by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH DANIELE ODASSO

Living in between single cover with frame

Italian singer songwriter Daniele Odasso has always moved through music with a rare blend of emotional honesty and refined musicanship.

His new single, “Living in Between,” marks a turning point for Daniele, shaped by a period of deep personal transformation and a return to the landscapes of Tuscany that have long anchored his sense of self. Recorded in Viareggio and brought to life through an intimate collaboration with producer Amira, the song drifts between electronic pulse and soulful warmth, mirroring the emotional space it was born from.

What makes this moment in Daniele’s career so compelling is the clarity with which he speaks about the connection between voice, body and environment. Water, reflection, memory and nature all play a role in the sound and visuals of “Living in Between,” forming a world where music becomes a form of inner exploration.

The accompanying video, shot between underwater frames, pine forests and the glowing dunes of Lecciona doesn’t just illustrate the song. It lives and breathes with it.

We sat down with Daniele to talk about the making of “Living in Between,” the sensory world behind his vocal work, the unexpected joy of shooting underwater and how returning to Tuscany helped him rediscover the path forward.

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

“Living in Between” was recorded while I was living in Viareggio, Tuscany—a place that carries deep meaning for me because of my mother’s family roots there. During that period, I reconnected with nature in a way that shaped the entire sound of the song: the pulsating electronic groove, the layered vocals, and the fluid movement of the electric guitar all echo that sense of being suspended between states.

Water became a central metaphor throughout the making of the record. Living so close to the sea in Tuscany deeply influenced the emotional atmosphere of the track, and it was something I asked Amira to keep in mind while producing the record—this idea of fluidity, immersion, and constant movement between light and shadow.

That’s why the visual concept also begins with water as a symbolic entry point. It represents the emotional space from which the song emerged: a place of introspection, depth, and transformation. As the video shifts into the landscape of pine trees and dunes in Viareggio, it mirrors the song’s inner journey—from being enveloped by the element of water to resurfacing in the brightness of the natural world that inspired the music.

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

The visuals were inspired by my daily proximity to water in Viareggio and the sensory relationship I developed with it through swimming every day. Because my vocal research is rooted in the Lichtenberger method, which focuses on acoustic perception and proprioception, being immersed in such a fluid medium gave me a new way of experiencing sound in my body. That liquid, tactile connection to water deeply influenced how I approached singing on this record, and Amira’s production supported and expanded that direction.

I wanted the video to reflect this whole sensory world, so I created an initial storyboard centered on an immersive water state and shared it with director Francesco Quadrelli. After exploring underwater imagery with photographer William Petriccioli and scouting the dunes of Viareggio together, the visual arc became clear: starting within the layered reflections and depth of water, gradually moving toward the sunlight near the beach, and ultimately returning to the sea. The visuals mirror the full cycle that shaped the music—nature, body, voice, and sound flowing back into one another.

3. What was the process of making the video?

The process of making the video was truly one of the best experiences I’ve ever had. I first met the incredibly talented art director William Petriccioli, who also shot the cover and instantly grasped the imagery and intentions behind the project. Shortly after, I met Francesco Quadrelli, a visionary and evocative director who immediately understood the concept and the different technical possibilities for shooting underwater. His visual language aligned perfectly with what I had envisioned and pushed the concept even further.

Shooting the underwater scenes was unexpectedly fun. I had trained myself to move from different directions while keeping my eyes open and staying in constant dialogue with Francesco’s camera. That allowed us to play with the surface of the water from multiple angles, creating those mirrored layers of light that shift with my movements.

We then moved to the “outside world.” The first scenes were filmed in my grandmother’s house in Tuscany—a room I literally grew up in—before heading to the pine forest near the beach of Lecciona in Viareggio. That location has an extraordinary sunset between the dunes and the water, and it became the perfect place to let go and immerse myself at the end of the day.

William and Francesco are an extraordinary team, and because they’re close friends, their trust and synergy made me feel completely embraced and understood throughout the shoot. We filmed in the exact order of the narrative, starting with the morning water scenes and ending with the sunset and my return to the sea. Experiencing that progression in real time felt both powerful and deeply cathartic.

Stream “Living in Between” now:

Keep up with Daniele Odasso on his Website

10.06.25

by Jane Lambert

Ben Neill & Mikael Seifu – A Transcontinental Dialogue in Breath and Rhythm with “Nefasphere”

There’s a quiet poetry in the way “Nefasphere” came to life. Fifteen years ago, in a college classroom in New Jersey, a young Ethiopian musician named Mikael Seifu met Ben Neill, a composer already known for his experiments with the Mutantrumpet, a hybrid instrument that fuses brass performance with electronic control.

Seifu was a student then, and was just beginning to shape what would become his signature sound: a fusion of ancient Ethiopian tonalities with the pulse and texture of global electronic music.

Neill was the professor, an emerging artist who had already collaborated with the likes of David Behrman, John Cage and La Monte Young.

Fast forward to 2025, and the conversation that began all those years ago has evolved into Nefasphere. The word nefas, from Amharic means “wind,” “breath,” or “spirit” and it’s an apt metaphor for what the music achieves – a flow of energy that moves through both artists, reshaping itself as it passes.

In the Worldwinds Mix, Neill and Seifu create a kind of ambient exhalation with long, flowing tones and circular patterns that expand and contract like the breath itself. Seifu’s electronic grounding draws from the Ethiopiyawi Electronic movement he helped define. It’s meditative yet propulsive, organic yet digitally alive. Neill’s Mutantrumpet threads through this landscape, with its tones resonating like ancient horns re-imagined for a new era. The effect can be felt with the African rhythmic pulse beneath the Western harmonic drift, and yet the music never settles neatly into either world.

The Moire Mix takes the same thematic DNA and refracts it through a more textural lens. Here, beats glitch and shimmer around deeper bass modulations, suggesting the interference patterns from which the mix takes its name. This version is less meditative and more exploratory – a field recording from some unseen interdimensional borderland between Addis Ababa and New York City.

What makes “Nefasphere” so affecting isn’t just its sound, but its story. This is music born from a relationship – teacher and student, mentor and mentee – that has evolved into genuine creative partnership. In Seifu’s own words, the collaboration marks “a rebirth… a reflection of the power of honest mentorship full of mutual respect and insight.” For Neill, it’s the realization of a long held artistic vision to create living, breathing music systems where structure and improvisation coexist in perfect balance.

Both versions of “Nefasphere” invite deep listening. They resist the quick satisfaction of streaming culture, instead unfolding slowly, like a landscape viewed from above. It’s music that rewards patience, music that is unmoored from trends and yet deeply of this moment.

For Seifu, this marks a luminous return following his acclaimed Zelalem EP (RVNG Intl, 2016). For Neill, it continues a lifelong exploration of evolution in his music, from minimalist composition to digital improvisation, from hardware to human breath.

But for both, “Nefasphere” is more than a collaboration. It is a shared meditation on sound as life force, a reminder that in the meeting of air and electricity, something sacred can still occur.

More About Ben Neill

Composer/performer Ben Neill is the inventor of the Mutantrumpet, a hybrid electro-acoustic instrument, and is recognized as a musical innovator who “uses a schizophrenic trumpet to create art music for the people” (Wired Magazine). Using interactive computer technologies, Neill generates unique musical and visual experiences that blur the lines between acoustic and electronic music, minimalism, and visual media. Neill has recorded thirteen albums on labels including Universal/Verve, Thirsty Ear, Astralwerks, Six Degrees, and his own Blue Math label distributed by AWAL/Sony. His first book, Diffusing Music, was released on Bloomsbury Press in 2024.

More About Mikael Seifu

Mikael Seifu is an Ethiopian electronic music producer committed to “Ethiopiyawi Electronic” – a coinage Seifu uses to describe the music he and his peers are producing in Ethiopia’s capital city of Addis-Ababa. Born and raised in Addis Ababa, he moved to the US and went on to study music production & the music industry at Ramapo College of New Jersey, a small school about 45 minutes outside of Manhattan. Here Seifu met a mentor in Ben Neill, the composer and music technologist who trained with La Monte Young. Seifu was inspired by Neill to take serious his calling in music. Mikael’s music does not westernize or electronicize extant Ethiopian music. Instead, Seifu uses Ethio-Jazz’s spirit of brewing estranged styles for his own musical tincturing. Seifu’s passion above all else is to create something befitting of its time, yet “eternally Ethiopian.”

Connect With Ben Neill:

Website / Instagram / Facebook

10.03.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH MARCO di STEFANO

Italian composer Marco Di Stefano has been recognized for his ability to blend classical orchestration, folk influences and cinematic scoring into music that feels both epic and deeply human.

His latest project Far Inside takes this skill a step further, pairing his orchestral compositions with striking visual narratives.

The new video for “Tarantella Noire”, a track on the new album, brings together live recording footage from the European Recording Orchestra in Sofia with AI generated cinematic clips, creating a tension between reality and imagination.

Inspired by the events in Palermo in 1992, particularly the murders of judges Falcone and Borsellino, the video balances historical drama with a fictionalized narrative, exploring the shadowy underworld of organized crime through a visual lens.

We spoke with Di Stefano who walks us through the creative decisions behind the video, the process of blending orchestral performance with cinematic storytelling, and how he translated a pivotal moment in history into music and imagery.

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

The track was conceived with a strong cinematic and narrative focus, designed to evoke clear imagery and guide the listener through a story. Consequently, the visualization could not be merely an accompaniment; it had to function as a genuine narrative support.

I chose to merge two core elements: authentic footage from the recording session, which lends credibility and showcases the artistic genesis of the piece, and cinematic clips generated via artificial intelligence.

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

The inspiration for both the song and the video is rooted in a fictional narrative set against the real historical context of the events in Palermo in 1992, specifically the dramatic escalation leading to the murders of judges Falcone and Borsellino, who symbolized the fight against organized crime.

For the video, I adopted a visual approach that balances documentary style with a cinematic feel. The majority of the footage features the studio recording session with the European Recording Orchestra in Sofia, which highlights the high production value and orchestral commitment. I integrated short, AI-generated clips depicting an old, abandoned house in the Sicilian mountains, envisioned as a criminal hideout. This duality creates a visual tension that mirrors the historical drama of the story.

3. What was the process of making the video?

The process was guided by the dual objective of maximizing the musical performance and enriching it with an evocative visual context. The primary phase involved the meticulous editing of the recording session footage, selecting and assembling the most effective and dynamic moments of the orchestral execution.

Following this, I made the decision to incorporate the AI-generated clips. This was not merely filler, but a deliberate choice to elevate the video’s atmosphere beyond a simple making-of. The integration of these cinematic elements allowed us to create a richer visual texture, providing an implicit narrative backdrop that supports the epic quality of the music and demonstrates my ability to curate detail and the overall mood of the final product.

Keep up with Marco Di Stefano on his Website

09.18.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH ALEX THOMEN

In a world where social media amplifies every trend and grifting scheme, Alex Thomen stands out as a songwriter unafraid to mix sharp cultural critique with wit, musicianship and a touch of irony.

The Nashville based composer, producer and multi-instrumentalist began his musical journey playing piano before earning his Bachelor of Music in Composition at Kansas State University and a Masters in Commercial Music Composition and Arranging at Belmont University. Over the years, he has scored commissions, produced cinematic trailer music, and released a solo piano album all while building a reputation as a studio minded artist with a keen eye for contemporary life.

His latest single “Where Did They Go Wrong?” which is accompanied by a striking music video, showcases that narrative precision and sly humor brilliantly.

In this exclusive interview, Thomen talks about the song’s ironic roots, his decision to “perform” it via video rather than on stage, and the full circle collaboration with longtime friend and director Chase Bartholomew.

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

“Where Did They Go Wrong?” explores themes that have become increasingly prevalent in the social media age. In essence, it’s an “anti-grifting” song, but it’s disguised in irony instead of strict, polemic writing. During the writing phase, I approached the lyrics, composition, and pacing as if it were to be performed for a live audience. There’s a minute and a half of setup before the first “punchline” hits – that kind of misdirection is characteristic of live comedy. The problem is I consider myself a studio musician more than a live performer, and I enjoy producing studio recordings of my songs.

My solution, therefore, was to make a music video that essentially captures the visuals of a live, in-studio performance. Those moments where the lyrical delivery is communicating something ironic, facial expressions and body language help drive that point. Irony is best communicated with the eyes – I believe this is why jellyfish are famously unfunny.

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

Each topic addressed in the song (manosphere movement, MLMs, alternative medicine) warrants its own in-depth conversation, because the reasons for each one’s existence is culturally complex. My goal was to critique these different trends/movements, pointing out some of the flaws in their ideology. While making it rhyme. While it’s inspired by real conversations and real people, all of the specific characters in the song are made up. I did not have a boyhood friend named Danny.

The lyrics are a self-aware, reductive type of argument – a thorough rebuttal of these beliefs would require more words that I can fit in a song. But I did my best to make it as thought-provoking as possible while keeping it entertaining. Plus, I got to put in lots of words that I’ve never heard in a rock song before. What the song lacks in brevity it makes up for in affectation.

3. What was the process of making the video?

The video was shot at Colorado Sound Studios in Denver, Colorado. It was directed/produced/edited by Chase Bartholomew. He’s one of my best friends from high school (he is also not a self-proclaimed alpha male, not involved in an MLM, and not a practitioner of alternative medicine). In fact, we used to spend our weekends scripting and filming videos – either for school projects or just for fun (we would do this while other guys were getting invited to parties). He ended up studying film and is now a professional videographer. It was kind of a full-circle moment to collaborate again on a creative project. We have also improved in our video-making skills since high school.

I gave him creative control over the video – I’d give thoughts/suggestions here and there, but he’s the expert when it comes to the visual component so I wanted to let him run with his ideas. I think his vision for framing/editing/coloring helps amplify the message of the story. There’s a whole science of how different colors can evoke certain emotions. Chase is a bit of a perfectionist, so he focused on how small details could change the final shot. He focused a lot of his energy on subtle lighting changes to best capture the performance. For Chase, it was a long video shoot with tons of lighting changes. For me, it was a relaxing day sitting at the piano.

Keep up to date with Alex Thomen on his Website

09.02.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH MARCO DI STEFANO

In his latest release, “Angels on Our Shoulders,” composer Marco Di Stefano melds orchestral grandeur with cinematic storytelling to honor the heroes of World War II. It is also a stark reminder that the shadow of conflict persists even today.

A track from his upcoming album Far Inside, this piece captures the emotion of heroism through live orchestral performance, layered with modern instrumentation and brought vividly to life in a compelling new video.

We spoke with Di Stefano about the inspiration behind the song, the creative choices in visualizing it and the intricate process of bringing both music and story together.

From conducting a live brass ensemble to incorporating AI generated imagery of soldiers amid the ruins of war, this interview reveals how he bridges past and present, history and emotion in a work that is as cinematic as it is profoundly human.

Watch here:

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

This song tells the story of heroes and honors the fallen ones of World War II, therefore I wanted to evoke classic movies such as “Saving Private Ryan” with specific color grades and introducing some AI generated clips of soldiers staring at the destruction of war.

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

Even if World War II is a century beyond us, war is present in our modern world.

This song is composed using a modern language and instrumentation that evokes the spirit of that era and drama. The video starts with footage from the live recording of the orchestra where I personally conducted the brass section.

It ends with clips of soldiers starting at the destruction of war, while the music evokes past memories from the battles.

3. What was the process of making the video?

The video was recorded during a live session with a brass orchestra. The other instruments, from strings to percussion and synth, were added in post production using sample libraries, therefore I used footage from another recording session for the intro.

The final footage of the soldiers was created using AI, I wanted them to make clear to the viewer the context of this song.

Connect with Marco di Stefano on his Website

08.29.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH ANIMALS IN DENIAL

Animals-in-Denial-shallow-cover-rock-grunge-metal

With its emotion and frenetic energy, “Shallow” stands as one of Animals in Denial’s most striking and personal songs.

Written by Christian Ines during a tumultuous and destructive relationship, the track captures the chaos of love that is built on lies, obsession and abandonment.

Now paired with a haunting new video directed by Jon Paul Anderson, “Shallow” plunges viewers directly into Ines’s headspace – a first person descent into a relationship unraveling in real time.

We sat down with Christian to talk about the story behind the song, the inspiration for the visuals and how a chance discovery on YouTube led to a creative partnership that brought his vision vividly to life.

Watch the Official Music Video to “Shallow” here:

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

Well I wrote the song when I was going through a horrible relationship. It was full of drama and part way through I started to realize that this was just some sort of game and that the feelings she claimed to have for me, were completely shallow. It was one of those songs I knew I wanted to have a visual component ie video for, but I was a bit stuck at how to do it.

I wanted it to convey the vibe of where my head was at, and to make a person watching feel like they were a fly on the wall in my head. So the choice to visualize this way was really me finding the right video maker with the right eye and sense of frenetic clarity. The director/maker Jon Paul Anderson, and I hit it off and he completely understood the vision and really fleshed it out more and really nailed it. I couldn’t have asked for a better person to take the lead on the project.

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

As far as the inspiration for the new video, it was always a song I wanted to have a video for, as it’s really meant to look like you’re inside of my head while I’m going through a relationship that’s really just a train wreck in disguise. I wanted it to feel frenetic yet clear, as during that time and relationship hot and cold can’t even begin to describe it. One minute you’re feeling like you and this person can withstand the weight of the world, and others you don’t even know if she likes you. I wanted it to also convey a feeling of loneliness or more like abandonment as that’s what I was feeling when I wrote the song.

So the video takes a first person view, to try to make you feel like you’re me and going through the motions of something even though you know in your gut something isn’t quite right. Me and the director went back and forth over email and then he went to work filming and editing and what he turned in needed no revisions. I loved it when I saw it and thought he completely nailed it. I hope you like it.

3. What was the process of making the video?

The process for the video wasn’t mine, but it was basically me and the director going back and forth over email. I started looking for cool music videos on YouTube and found a really talented YouTuber named Jon Paul Anderson. He did a video for a nine inch nails song, called “Vessel” that I was blown away by. I reached out to the guy and we hit it off chatting and so I then told him I had a song I really thought his approach would be perfect for if he was interested. He said to send him the track and I’ll let you know. He came back super enthusiastic, and asked if I had any ideas, I replied with what I was thinking about being a fly on the wall inside of my head.

He followed up with me quickly, that he had some footage that he thought would be perfect he also had some ideas for some stuff he could shoot to add. The end result was something I was beyond proud of.