for our kids. I will never forget meeting a 9 year old autistic boy severely on the spectrum having a traumatic episode, and his mother told him “This is the Superman singer”…The boy relaxed, stood up, walked up to me, looked me in the eye, and sang the whole song “Superman (It’s Not Easy) to me without missing one beat. Music is miracles.

When crafting the Music Matters Challenge, were there any torchbearers that went before you and Cayley in similar efforts that inspired and influenced the course of your own endeavor?

As someone who has worked for a cure for ALS, the ice bucket challenge was an inspiration to me for this contest. Something we all can do and get behind for a wonderful cause. An effort that is fun and creative, and has a critical mission to Let Music Fill Our World

At the end of the day, what are your best wishes and hopes for the Music Matters Challenge? What would you like its ultimate legacy to be?

That the whole country tells their stories, sings with us, has a blast, and joins our cause ensuring no child grows up without the miracle of music.

We’re happy to have some time today with highly acclaimed - and very busy! - actress, Fatima Adoum; welcome to Vents Magazine, Fatima! Starting at the top, congratulations on what looks to be a very busy 2024! What can you tell our ever-inquisitive readers about your role as “Amythis” in the upcoming March 1 Netflix television series Furies?

Thank you for the invitation. I play Amythis, a lady who hides dark secrets to protect her daughter Lyna (Lina El Arabi). Amythis knows how to make birthday cakes for her daughter and how to use guns. Amythis is a mother figure and a woman who can be as tough as one can be in the crime world. Moreover, even when seriously injured, she has old reflexes from her past which automatically resurface.

You work with an exceptional ensemble in Furies including the talented likes of Marina Foïs, Lina El Arabi, and Mathieu Kassovitz! What was it like showing up on set every day and getting to go toe to toe with these actors?

The majority of my scenes were with Lyna El Arabi. I remember our first scene together. We immediately felt connected, it was so powerful and sincere, like it was obvious. I loved working with her and a few months later we worked together on another project where we are still mother and daughter, the Plaine Orientale series. Furies hadn’t been released yet and the producers at Plaine Orientale didn’t know we had played together so it was very funny. We were so happy to work together again.

Who was your director(s) on Furies and what did the collaboration process look like between the actors and the director(s)?

Cédric Nicolas-Troyan lives and works in the United States and Laura Weaver lives in France and comes from advertising so each director brought their personal touch. I appreciated to work with both of them. It was very impressive to see behind the scenes of the British director (second unit director and stunt coordinator) Jude Power. We feel his precious codes of the martial arts world such as safety above all, great respect for everyone and precision of gestures.

In your humble opinion, what differentiates Furies from the Distinguished Competition on the current day television scene?

It’s a mix of realism and mythology where women are powerful and the fight scenes are fascinating.

Did you know as soon as Furies crossed your desk that this was a special production you wanted to be a part of?

I was finishing filming the series Hijack with Idris Elba when I was offered this project. The pitch immediately appealed to me and when I spoke to the showrunners Jean-Yves Arnaud and Yoann Legav, I was totally won over and I knew that we were creating something special.

I can’t wait to know what they will do with my character Amythis if the series is renewed.

You’ve also got a number of other productions in the pipeline

poised for release including Hijack on Apple TV+, the miniseries 9.3 BB, French series Plaine Orientale, as well as several major motion pictures such as Islands by Jan-Ole Gerster - Congrats and WHEW! Can you give readers a hint or three as to what all of these projects are about and what they mean to you?

In Hijack I am a wealthy Egyptian who would do anything to protect her husband. In the mini-series 9.3 BB I am a former gymnastics star, in the series Plaine Orientale, I am a woman stuck in complicated family affairs, in Petites Mains, I am a union representative and in Islands directed by the so talented Jan-Ole Gerster, I manage a camel farm. All these women are strong, vulnerable and very loving at the same time, these are character traits that are quite similar to me.

How did you ultimately land upon the pathway of wanting to become an actress?

When I was a child I wanted to be Charles Bronson in Once upon a time in the West.

You were born and raised in Lyon, France. How do those roots inform you as an actress and as a person?

Indeed, I was born and raised in Lyon, France and I come from a multicultural family. I have traveled a lot, I have learned a lot about other cultures, I feel more like a citizen of the world than anything else. I also had the chance with my job to play different characters with different cultures and speaking different languages... I had such different roles, killers professionals to stay-at-home moms. So it’s valuable to me.

Your first credited film was a tremendous one - 2002’s Irreversible. Any special memories of that freshman production?

Starting my career with Irreversible was an incredible memory, this film is so moving. I remember the kindness of Vincent Cassel, I only had 2 days of shooting and he knew that it was my first film, Vincent was very encouraging. Before each take he said: Go ahead, Fatima, it’s YOUR scene. It was so funny and it really put me at ease.

You’ve often been described as a “chameleon” with your ability to tackle any type of role you land on. Where does that talent come from? Do you credit your time at La Sorbonne in giving you those particular acting chops?

I think it comes more from childhood. As a child, I played a lot with my mother and loved transforming. Later, I felt the desire and the need to work on international projects, not to be locked in a single country with a single language and I think that also helped me a lot to change the way I play.

Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, Swimming With Sharks, Hail Caesar or Once Upon A Time In Hollywood?

Oh it’s very funny, Living In Oblivion is one of my favorite films and a very inspiring one in our industry.

Ava Cantrell

We’re very happy to have some time today with acclaimed actress Ava Cantrell; holiday greetings and salutations, Ava! Before we dive down the proverbial celluloid Q&A rabbit hole, how is the 2023 holiday season treating you and yours?

Thank you so much for talking with me today! This year the holidays have been quite busy for me with the release of a new movie amid all the holiday madness, but I’ve been having a blast. I am really excited about the new year and 2024 on a personal and professional level.

Hostess of the Month

Major congratulations on a bravura and star turn in the freshly minted new horror feature film Abigail which is now available courtesy of VOD! Starting at the tip-top, what can you tell our ever-inquisitive readers about Abigail and how your titular character figures into the proceedings?

Abigail is a twisted teen love story that is part slasher and part thriller set in the 1970s. I play thetitle role of Abigail who arrives in a small town and adds the twisted part

to the story, helping the bullied neighbor deal with his tormentors. Abigail is a somewhat likeable villain that you are cheering for even though you know it is disturbingly wrong.

Did you know as soon as you read wordsmith Gunnar Garrett’s screenplay for Abigail that this was a production you wanted to be a part of?

Absolutely! I knew from his great script that Abigail was a part I really wanted to play. She is so different from anyone else I’ve played and the twist and turns the story takes was a huge draw. Gunner had some illustrious lines that I loved breathing life into.

Coming into Abigail, were you a confirmed and card-carrying horror film aficionado? And, if so, which films from that hallowed genre do you count as personal favorites?

I became a fan of horror afterplaying human Dianain David F Sandberg’s Lights Out. That movie was the first horror film I’d ever seen, and I was screaming in terror at the premiere louder than anyone. The excitement and rush you get while watching a good horror is so much fun. I do love American Psycho and found some inspiration in that for Abigail.

You lead such an impressive ensemble cast for Abigail, including the amazing likes of Tren Reed-Brown and Hermione Lynch. What was it like exercising your own considerable acting chops alongside this incredible group of thespians?

Everyone was cast so extremely well for the film. Tren was a great scene partner and he and I had such great chemistry. He is such a funny and charming guy off screen too. Hermione is a sweetheart in person and such an incredible actress. Our scenes were always a battle on camera. Abigail against her mom, Eve. They each have opposing motivations and I think it’s some of the best acting I’ve done when we share the screen. I also got to reunite with Gene Farber whose acting chops are one of the best I’ve encountered. It is our second movie together as father and daughter and I love sharing the screen with him. We’ve been family friends since we worked together on sci-fi“One Under the Sun” and I really enjoy him and his amazing family.

Your director for Abigail is the insanely talented Melissa Vitello. What was your collaboration process like with Melissa while working on the film? Is she what some actors might refer to as “an actor’s director”?

Melissa worked with Tren and I for weeks by Zoom before we arrived on set. We knew what we were going to do and what she wanted so she could focus on everything else. It’s great when a director trusts you to do your job.

Who inspires you, acting-wise?

I grew up watching movies with my parents. I love a goodearly 2000’s movie. My favorite movie is “The Secret Life of Walter Mitty” and Ben Stiller not only brilliantly directs but stars in that movie. I love Julia Roberts, Reece Witherspoon, and Kate Hudsen in “How to Lose a Guy in 10 days”. It is sheer brilliance. I would love to take on a

role like that one day.

Your first credited acting role came in the form of the 2010 short film PALs where you played a character called ‘Ally.’ Any special memories of that freshman production?

Dawn Garcia wrote and directed PALs and she was so wonderful. It was the first of many times that I had to wear crazy amounts of makeup, go through body casting, and work with odd practical effects. I played as an android so a whole suit and helmet needed to be designed to fit me. For some reason this type of role continues to follow me around, I had the same extreme body and face makeup on a ghost hunting tv show, and in Lights Out.

With 2024 fast upon us, can you give readers a hint or three as to what you have coming up as far as acting goes?

This coming year will hopefully be busy with more opportunities now that the dual strike is over, and production will start to ramp up in the new year. I have a zombie survival movie in the works everyone needs to be on the lookout for. It has lots of action scenes and I have been prepping for over a year. That character is the total opposite of Abigail with over half the movie in battle. I am enthusiastic to take that on. I am also excited to start auditioning again after a long Sag Strike. It is exciting as an actor not really knowing what is in store.

When you’re not acting, you’re actively involved with many charitable organizations like the LA Mission and Animal rescue centers. Can you talk about these worthy causes and why they mean so much to you?

I was just at the LA Mission volunteering over the holiday and it’s such a wonderful and needed organization that works to combat homelessness. I have volunteered at the Mission for more than ten years and will always be a supporter. Dogs and cats rescue centers are near and dear to my heart. My family and I have always been involved with several different organizations and we have fostered and adopted them many times.

At the end of the day, what do you hope viewers walk away with after checking out your new feature film Abigail?

I really hope everyone who watches Abigail will enjoy the ride for the hour and a half you spend with the movie. The feedback has been phenomenal. It is a great first teen thriller to watch with a family that will enjoy the 70s aesthetics.It’ssuspenseful without being too gory. I think it’s a really fun scary flick!

Final - SILLY! - Question: Favorite movie about the making of movies - Once Upon A Time In Hollywood, Ed Wood, Living In Oblivion or The Player?

Netflix has a series called “The Movies That Made Us” and I watched all those episodes. It dives into the stories of the iconic 80s movies and gives you an inside look at how they were produced. It’s amazing to hear their stories!

Charles Azulay

We’re super-excited to have some time today with acclaimed author and Dora- nominated actor and director Charles Azulay! Before we dive in, how is the year treating you so far?

So far so good. Things seem to be falling into place for me. Also, it’s the year of the dragon, which is apparently going to be good for my sign, which is the pig.

Major congratulations on the release of your new memoir Uncoloured. What inspired you at this particular time to write this gripping, bittersweet and ultimately beautiful look at your life?

Honestly, I had always wanted to write about my acting career, and at the beginning of the pandemic, I had time. The funny thing is that, as I sort of started out writing a little about the beginning of my life, I realized that I was still holding onto a lot of the pain of my childhood. In the end, my husband was the one who kind of convinced me that although my professional career had been really amazing, it was the story of my life behind the scenes that was the more interesting one.

You really mine the emotional depths in Uncoloured and do so in a candid and unflinching manner. Was it difficult - or perhaps cathartic - to revisit some tough and wrenching memories of abuse, neglect and being homeless?

Honestly it was both. I realized that I had never properly dealt with the trauma that I‘d experienced, and I guess over time I tried suppressing it. I guess it’s easier to do that, when things start to go well and life becomes a bit better. Ultimately though, it catches up with you one way or another.

Uncoloured delves into the subject of interracial adoption. For parents reading this right now that are in the process of adopting - or who already have - a child of another race, what would you say to them regarding the emotional tools they will need for both the child and themselves in going through this experience?

I would definitely tell them that no matter how hard you try, there will be something that is impossible for you to give to your child. And that’s ok. Be honest with them, and acknowledge that you don’t have all the tools to help them navigate the world outside of your home. The important thing is that you be supportive of them however or whenever they need to immerse themselves in their own culture. That need is not a reflection on your parenting or love you have for the child. They love you. It’s simply that they need a little more to make them feel complete or whole.

How important and essential is it for the

adoptive parents to understand and respect the culture of the child who is joining their family?

Extremely important. Unfortunately the world we live in does not treat everyone equally, so it’s important for parents to try to learn and understand the struggles that their child has, and will continue to have once they leave home.

Was there anything that you hesitated in writing about in Uncoloured, or was everything within bounds, so to speak?

I pretty much laid it all out there. In fact the hardest part was trying not to edit some of the stories. They weren’t edited when I lived them, so I wanted people to hopefully feel a bit of that experience by being as straightforward as I could.

How did the transformative world of acting enter into your life? Your work specifically in Miss Saigon is highly revered.

I was drawn to it because when I was a child and into my teens, it was really a means of escape. I resented who I was, and so it felt good to transform myself into a character, and ultimately escape having to be myself for a little while.

Speaking of acting and the world of film and entertainment, it feels as if Uncoloured would make a fascinating big screen coming of age adaptation. Is a film version of your memoir something you would be receptive to?

It’s funny. I wrote the book with that in mind, so I’m in the process of adapting it into a screenplay. It will take some time, but I’m hopeful it will appeal to someone.

Writing-wise, who inspires you?

Various people do actually. I’m not just about any one author in particular. I really do enjoy reading nonfiction and memoirs in particular. I find stories about people’s lives remarkable especially when they deal with overcoming adversity.

With Uncoloured making its rightly lauded premiere, what’s in the cards for you coming up?

As well as working on the screenplay for Uncoloured, I’m working on my second novel, which focuses on me taking care of my elderly father.

At the end of the day, what do you hope that readers walk away with after checking out Uncoloured?

I really hope that people will be able to look within themselves and understand that it’s easy to be kind to others, regardless of how they may present themselves. Everyone has a story, and you have no idea what someone else may be going through at any given time.

A Doll’s House

We’re excited to be speaking today with acclaimed rockers A Doll’s House; greetings and salutations, gang! Before we dive into the Q&A section, could you each say ‘hi’ and introduce yourselves to our ever-inquisitive readers?

- Hi, this is DavPetrunich, guitarist for A Doll’s House.

- How’s everyone doing, this is Dave Santos, vocals.

- Tony DeFranco here. I’m the drummer

- And I’m Seth Rafkin, bass. Thanks to everyone whose checked out our first album, Annum.

David, we have so much to talk about today, but before we get too far down the pathway, how would you describe the genre of music which A Doll’s House creates? We hear some distinct and delightful alt-rock at work in your music! Are we too far off-base?

I think we’d all answer this a bit differently cause we have fairly eclectic tastes. I’m pretty bad at pinpointing genres nowadays as they seem to blend together. I think there are elements of pop, rock, and alt-rock in our music, but I think more in terms of whether a song is “hooky” or “poppy” – I want the music to be memorable, whatever genre it lands in.

Dav, major congrats and kudos on the freshly-minted debut LP from A Doll’s House which is entitled Annum and which was released Feb 16th! Starting at the tip-top, can you talk about all of the things which inspired this incredible debut album?

The original version of A Doll’s House had decent success as an LA band playing up & down the coast at colleges and playing some of the bigger clubs in Hollywood, etc., but we never made it to the next level. That was partially due to bad luck and partially due to a lack

of maturity (namely my own). As the realities of life closed in and people had to move farther away, etc., it proved too much to keep it going.

Fast forward to 30 years later and technology allowed us to reconnect both socially & musically, even though Seth now lives on a separate coast. Plus, we have gained the needed maturity (just barely enough) and, with Brian Wheat, our luck finally changed. We now had what we needed to address the unfinished business of A Doll’s House.

Seth, the rightly lauded producer Brian Wheat arranged, recorded, and mixed Annum. What was the collaboration process like between A Doll’s House and Brian while in the studio working on the freshman LP?

It was a great experience. We have a lot of common ground with Brian in terms of artists we admire but we also each have spheres of influence that are not common ground. From my perspective, that’s what you want because the common ground helps the band and producer communicate more easily but the differences allows each side bring ideas to each other that are not as familiar and they can get tweaked and adapted in creative ways. Brian is a very quick study on songs and has a great ear for drawing out interesting, catchy parts of songs that were buried more at first and getting them more in focus and up front. He’s also the kind of guy who can pull the best out of you during the recording process. A great example is the guitar solo in Wisteria. Originally the song didn’t have one. It wasn’t until we were mixing that Brian raised the idea. I was with Brian at the time and he just called up Davon the spot and said, guess what, we need a solo. The next morning Dav brought the solo and it’s one of my favorite moments on the album.

Seth, does it actually feel right on time as far as achieving the milestone of releasing the debut album of A Doll’s House? Do you feel that time has given you all the gift of truly appreciating Annum in a way in which you may not have been able to twenty years ago?

It was definitely worth the wait. Our range in songwriting has broadened so much since we were first playing and writing in our late teen and early 20s. The resulting album is so gratifying to us because it’s wasn’t an effort to just make better recordings of songs we wrote back then; it reflects where we are now and who we are now so it doesn’t feel like a sentimental exercise. That said, it is very cool to us that two of the songs on the album are ones we wrote literally close to 30 years ago. And I will say that the reception of the first singles has been really meaningful to us. For guys our age to put out a first album and start getting radio play around the country and getting some attention on the streaming services is pretty rewarding. And we owe a lot to Brian Wheat and his team for getting us out there.

Tony, in your humble opinion what differentiates Annum from the Distinguished Competition on the 2024 music landscape?

I think the songwriting sets us apart of course, we have a great vocalist, guitarist and bassist, but the songs are thoughtfully constructed both lyrically and musically. The music is evolved and will reach listeners on a heightened level, at least we hope.

Dav, is there a VH1-Behind the Music secret origin story on how A Doll’s House came together to form the tight band which we can hear on the February 16 release of the LP Annum?

The story of A Doll’s House forming and becoming tight is a story of differences and common ground. In the 1980’s, Los Angeles teens could be categorized by musical cliques, and lines were rarely crossed. So, with Joy Division on my answering machine calling Seth to hear Motley Crue on his, the story should have ended there. But it didn’t. Seth and I found common ground in the Beatles, Duran Duran and Bauhaus. Tony was next to join. Although Tony and I went to the same High School (Notre Dame), we were several grades apart which is another big deal as teenagers. His inspirations were Rush and the Police (now bands that we all love), but we found common ground in another Notre Dame band, Jane’s Addiction. Despite his age, I was awestruck with how precise he was behind the drumkit. Finally, just a few years ago when I put out an ad for a female vocalist, Santos responded with a common influence in Duran Duran. Although not what I thought we were looking for, Santos blew us away with his voice, making him exactly what we were looking for. We all met in unlikely ways, but maybe it was meant to be. Our common interests give us a common language, but our differences provide unique flavors that work well together.

Dav, with the release of Annum, can fans look forward to catching A Doll’s House on the touring/performing circuit?

We are looking at ways to make that happen, which you can imagine is a bit more challenging for a band like us. But we’ve been rehearsing and I can honestly say that we are playing better than we ever have and are working to get the stars aligned.

Seth, the debut single off of the LP is the incredible gem of a ditty Hey, Wait. What made this tune specifically the perfect choice to lead the charge for the new album? Do you feel that it represents the energy and the vibe of Annum?

Hey Wait felt like a reward for a lot of hard work in that it came about very quickly. We actually already had the line-up of songs for the album and had made very good, thought-through demos. Then Hey Wait materialized when Dav and I were hanging out at his place for a few days. We wrote the song virtually overnight and within a week the whole band had made a very good demo and everyone just loved it so we decided to put it on the album. There’s something very fitting about the first single being a song that wasn’t supposed to be on the album. I do think that one of the things that caught the band and Brian about the song is that it does seem to encapsulate the vibe of the overall album.

Tony and Seth, we love the tune Over Easy which is the new single off of Annum. What’s the story behind this brilliant song?

Seth: Over Easy is a very good example of how the band works. I started the basic idea off on acoustic guitar, with very basic chords and the gist of the vocal melody. Dav then took the guitar and crafted into the textured feel you hear in the song and the almost banjo-like leads, which I think give the song its signature. Dave Santos then did what he always does. In addition to just having a great voice, he has a way of finding very interesting, not so obvious harmonic lines to weave into the vocals. I also think Santos really nailed the “feeling” in the song. It feels real. It’s

an easy song for a singer to over-do it and stray into the sappy, but Santos gives it that genuine feel.

Lyrically, the song takes a well-worn subject – breaking up – and tries to approach it from a different perspective. The girl who got dumped is confiding in her friend but the story is really being told from the friend’s perspective and the twist is that he’s the one who really loves her. The question becomes whether he’s going to tell her or not and if he does what will she do?

Tony:I can speak to the driving force of the song. When I first heard the demo, I heard something in Seth’s baseline that led me to change up the original thought for the drums to something a bit more driving. I think that in turn gave the song a bit of a harder edge.

A question for all of you: Who inspires you musically?

DavPetrunich: Like many other musicians, it was the Beatles that initially inspired me to dive into the music world, and they still influence me today. But since then, I have continued to discover new music that inspires me (from the classic idols to one hit wonders), and as the years add on, the list of musical inspirations and influences continues to grow. It’s impossible to give credit to all that are deserving; there are quite a few.

Dave Santos: The ones that come to minds for me are Travis, Coldplay, Tears for Fears, Duran Duran, A-Ha. Bands that write great emotional pop songs with memorable hooks.

Seth: Most musicians/songwriters, I’m sure, are influenced by a wide range of bands and artists and that certainly true for all of us. Picking up on Dav’s comment, when it comes to true inspiration, if I had to pick one I’d say the Beatles and Paul McCartney in particular. (So maybe that’s two.). The reason I say that is that to me no one else has the breadth of sounds, styles and genres all in one band or one songwriter in the case of Paul. I just marvel at the way the Beatles and Paul are and were able to write and play in so many different genres but it still sounds like them. It’s hard to think of other artists that have a body of work that has something likeHelterSkelter at one end of the spectrum, Yesterday at the other and all sorts of stuff including Indian ragas, show tunes, psychedelia and some of the catchiest riffs in between just to name a few.

Tony: It’s of course impossible to name them all. For me, it’s been about being open to all types of music and genres so I can draw off of them to find new ways to think about drums and percussion in our songs.

Dave Santos, any final thoughts you may like to share with readers and fans regarding your electric debut album Annum?

It has been a real labor of love for all of us to get to the point where the album is finally out. One thing we are particularly proud of is that Annum really is an album in the true sense. It is a group of songs that really fit together and we were very deliberate about trying to create an overall vibe for the album, which Brian Wheat understood and nailed. It’s even a bit of a throw back to “concept” albums in that the name Annum, which is Latin for “year” comes from the fact that the last four songs on the album loosely track the four seasons over the course of a year. We are very thankful for everyone who is giving it a chance and hope it resonates with more and more people. @dollshouseband @adollshouseband @adollshouseband @adollshouseband https://linktr.ee/adollshouseband Official:

CINDERS

We’re very excited to be speaking today with acclaimed alternativeindie-pop band CINDERS; greetings and salutations, gang! Before we dive into the proverbial Q&A mosh-pit, could you each say ‘hi’ and introduce yourselves to our ever-inquisitive readers?

How’s it going? I’m Adrian. I play bass, (sometimes) guitar, and keys as well as do backing vocals.

Hi, I’m Montana! I sing the songs and play the guitar. Been playing music for about 15 years and my favorite part is playing shows and having the crowd sing the songs back to us!

Hey guys, I’m Brad, the drummer. Blessed to find such an awesome band to be a part of.

Major congratulations on your freshly-minted new EP Going Nowhere which is set to make its debut this March 29! Montana, what’s the VH1-Behind the Music origin story on what inspired this incredible new release? Has this been a long time in the making?

I think each song has its own origin story. Each of these songs are very personal to us, but I think we’ve done a good job at making them open for others to find their own meanings. The song “Don’t Wait Up” has specifically been a long time in the making compared to the other songs on the EP. We’ve been playing it at our shows for over a year now and we used those experiences to really hone in what we wanted it to be.

Adrian, who did the producing honors on Going Nowhere and what did the collaboration between band and producer look like in the studio while working on the new EP?

For the Going Nowhere, the EP, we stayed self-produced for the majority of the project, but for one song, and for the first time ever, we worked with a producer. When looking through records we loved, the same name kept popping up: Mike Sapone (whose credits include Brand New, Taking Back Sunday, and The Front Bottoms). We decided to reach out and he was excited to work with us. On the new EP, he produced the tune “Don’t Wait Up.”

We flew to a studio called Ghost Hit Recording in Massachusetts. We were a little nervous to have someone else in the creative and recording process of the songs, but he made it a blast. He made us breakfast, was fun to be around, and in the studio, he would always make sure to cover all the bases so we’d have what we needed in post-production. He helped us get the sounds that we all felt were best for the song and we never felt pushed in any direction that felt uncomfortable or wrong or “wasn’t us.” Mike always had constructive feedback and ideas that were an obvious, “yeah!” for us. He followed it through to the end and connected us with his favor mixer and masterer. The process was actually very enjoyable and we’d love to do it again.

Brad, we’re big admirers of the tune “Gold Pearl”! What’s the story behind this upbeat gem of a ditty?

“Gold Pearl” and its lyrics stem from the negative effects that social media can have on our mental health. The gold pearl refers to our potential that gets buried or neglected when we get roped in and start “doom scrolling.” We miss the good old days when we didn’t have phones in our pockets to distract us. Just friends, family, and the good ol’ outdoors. We like to keep our lyrics ambiguous so that the listener can interpret our songs for themselves to have more meaning, so it might be tricky to pick all of that out reading through the lyrics. So we hope you can find your own meaning!

Montana, what sets Going Nowhere apart from the distinguished competition on the 2024 music scene?

“Going Nowhere” is a brutally honest song about how hard it is not knowing what the future will look like, but still having hope. Everyone (including us) is just looking for relatability and honesty in what we watch and listen to. The more we hide our true feelings, the less we can connect with other people’s true feelings.

Adrian, CINDERS as a band is based out of Salt Lake City. How do those particular stomping grounds inform the sound and the energy of the music which you all create?

We are very proud to be from Salt Lake City. On top of it being a gorgeous state with the best mountains, we love that we can try and help get Salt Lake City and Utah on the world map for music to compete with places like Los Angeles and New York. Bands and artists don’t need to move to these major cities to be successful and get noticed. A lot of famous bands have come from Utah and there are so many other amazingly talented bands and artists here that have what it takes to go big. Hoping CINDERS can be another one of those pioneers!

Brad, with the March 29 release of the new EP Going Nowhere, can fans look forward to catching CINDERS on the touring/performing circuit?

We haven’t announced the tour yet because we are waiting on a couple more markets to get tickets up. We are having to book our own tour this go around so it will be a small tour. But yes, always getting outside Utah when we can. Announcing as soon as we can! We’ll be playing in Phoenix, Pomona (outside LA), Portland, and hopefully Seattle. Other markets might have to wait until the fall. Sorry dudes!

Montana, we feel almost selfish and greedy asking this, but with the release of the new EP at the tail-end of March, will a fullfledged LP be in the cards for CINDERS before the end of 2024? We want more!

The EP will eventually connect to a full-length album, but for now we’re trying to just focus on individual songs and having them build into an album. 2024? Maybe. 2025? Definitely.

A question for all of you: Who inspires you musically?

Adrian - For me, the people who inspire me most as a bassist are Andy Rourke of The Smiths and James Jamerson of Motown Fame.

Brad - I know this is cheesy but my two band mates are a huge inspiration for me musically. I’m a drummer and don’t have a huge background in theory, chords, scales, etc. Outside the band, I’ve usually got some drummer that is pushing me to be better and play better, but lately it’s been mainstream rock/alt bands and their simple but captivating drum parts. They have really inspired me to keep things simple in my writing.

Montana - My answer to this question is almost always the bands that are trying new things and experimenting musically or visually. To give two examples, I’ll say Hippo Campus and Twenty One Pilots.

Adrian, what does the creative process tend to look like when you all get together to work on new material? Is there method to the creative madness?

I love that term creative madness. That’s a perfect description of what it is. Every song is completely different. Sometimes it starts with a chord progression we send one another. Sometimes lyrics are written or a hook. And sometimes it’s just a sick drum beat. We just enjoy coming up with ideas and bringing them to the band to see what the other members can add to it. I introduced this principle we call “mad man” to the band, which kinda means whenever we have an idea, we just go for it and record it and make it before we let the “judge” decide if it needs to be modified or removed from a song. Every idea is worth hearing, that is what keeps the creative juices flowing.

Brad, any final thoughts which you might like to share regarding the incredible new CINDERS EP Going Nowhere?

This EP makes us feel vulnerable as we write about our thoughts and feelings about our mental health, our many flaws, our hope for success but not quite being there, and not giving up on our dreams. A lot of people write music about their good days, and I feel like we write music about our bad days with the small hope we have for a better day tomorrow. I just hope people out there that find our music can feel some sort of connection to us, the universe, to God, or themselves.

4ra 4ra

Hi guys, (I’m one girl ), welcome to VENTS! How have you been?

I’ve been chromesick and data overloaded.

What can you tell us about the title and meaning behind your most recent release?

Need For Drift. The title is combination of Need for Speed video games, taking you into Wheel Runner 2049: Tokyo Drift.

How was the recording and writing process?

This song has been by far my biggest experiment ever. The entire timeline is gradually accelerating

in tempo until it crashes and undergoes enormous changes. From darkwave to cyberphonk to techno to nightcore!

Where did you guys find the inspiration for the song and lyrics?

It’s funny that it all started from my cover of the song ‘Tokyo Drift,’ where I drastically chopped vocals into nonsense. Additionally, I pitched and bent the melody with a phonk-sounding bell. I wanted to capture the kind of retro-modern synthwave vibe found in Kavinsky’s ‘Nightcall’ in breakdowns. In the end I wanted my listeners to experience a dystopian cyberpunk atmosphere - ultimately, it’s a solid chaos, something like a drifting JPOP song on drugs in a car crash.

Will you be hitting the road this year?

I wish I could, but I also want to produce a sick EP and create new cybercore live visuals for my show. So, I will stay in shadow ninja tactics for a while to respawn into god mode.

What else is happening next in your world?

I’m gonna relese 4vatar 4.4.2024, which is one of my first songs, but I’ve only performed it live. I set up the ‘Unreleased Game’ for my fans, and they chose this track from my unreleased library. So here we are – it’s cyberpunk mid-tempo bass with loli vocals about being an avatar. And I’m working on my debut EP right now which could be out this autumn.

Photo Credit : Adéla Zlámalová

A Permanent Shadow

Hi guys, welcome to VENTS! How have you been?

Hey there! It’s all good! We have just released a new album and are already working on some future projects. Exciting times!

What can you tell us about the title and meaning behind your most recent release?

“No Leaf Clover” refers to not being lucky at all. The songs on the album talk about dysfunctional relationships on a personal but also on a geopolitical level, and the songs’ protagonists are usually people who have been thrown into unpleasant life situations they now have to cope with. As the title track says, “Not for you, a four leaf clover”.

How was the recording and writing process?

We have a methodology in which we work thoroughly on the preproduction process and then put the finishing touches in the studio. Preproduction can take up to a year, what with people’s availability and stuff, and the studio work can stretch out over another year. The process, as you can see, is quite slow, but that helps in a way so that the songs can grow and evolve.

Where did you guys find the inspiration for the songs and lyrics?

Inspiration for lyrics lies everywhere, you just need to prepare yourself to pick up on ideas that are thrown at you – by life itself, by friends, by literature, movies and a long etc. The music should always reflect the lyrical content, at least that’s how I see it. You first come up with a story and then weave a musical cloth around it.

Will you be hitting the road this year?

I’m not so sure about that. I would love to, but the economics of touring for an indie artist are quite a challenge, and I’d rather not spend my money on thinly-attended gigs but on more videos and recordings.

What else is happening next in your world?

We’re already working on our next album and a covers EP, as well as an AI-created video for one of the songs on the current album. Even without touring we keep ourselves busy!