Anthony Sabatino is a composer based in Los Angeles who studied at Berklee College of Music, dual majoring in Film Scoring and Electronic Production and Design, with a minor in Conducting. He graduated Magna Cum Laude and received the Michael Reddish Award in Film Scoring and the Richard Devine Award in Sound Design for Electronic Music. Anthony is also a graduate of USC’s Screen Scoring Program, and is a member of Pi Kappa Lambda National Music Honor Society.

Anthony has worked on over 80 different film, game, and television projects, both student and professional, ranging in many different styles and mediums. He was a Society of Composers and Lyricists Mentorship Fellow, as well a Fellow in the Recording Academy’s Grammy’s NEXT Mentoring Program. He also ran and hosted the Film Score Bros Podcast, and now currently runs the Moose Scarf Podcast as his EDM persona “Moose with a Scarf.”

We caught up with Moose in a Scarf for a very special Video Voyageur you’ll find below.

1. Tell us the story of this song, why did you choose to visualize this song specifically in this way? 

I chose to make the music video for Moosebot because I thought it would be a fun way to announce this quirky new concept of a robot DJ character with a moose head. I thought announcing Moosebot by way of just a random encounter/dance battle would be fun, but also just showcase Moosebot as a concept and do all kinds of funky and quirky things would be on par with the intrinsic goofiness of Moosebot himself. 

2. What was the inspiration behind this video (visuals, storyline, etc.)? 

My main inspiration from Moosebot was that since holograms, AI, and virtual/animated artists seem to be a big thing, I thought it could be fun to do something similar, and also attach it to the Moose with a Scarf brand. For the storyline of the video, I thought it would be fun to have something similar in concept to the opening of the cartoon Hey Arnold, where both Arnold and Helga are both kinda just wandering about, and then have a little showdown. My thought was to set something up like that between the Moose and Moosebot, where there is this quirky clash, and then they “team up” in the end.

3. What was the process of making this video? 

We shot the whole video in one day. My family and I met up with the director Brannen Haderle at his house, and then from there we went to Melrose Place, which for those who don’t know, is a swanky shopping area in LA. We started by just shooting my in the Moose mask wandering around the area, just interacting with the shops, the people, and the area. Then we did a few takes of me dancing to the song in a few locations around Melrose place. After that we rigged up Moosebot and recorded him doing his routine in a few spots around the area as well. Eventually we found a nice little alley way to shoot the dance off sequence, and that was a combination of about 2 or 3 full takes of both Moosebot and me going back and forth dancing. The alleyway is also the same spot where the Brannen (the director) and I make a brief cameo as casual bystanders noticing the dance off and reacting like “what’s going on now?”. After we were done at Melrose place, Brannen had set up a makeshift green screen rig in his houses living room, and we shot a number of takes for the chorus in front of the green screen. After that we were all set and Brannen got to editing. He did a fantastic job and definitely deserves all the accolades for all his hard work helping make this video rock!

Eric Selby is a longtime session musician stepped out front this year to release his own music. First with a full album Do Baby, then the single “Anxious Zen”, and now the latesst single “Another Page.”

“Another Page” is a cool, chill, rock and roll tune that reminds me of Tom Petty’s “Last Dance with Mary Jane” but with the vocals of The Wallflowers. 

Selby explains, “The lyrics were inspired by Shakespeare’s quote, ‘All the world’s a stage.’ ‘Another Page‘ looks at our existence as a script that we are all reading as we move through life. Sometimes, we are in the spotlight; other times, we are the understudies waiting for our time to shine. The great equalizer are the days when the theatre is closed: the lead, the understudy, director, seamstress, stagehands, etc. are all on the same plane because the “…show’s dark today...”

Eric Selby is a Blues Hall of Fame inductee who has recorded and performed with the likes of Ron Holloway (Warren Haynes, Dizzy Gillespie, The Allman Brothers, Sonny Rollins, Tedeschi/Trucks); Daryl Johnson (The Neville Brothers, Daniel Lanois, Emmylou Harris, U2, Bob Dylan); James East (Elton John, Lionel Richie, Eric Clapton); and countless more.

Eric Selby is a seasoned music veteran  has been named Blue411‘s Drum Thumper “Jimi” Award winner, been nominated for multiple WAMMIE awards, inducted into the Blues Hall of Fame, #1 on Blues411‘s charts multiple times and was featured in Modern Drummer for his approach and perspective in their “Drummer Blogs.”

In 2020, Eric stepped out front, by releasing his first solo record of original music, entitled “Do, Baby.” This release is a culmination of the various styles and genres he has had the opportunity to embrace through his musical travels. Eric has recruited many musical associates along the way to give this release a new vibe and emotion with every song.

Find Eric Selby via:

https://www.facebook.com/EricSelbyMusic/

https://www.instagram.com/ericselbymusic

Pakistani-American Brooklyn based Ali Aslam’s music explores the complex, sometimes contradictory facets of his identity with a curious introspection. They reflect the private musings of a person who has spent considerable time alone on the fringes. Ali Aslam calls his signature sound “supersonic folk” — not the booming singalongs of past genre giants like Mumford and Sons or Fleet Foxes, but rather a current and forward-thinking creation that incorporates diverse sonic elements and reaches across cultures, more like Big Thief or Phoebe Bridgers. We caught up with Ali for an exclusive Video Voyageur for this “Photocopy,” lyric video. Catch it below!

1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?

Like so many things in art its one part intention and one part happy accident.

The song itself is about this idea that we can be more than the sum of our grief, but that is a choice we make. The video came about because I had been committed to a very strict quarantine in my apartment in Brooklyn. I hadn’t really seen anyone or interacted with anyone for months. So, I had been taking these motorcycle rides all summer to just get out of my apartment and let off some steam. I started shooting Go-Pro videos while doing that, thinking it would be a fun distraction to edit them. On one of my first rides with the camera, I had mounted it wrong and it got jostled and then all of the footage was just of the sky, and the city buildings just looked so strange, as if they were hanging from some space station rather than rooted to the earth. When I think about Photocopy it is like so many songs about grief, but it asks you to change your perspective just a little bit, and that’s what makes it special. New York is one of the most photographed places on earth, but I was seeing it from just a slightly different perspective that made it more compelling, and it just clicked.

2. What was the inspiration behind this video (visuals, storyline, etc.)? 

Once I had that idea of focusing on the perspective change, I started to think about different ways I could capture that in images of architecture. There’s a quiet dignity to architecture and infrastructure. (I am also an architect, so I get romantic about these things) It serves people and it usually doesn’t call too much attention to itself, but then it’s always rewarding if you do focus on it. Not only that, but something about focusing on buildings and not people captured the loneliness that I think so many people felt during this crisis. I started looking for how the buildings interact with each other; looking for old buildings reflected in new ones. You take an image of the city from a distance and it feels dense, and then you flip it over and suddenly, the image is about the unencumbered sky. I loved that.

3. What was the process of making this video?

A few great days riding around the city on my motorcycle…this time with the camera intentionally upside down. And thinking of neighborhoods that were most interesting when you looked up. There’s a shot in the video of the network of overpasses that you see coming down the West Side Highway near the Bronx. I loved taking images of things that are infrastructure and finding beautiful moments in them, so I started riding over bridges and through tunnels, always looking up. It felt great to shoot the video like this because it was like I was living the song while making it…intentionally looking for new perspectives.

Follow Ali on Socials:

https://streetlightshaman.com

https://www.instagram.com/streetlightshaman

https://www.facebook.com/AliAslamMusic

Hip-hop artist and entrepreneur, Flawless Real Talk, announced today the release of his newest track titled “Everything,” an uplifting melody written to provide a voice for female empowerment in the current world via his own record label, R.i.S.E. The track is an anthem dedicated to all of the powerful women in the world setting a positive example, with lyrics written by the artist himself to show appreciation and give value to each and every female. 

The new song from Flawless was actually created during one of his recent live streaming sessions on the live stream app LIVIT, who last month announced a six figure partnership with the rapper. 

“Everything is all about women empowerment. Our culture and generation doesn’t really teach us to value women, so this song is written to set an example for my audience that we really need to do just that,” says Flawless Real Talk. “If you look at the artwork, it shows the silhouette of a woman with everything within her and it showcases how powerful women really are and how much more they need to be appreciated.”

Fresh off an empowering BET Hip-Hop Awards Cypher performance about social injustice, Flawless continues to find creative ways to create hip-hop music speaking on the messages that are most important to him. Earlier this year, he released his compelling track titled “What A Time,” which unveiled a first-person perspective into his life as he imagines his one-year-old son having to also endure social injustice.

In addition to music, just last month, the rapper signed an exclusive live streaming deal with LIVIT, an app powered by Taiwan-based M17, a leading global social entertainment company, with more than 45 million registered users across the globe. Flawless will stream exclusive content, giving fans a behind-the-scenes look into studio sessions, workshops, his day-to-day life and brought in more than one million viewers who tuned in to his two-hour live virtual concert. 

The rapper will also promote charitable causes and give back to those in need, with a monthly live streamed visit to charities, shelters, food banks, hospitals, fire stations and more. Flawless, who became a worldwide phenomenon following his success on Netflix’s “Rhythm + Flow”, which streamed in over 190 countries, will use LIVIT to introduce new music and connect with fans in a deeper, more authentic way than other prerecorded social media apps allow. 

The new single, “Demons,” from The Nursery was inspired by the idea of romanticizing the darker parts of humanity. Recorded in the studio The Nursery built, many echos, creaks and noise from the space lay throughout the track. You can barely hear them, but it’s there, and their energy is felt. 

Formed by singer-songwriter/video artist Alex Pulec, The Nursery is an alternative rock trio with songs commenting on the intense emotions of youth, contrasting themes of fear, rebellion, obsession, desire and alienation. 2020 sees The Nursery teaming up with Michael Fong (Electric Youth, Wintersleep) and Nick Boyd (Dizzy, Hollerado, Royal Mountain) to produce their forthcoming album, Candy + Gloom.

As TANDM, lead vocalist/guitarist Maxine Beck-Sinderby and drummer Thomas Franklin create music that weaves stories around the complexities of life. From personal pleasures and conflicts to the flaws in society encountered in young adulthood, TANDM’s upbeat sounds, vivid narratives and captivating melodies create a bittersweet and memorable experience for the audience that echoes long after a first listen.

The duo’s confident, fast-paced new single, “Earthworm (2020 Remastered),” serves as a rebuttal to the people who do not believe music-making to be a professional career, or do not believe in a musician’s ability to succeed.