Animals in Denial’s new single “Operator” is an exploration into heartbreak, wrapped up in a gritty industrial-electronic sound.
The story behind “Operator” is as compelling as the song itself. The beat has been living in the artist Christian Imes’s head since they were 14, back when they were cruising the streets of Canton, NC, and obsessing over The Matrix.
At the time, they didn’t even have a synth – just a guitar and a lot of ideas. Years later, using a lite copy of Ableton Live and some old-school drum samples, the track finally started to take shape. It came together fast at first with the initial demo finished in just 30 minutes, but the final version was elevated thanks to a collaboration with industrial icon Steven Seibold (Hate Dept, Pigface).
Seibold’s fingerprints are all over the production. From tweaking the vocal delivery on the third verse to suggesting subtle backing harmonies in the chorus, he brought a fresh perspective to the track.
Listen here:
The pair even recorded the vocals in Seibold’s home studio, which was a full-circle moment for the artist, who’s been a longtime fan of Seibold’s work. The result is sleek and dynamic, with just the right amount of edge.
Musically, “Operator” is a study in restraint. An earlier version included guitar parts, but the final mix strips them away to let the synths and beats carry the weight. That choice gives the track a sharp, metallic vibe that feels perfectly in line with its themes of emotional distance and digital disconnect. The song pulses with a hypnotic rhythm, pulling you in as layers of sound build and shift. It’s dark, atmospheric, and relentlessly captivating.
But the heart of “Operator” are the lyrics, which draw from a relationship that left its mark. The “operator” in the song is a nod to late-night phone calls and AIM chats with an ex who once felt like a lifeline, but who eventually became a source of pain. It’s brutally honest and deeply relatable especially for anyone who’s navigated the murky waters of young love.
Whether drawn to its cyberpunk aesthetic, its honest lyrics, or its sheer force, this is definitely a song that grabs your attention.
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Nestled just steps away from the dazzling lights of Times Square and the world-famous Rockefeller Center Christmas Tree, Hell’s Kitchen offers a striking contrast to Midtown Manhattan’s holiday frenzy.
It’s a neighborhood that pulses with history, resilience, and creativity – a vibrant mix of artists, shopkeepers, and locals who form the backbone of its enduring charm.
In her latest holiday single music video, “Hell’s Kitchen at Christmas Time,”Sarah Pillow and the team at Buckyball Music captures the spirit of this unique corner of New York City.
Part love letter, part festive celebration, the video is a heartfelt tribute to the small businesses, quiet streets, and resilient community that make Hell’s Kitchen feel like home. Even as the chaos of the holidays unfolds just a few blocks away.
With playful nods to iconic New York traditions, from the Macy’s Thanksgiving Day Parade to the glittering Fifth Avenue window displays, the video weaves together a narrative that celebrates both the hustle and the haven that define Hell’s Kitchen. Featuring a talented ensemble of musicians, actors, and local shopkeepers, it’s a project that shines a light on the people and places that keep the neighborhood alive.
Watch here:
We asked Sarah to tell us about the inspiration behind the song, the challenges of filming in the heart of Manhattan, and why shopping locally is more important than ever during the holiday season.
1.Tell us the story of this song, why did you choose to visualize this song specifically in this way?
I’ve lived in Hell’s Kitchen since 1996, and while the neighborhood has evolved over the years, it has managed to retain its unique charm. I was reading about how local businesses are struggling due to reduced foot traffic as more people turn to online shopping.
This inspired us to create a fun holiday video celebrating our neighborhood – the artists, the community, and the small businesses that make it special.
The holidays are an especially meaningful time here, as we’re right next door to one of the busiest places in the world during this season.
2.What was the inspiration behind this new video (visuals, storyline, etc.)?
We were inspired by the juxtaposition of our quiet neighborhood nestled right next to Times Square – the center of the world, especially during the holidays – which led to the lyric, “you’re in it all, but off to the side.”
The storyline follows me navigating the chaos of Midtown Manhattan – Times Square, Rockefeller Center, and Saks – while also highlighting the anchors of my neighborhood: Hudson River Park, Restaurant Row, and long-standing local businesses that have been part of the community for decades.
It’s a celebration of their resilience and enduring spirit.
3.What was the process of making the video?
We invited some actor friends to play the roles of crazy holiday shoppers and collaborated with our colleague Eliane Amherd – also a Hell’s Kitchen local – to play guitar and sing with me. For the horn section, we enlisted three excellent horn players who were students at the time (one has since joined the band of Saturday Night Live). The marching at the beginning of the video is a nod to the Macy’s Thanksgiving Day Parade.
We visited some of our favorite local businesses and asked if they’d like to participate, celebrating the importance of shopping locally.
We also wanted to feature the musicians, highlighting the artists and performers who make New York City so vibrant. Filming took place in our studio, along the West Side Highway, driving through the streets of Hell’s Kitchen, on our rooftop, and even in front of Saks Fifth Avenue (who were surprisingly cool about it). To add to the festive spirit, we included Manhattan holiday window displays in one segment of the song.
Thomas Michael Link’s“I Can’t Wait for Christmas”feels like it was made for that perfect holiday moment. Maybe, when you’re trimming the tree or sharing a warm drink with someone you love.
The track leans into big band nostalgia with a modern spark, blending jazzy brass, a lively rhythm section, and Link’s smooth baritone for a holiday tune that is fresh, catchy and brimming with the kind of joy that makes you want to hit repeat.
The horns pop, upbeat swing, the drums shuffle, and the bass keeps everything bouncing along, laying the foundation for Link’s charismatic vocal. There is a personal touch too – lines like “Every day is Christmas as long as I can hold you near” take the sentiment beyond the season, making the song as much about love as it is about sleigh bells and snowy nights.
The arrangement is where the magic really happens. Collaborating with Studio Pros, Link crafted a sound that’s as full and rich as your favorite holiday spread. The guitar solo, with its Wes Montgomery-style warmth, is a standout moment, while the female backing vocals, added late in the process, give the track a classic 1940s feel that ties it all together.
Link’s musical journey makes this track feel even more authentic. A self-described blender of music genres, he has spent years pulling together elements of rock, jazz, blues, and pop into his own unique sound.
Link says:
“”I Can’t Wait for Christmas” started out as just melody and a chorus and grew from there. I walked around humming it to myself as it grew, and it seemed to organically sprout lyrics inspired by the underlying idea of being in love at Christmas and having that feeling year-round. I was also conceptually inspired by some classic Christmas/holiday songs such as “Baby It’s Cold Outside” and that feeling that you never want the season to end.
He’s not one to stick to formulas, and “I Can’t Wait for Christmas” reflects that spirit of experimentation – it’s a big band tune at heart, with a modern energy that is fresh and inviting.
For fans of Michael Bublé, Harry Connick Jr., or even those old Bing Crosby records, this song has all the makings of a holiday favorite. It’s joyful, romantic, and just the right amount of over the top – a perfect soundtrack to the season’s best moments.
Make sure to save this to your holiday playlists now!
This holiday season, The It City bring a fresh take on festive nostalgia with their heartwarming music video for “Christmas At Home”.
Known for their blend of modern sounds and timeless appeal, the band re-imagines their original orchestral holiday anthem in an intimate, acoustic trio format.
The result is a cozy stripped-down rendition that perfectly captures the warmth, longing and joy that defines the holiday season.
In this exclusive interview, we take a deeper dive into the inspiration behind the song, the creative vision for the music video, and the magic of bringing their holiday vision to life with the help of the talented Sean Power of Music City Content Kings.
Watch here:
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
“Christmas At Home” is a forlorn little love letter to the holidays. We wanted to evoke the warm feelings of nostalgia that sneak in this time of year.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
We love the old Christmas specials and all of the unique and interesting performances from them. It was also an exciting musical opportunity to reimagine the original arrangement, replete with full orchestration, as a simplified acoustic trio!
3. What was the process of making the video?
The inimitable Sean Power of Music City Content Kings has a cozy studio here in Nashville. He does incredible work and had the cameras all set up and the stockings hung by the sound baffles with care. It’s always a delight to work with him whenever we can!
About The It City
The It City is a dynamic Nashville-based band known for its eclectic fusion of sounds that blend pop, rock, and soul with the timeless spirit of the city’s musical heritage.
Formed by a group of talented musicians including DJ Phillips (guitar, vocals), Derrek Phillips (drums, percussion, backing vocals), Rich Brinsfield (bass, backing vocals), and Reed Pittman (keyboards, vocals) the band has quickly become a standout act in the vibrant Nashville music scene.
With a string of successful releases and collaborations, The It City has received attention both locally and internationally, sharing the stage with music legends such as Elton John, Lana Del Rey, Sting, and Maren Morris.
The band’s sound is characterized by rich harmonies, infectious melodies, and a deep-rooted commitment to musicianship, evident in their diverse musical influences and creative approach to songwriting.
Their holiday single Christmas At Home is the latest in a series of releases that explore their familiar sounds while staying true to the heart of what makes their music so universally appealing.
“Hell’s Kitchen at Christmas Time” is a vivid and vibrant musical journey that celebrates the spirit of a New York neighborhood steeped in history and transformation.
Co-written by Sarah Pillow and Marc Wagnon, the track marries Pillow’s evocative, rich and genre defying vocals with Wagnon’s rhythms and textures, creating a holiday song that perfectly captures the magic of Hell’s Kitchen during this busy season.
Listen in here:
Sarah Pillow’s voice is the star of the song here. She offers a stunning blend of jazz sophistication, classical finesse and rich warmth. Her vocal delivery feels more like a conversation and draws the listener into her world that she paints with her words.
Pillow’s decades long connection to Hell’s Kitchen, where she has lived for nearly 30 years, imbues this song with an authentic edge. Her nuanced performance speaks of a deep love for the neighbourhood with each lyric having a personal touch.
Marc Wagnon’s arrangement brings this love letter to life with a rich, layered instrumental palette: the vibraphone glistens like freshly fallen snow, while his percussion adds a dynamic pulse that reflects the neighborhood’s ever-moving rhythm.
The brass section featuring Summer Camargo (trumpet), Coby Petricone-Berg (alto sax), and Cole Palensky (tenor sax) really infuses the song with warmth and vibrancy, echoing the bustling energy of Manhattan’s streets.
Eliane Amherd’s guitar provides a melodic anchor and balances the richness of the brass with a steady, grounding groove, while Jonathan Price’s bass ties it all together with depth.
The song’s lyrics are as much about Hell’s Kitchen as they are about the essence of the holidays. They capture the duality of the neighborhood: the electric buzz of midtown Manhattan softened by the quieter charm of brownstones adorned with festive lights and local cafes humming with life. It’s a place where the pulse of New York City merges with the heart of a close-knit community.
Lines like “in it all, but off to the side” speak to the unique identity of Hell’s Kitchen – a neighborhood that is part of the city’s relentless energy that retains its own quiet magic.
But where “Hell’s Kitchen at Christmas Time” transcends the typical holiday song is by offering a deeper narrative. It’s not just about twinkling lights or festive cheer – it’s about the people, the stories, and the ambience that make a neighborhood feel like home. The song reflects on the enduring spirit of Hell’s Kitchen, a place that has weathered decades of change while holding onto its identity.
You can almost see the snow-dusted streets, hear the muffled conversations in cozy cafés, and feel the unique warmth of a neighborhood that welcomes everyone.
“Hell’s Kitchen at Christmas Time” is a celebration of place, and a reminder of what makes the holidays special: community, tradition, and the ability to find wonder even in the most familiar corners.
About Sarah Pillow
Sarah Pillow is a vocalist celebrated for her extraordinary versatility, blending jazz, classical, and early music influences into a style uniquely her own.
A graduate of Oberlin College’s prestigious music program, Sarah began her career as a jazz singer and quickly expanded her repertoire, performing as a solo artist and collaborating with renowned ensembles across the United States and Canada. Her projects include a jazz quartet, the crossover ensemble Nuove Musiche, and the early music group Galileo’s Daughters.
Her distinctive voice – rich and vivid, praised by The Washington Post as “genuinely genre-busting” – has graced the stages of legendary venues like the Lincoln Center and Carnegie Hall. Whether delivering an operatic aria or interpreting a jazz standard, she captivates audiences with her emotional depth and technical brilliance.
For nearly 30 years, Sarah has called Hell’s Kitchen home. This iconic New York City neighborhood is steeped in history and creativity and has been a profound source of inspiration for her work. From its roots as a gritty, working-class enclave to its evolution into a vibrant cultural hub, Hell’s Kitchen embodies the energy that Sarah channels into her music.
Sarah Pillow continues to redefine what it means to be an artist. Her work is a celebration of connection – between past and present, tradition and innovation, and the universal language of music.
Julie Haven’s latest single, “Running Man,” is a surprising, upbeat shift from the more introspective ballads that have established her as one of Metro Detroit’s most soulful and evocative singer-songwriters.
Known for her honest reflections on heartbreak and life’s tougher lessons, Julie’s music has always been an outlet for the heavier and more complex emotions that resonate with listeners.
But with “Running Man”, a cheeky, piano-powered pop-rock anthem, Julie lets her lighter, wittier side take center stage. Inspired by an emotionally elusive partner with a “dismissive avoidant attachment style,” the song is a burst of energy and personality aimed squarely at a man who “runs at the first sign of struggle or closeness.” The music video, however, takes things a step further, and captures the humor and absurdity of this dynamic with over-the-top silliness.
With a cast of hilariously exaggerated characters and laugh-out-loud moments, the video features Julie’s friends dressed up in zany roles. From the elusive Running Man himself to a wig-wearing “mother” crying over her daughter’s love life.
Filmed in her old Florida home and local parks, the video transforms familiar settings into a stage for playful scenes that poke fun at her own heartbreak.
Here, Julie shares what inspired “Running Man,” how the video came together, and why this song is such a departure for her musically and emotionally.
1. Tell us the story of this song; why did you choose to visualize this song specifically in this way?
The song itself was written as a sort of follow up to “See Me Cry”, where I was already in a state of frustration from feeling like I was being toyed with by an emotionally unavailable partner, (who now I realize many years later, was man with a dismissive avoidant attachment style), and the constant hot and cold dynamic led to an even angrier version of myself when I wrote “Running Man”. Which essentially, is about a man who constantly runs at the first sign of struggle or closeness in a relationship.
I wanted this video to be just super over the top, ridiculous and silly. Most of my songs are very serious and about heartbreak or the constant lessons of life that I’m trying to interpret and learn. I released “Kill Me”, which is a pretty dark song about being lied to and about infidelity, which had a very creepy animated video along with it, then followed that up with the emotionally heavy, “Between the Lies”, about domestic abuse, and I wanted this video to be the total opposite of that and just be stupid, really. I have a bunch of different sides of me, and the people who know me very well, know that as dark and depressed I can be, I can also be really silly and have no problem making fun of myself. So I wanted that to come through in this video.
So with the video, I wanted to take the lyrics and over exaggerate them with a very tongue and cheek tone. We have Benjamin Card, (a super talented songwriter under the name “Breezy Tempest”) the Running Man himself, and he’s in this bright yellow outfit and basically running the whole time. My friend Glenn Baker (Glenn Baker Band) plays my mother, and he’s wearing a bright red wig with a full beard. And the basic story is I give him my heart, which in the video is an actual heart shaped totem, he runs away with it, but keeps coming back while I keep giving him chances. Eventually I run after him and get my heart back once and for all.
2. What inspired this video (visuals, storyline, etc.)?
When I thought about making this video, I just kept picturing the most ridiculous scenes and this guy just running away from the simplest things like milk spilling onto the floor, being intimate and bolting, taking off when I’m crying watching a movie (“Kill Me” easter egg moment), actually biting me and running away (a line in the song). And it just kind of morphed into what we have. I added the idea of my mother crying every time this guy runs away and breaks her little girl’s heart, and it hit me one day “What if Glenn dresses in a wig and a tight dress?! It would be hilarious!” Then my disapproving father (who has never approved of any man in my life) is smoking a bubble pipe with a drawn on beard (Ironically enough played by my now ex). It’s just over the top silly. And just for fun I added my friend Michelle Johnson in there for no reason other than being the “BANG!” girl who is a random character who pulls a trigger on a prob gun that says “BANG!” and cheering for everything cause she loves everyone. She cracks me up.
3. What was the process of making this video?
Lance Goodman was the videographer, director and editor. He is the same guy who filmed “Between the Lies”, and I loved working with him the first time, so I decided to do it again. One of the cool things is that we filmed both videos in the same locations; the house where I used to live with my ex in Florida, and the park where we used to run. I thought it was neat to have the dark and the light in the same places.
We filmed this in one day. So the day of the shoot everyone showed up at the house and I had my ideas written down as certain scenes I wanted to try and we tried it all. We then went to the park and finished the running scenes, which was very funny because there were random people walking around and watching us as we acted out this ridiculous video. A scene we added last minute was Ben dropping my keyboard and breaking it and then taking off, leaving me to clean up the mess. I would never condone destroying a piece of perfectly good equipment, however, two days prior to filming this video, I was rear ended and my car was totaled along with my keyboard while I was driving to a gig. I wanted to add a car scene in the video but the car was undrivable. So I decided to add the keyboard scene in since it was already destroyed. Very “Rock ‘n Roll” lol.
I also gave Ben full reign to do whatever he wanted with the character, and he was perfect for that role. I could not stop laughing. I kept breaking character because he would surprise me with the faces he would make or moves he would just randomly do. We all had a lot of fun making this. Great memories for sure.
“Running Man” is a track from “Dramatic Departures”, Julie’s first full-length album, crafted from an intimate collection of songs she’s kept close over the years.
Her discography already includes an album, four EPs, and a live record, capturing a journey that has seen her perform across the U.S., from small coffeehouses to major festivals.
Julie has been a recurring artist at Michigan’s celebrated Arts, Beats and Eats Festival, where her music resonates with audiences year after year. With the upcoming worldwide release of “Dramatic Departures“, Julie invites listeners to connect with her most personal work to date.
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