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

12.05.25

by Jane Lambert

VIDEO VOYAGEUR – 3 Q’s WITH GEORGE COLLINS

With each new release, George Collins continues to refine a songwriting voice that is thoughtful and deeply expressive.

His latest single “Houston” takes that craft in a striking new direction, trading autobiographical detail for metaphor, and finding emotional truth in the vastness of outer space. Originally written during a creative retreat in Spain and then later transformed into a piano and cello ballad under the guidance of Grammy nominated producer Jeff Franzel, “Houston” explores the slow drift that can occur between two people who once felt close.

To accompany the single, Collins has released a visually striking video created in collaboration with graphic artist Nancy Razk. It’s a striking blend of imagery and emotion, pairing stark lunar landscapes with the quiet desperation of a relationship losing oxygen.

In this interview, Collins reflects on the unusual origins of “Houston,” the creative partnerships that brought it to life, and the process of translating a song about distance and communication into a powerful visual.

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

Many of my songs have an autobiographical element, but fortunately my haunting new single, “Houston,” does not!

I co-wrote this song with two extremely talented songwriters, Kelsey Grant and Pete Bonne, on a retreat in Spain sponsored by The Songwriting Academy – we were fortunate to be mentored by multi-platinum songwriter Paul Statham.

We were given a brief to write a song about “space,” and after kicking around a number of possible themes we stumbled across the idea of using the ill-fated Apollo 13 mission as a metaphor to describe a relationship on the rocks.

It’s hard to believe that such a dark, harrowing song was written in a beautiful, bougainvillea-filled garden in a tiny white washed village in the hills above Malaga in sunny Spain!

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

Although “Houston,” was originally written on acoustic guitar, I thought it would make a lovely piano/cello ballad.

So I reached out to one of my mentors, Grammy-nominated composer and producer Jeff Franzel, who did an amazing job arranging the song for piano and cello and producing the track – that’s him on piano and well known classical musician Peter Sachon on cello.

In keeping with the metaphor of outer space and theme of a relationship on the rocks, I knew the video would need a dark vibe, so I reached out to a gifted graphic artist named Nancy Razk. (Follow her on Instagram here

She has made several excellent videos for me in the past, and she has a bit of a darker palette than some other graphic artists I have worked with, so I knew she would be perfect for “Houston.”

What was the process of making the video?

Nancy and I had an interactive and collaborative approach to making this video. I knew that I wanted to video to be Black & White, to have images of outer space and lunar landscapes, to show black holes emphasizing danger and canyons emphasizing separateness, to show a lonely man and lonely woman frustrated and on the verge of breaking up, and also to feature a pianist and a cellist to match the musical accompaniment.

Nancy miraculously found the video footage to illustrate these themes, and through an iterative process we placed the clips to match the lyrics, so the visual and the audio were perfectly lined up. Nancy did an expert job stitching everything together, based on my detailed comments to her extremely creative drafts – she was full of wonderful ideas, and it was a delight to work with her once again. Apart from being grateful to my co-writers and the world class musicians who performed on this track, I am extremely proud of how the video turned out and beautifully brings this dark, haunting song to life.

George Collins is a singer songwriter whose work carries thoughtful storytelling with finely crafted melodies. His musical catalogue has steadily grown to include pieces that explore connection, vulnerability and the quiet shifts that shape human relationships.

Collins continues to collaborate with respected producers and musicians who help bring his vision to life. His newest single, “Houston,” adds another compelling layer to his evolving artistic journey.

Keep up with everything George Collins on his Website

09.19.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH MASSEY

When MASSEY unleashed his blistering new single “BOOKIN’” it immediately felt like more than just another funk-rock cut.

Co-written with longtime friend and guitarist Charlie Lerant, “BOOKIN'” explodes with blues rock riffs as it tells the story of two lovers racing toward each other and towards tragedy. It’s full throttle passion and heartbreak set to music, a rush of guitars, horns and syncopated rhythms that makes you feel the chase in your bones.

But MASSEY’s vision didn’t stop at the audio. To bring “BOOKIN’” to life visually, he turned to fine artist Lionel Thomas, a painter he has admired for years and who created the artwork for his upcoming debut album Reason for Being.

Thomas’s decision to hand draw each frame of the “BOOKIN’” video in manga style animation is virtually unheard of today. The result is an action drama that mirrors the intensity of the track – a woman on a train, a man in a car, villains, storms, battles and, at the heart of it all, a love story barreling toward a cliff.

We caught up with MASSEY to talk about how “BOOKIN’” was born, and how Lionel Thomas transformed one of MASSEY’s most intense songs into a rare, hand drawn visual experience.

Watch the Official Music Video:

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

As the lyric writer and singer, as soon as my collaborator on this one, the amazing guitar player Charlie Lerant played each lick, hook and attack of the guitar part he wrote, I knew what this song was about: full-throttle, possessed passion, two people drawn like high powered magnets yet forced to chase, forced to race, towards inevitable catastrophe.

And the first word that came immediately to mind, for the title, and the chorus hook: BOOKIN’!

The general story or arc of the song came to me quickly from there, and the lyrics rolled from the story board I built in my mind.

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

Well, the video was the complete work of the visionary fine artist Lionel Thomas.

His paintings are one of a kind. I have been a fan, patron, and owner of his work for more than 5 years. We brought him on to paint the commissioned cover of the soon-to-be-released MASSEY debut album, Reason For Being, dropping in a few weeks on October 24th.

And we were so blown away by the album cover he painted, that we commissioned Lionel, once again, to create what is pretty much unheard of in this moment: a hand drawn manga anime music video for the entire 2 minutes and 44 seconds of BOOKIN’!

I knew he would do the most fabulous job, and gave him free reign to conceptualize, storyboard and present the story he felt matched the energy. So, as Lionel explained to me, he quickly started seeing the story, with story-board outlines in his mind’s eye: – an over-the-top action film, ala Mission Impossible. There’s a train, a heroine, a villain and a hero racing down the highway to catch them.

The heroine fights, the hero races …

They ultimately embrace …

Yet it doesn’t end well …

3. What was the process of making the video?

As it was described to me by Lionel, his conceptualizing of the video was similar to how, as soon as I heard the music from my songwriting partner, Charle Lerant, I felt what the song was about, and then wrote the lyrics.

Lionel told me, after a couple listens to the song, he knew the story he wanted to tell. He saw a Mission-Impossible like action adventure plot line, with a woman as the hero, done in a Japanese manga animation style.

From that vision, he drew more and more detailed storyboards. He presented a draft of a segment, to be sure we liked his progress. Yet we wanted more story development.

After drawing it out more, we worked to be sure the action was syncing with the drama of the music and attack of the song. The result was better than we could have imagined! A masterpiece final product, with classic cinematic-style credits, too! We are out of our mind in love with Lionel’s work, merging the drama of the song with a visual extravaganza, matching and enhancing that drama.

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Keep up with MASSEY on his Website

Stream music on Spotify and Apple Music now!

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.