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Label News

Quantum Theory: An Interview With Soul Extract

September 26, 2024
Artist News, Label News
Electronic Rock, FiXT Music, Label News

By Leasia Korbel

Hey Josh, thanks for taking the time. I’ve been a fan since I first heard “Decryption,” (it remains an all time favorite of mine). I see in the notes you talk about “subconsciously” noticing someone from across the room, i.e. “Quantum Entanglement.” Quantum entanglement suggests that two particles can be connected across vast distances. Do you feel a similar connection with your audience when they view your art? How do you think your work influences or “entangles” with their perception of reality?

I absolutely would love for the ideas and imagery to connect with anyone who is truly “listening” and become entangled with the realization that we are all connected in a way that cant be seen, but most definitely can be felt.  There are many scientific experiments underway at the Institute of Noetic Sciences testing these types of experiences.  My hope is that science will progress into the field of consciousness and I guarantee humanity will be forever changed when that day comes.

Quantum physics isn’t a typical influence in music. How did you first get inspired by quantum theory, and how does it shape your sound?

As a kid, I always was interested in how things worked.  I took apart phones, clocks, and even my NES.  The cartridges never did go in the same after that!

This fascination led me to write my own music as well as a career in I.T.  Sadly, I didn’t really have an appreciation for quantum mechanics until later in life, but it has definitely created a new way of looking at the world and I draw very much inspiration from this new lens.

Quantum physics challenges traditional perceptions of time and space. How do you play with these ideas in your music?

One way I’ve found to look at time is the example of a human’s life.  I believe your lifetime is merely the “how” of what you are.  The various events and decisions you’ve made throughout your life. Your soul however is the eternal thing that has and always will exist.  This is the “what”.  An infinite state of being that we can’t comprehend and thus need a step-by-step playback to understand ourselves.

These types of concepts really help unfold the path to where the lyrics lead.  It is indeed difficult to write in this language and not sound cliche or cheesy, and believe me, my notebook is full of cheese ideas no one will ever see.

Your music often feels like it’s bending the rules of reality. How do you translate the abstract and complex ideas of quantum physics into your soundscapes?

Finding a parallel with the quantum nature of reality and our daily lives is usually a good method.  These are hard concepts to wrap your head around, and the science literature doesn’t do it justice, but once you “see” it the way I do, you will understand.

What’s your creative process like when you’re working on new music? Do you have any unusual rituals?

My life is so busy, I have to take inspiration wherever and whenever it lands.  Usually it’s at a time when I don’t have access to a keyboard or guitar, so I record the idea on my phone and hope I remember the emotional state of where my head was.

Strangely enough, this sometimes comes from day-to-day sounds from life that my brain transforms into musical compositions.  It’s such an odd thing, but I love when it happens. 

During a creative session, meditation is a tool I use to put my head in a clear space to allow ideas to flow, especially lyrics.

Do you ever find yourself lost in thought, pondering the nature of reality while working on a piece? If so, do you ever emerge with new artistic insights or just a headache?

Yes!  This is part of my creative process and it does lead to new ideas about how our universe operates at the quantum level.

I noticed you used violins, cellos, a lot in combination with rock. How important is the emotive element in your singles?

So I actually used to not like emotive songs all that much.  I’d usually skip over them, preferring the heavy, hard-hitting tracks instead.  But in my adult years, orchestral strings have captivated my soul with their ability to capture such deep, emotional states and that’s why I love to use them.  Hoping to one day work with real violinists on a song to give it that extra human element.

Looking ahead, are there any quantum concepts or theories that you’re excited to explore in your future music projects?

Absolutely, I plan to release at least another 8 songs focused on this.  My hope is to help others view this reality, as well as each other, through this lens.

Check out Soul Extract’s latest release “Entanglement” from his EP Chasms below!

Soul Extract, the visionary cinematic rock artist, invites listeners into a vast sonic landscape with the release of the Chasms EP, a journey through intricate emotions, human survival, and the untapped depths of the universe, out now from FiXT.

With singles “Anomaly” and “Supernova” produced by renowned songwriter and multi-instrumentalist Paul Trust, and Brian Skeel’s collaboration on “Innerspace” the Chasms EP fuses orchestral rock, electronic elements, and raw lyrical intensity to explore themes of isolation, survival, and interconnectedness to the very desolate beauty of outer space. 

Opening with “Supernova” the EP delivers a cosmic anthem, telling the story of a human called by a supernova-born entity to leave a dying planet and create new worlds.  “Anomaly” emerges as a thought-provoking mix of heavy guitars, synths, and orchestral elements, telling the story of a lone survivor adrift in space. The single emerges as a mesmerizing blend of cerebral depth and raw beauty within the tumultuous currents of modern rock. “Innerspace” follows with a dramatic shift in perspective, diving into the microscopic world with fellow FiXT labelmate Brian Skeel. This cinematic track captures the awe-inspiring complexity of the quantum world, blending orchestral strings with chugging guitars, and Soul Extract’s dynamic vocals. “Entangled” narrated by the soul itself, delves into quantum mysticism, the song contemplates the idea of quantum entanglement as a metaphor for human connection. Science fiction and cinematic rock collide creating a rich, immersive experience that resonates across space and time.

Cerebral. Beautiful. Violent. Soul Extract taps into a wealth of human emotions and experiences to generate a listening space that is as intense and unpredictable as life itself. The highly personal inspiration for Soul Extract’s creations gives every song an invigorating level of creative clarity, and the artist’s willingness to smash through genre barriers puts him at the forefront of modern music.

Although Soul Extract’s stylistic approach fits within the broad scope of electronic rock, labels can’t begin to describe the exploratory, borderline progressive nature of the songs themselves. Josh Mullis, the architect behind Soul Extract’s elaborate compositions, brings a deconstructive mindset to his craft, tearing apart genres and fusing their most compelling elements back together to build calculated and highly detailed tracks.

This analytical approach to Soul Extract began to take shape in 2013, and after years spent synthesizing the sounds of metal, electronic, and orchestral music, the artist unleashed his fiery debut album, Circadian Algorithm. Loaded wall-to-wall with emotive vocals and explosive instrumental sections, the album has laid the foundation for a developing career with an upward trajectory.

Mullis’ passion for music began at a young age, and he has traditionally pulled from deeply personal events for his creative stimulus. Finding escape from family struggles by picking up a guitar as a teenager, Mullis discovered those early creative efforts were able to carry him through unpredictable times. As an adult, a motivating force for his music rests within humanitarian endeavors, as Mullis donates proceeds from Soul Extract to various charities.

For Mullis, music is an indescribable force capable of sparking intense emotion, and this force is the essence of an artist in its purest form. As the project name suggests, Soul Extract is Josh Mullis’ unaltered expression of himself, and his passionate approach to songwriting shines through on every track he produces.

Follow Soul Extract
Stream CHASMS

From Fan To President: An interview with FiXT President James Rhodes

August 13, 2024
Label News
FiXT Music, Label News
  1. Can you introduce yourself and tell us about your current role and responsibilities?

My name is James Rhodes. I’m the President of FiXT – we’re an artist-owned, independent record label, music publisher and merchandise company. I co-found the company in 2006 alongside Klayton (Celldweller). My current role as President of the company involves overseeing high level company strategy and decisions, directing our A&R processes, creating our annual budget, and handling all primary business development relationships and deal negotiations. I still work very closely with Klayton and he’s involved in all artist signings and we work together on setting and updating the goalposts of our company vision. In previous years I’ve had as many as 12 people reporting directly to me, but I’m extremely grateful to only have 2 direct reports now – Kurtis Redden, our Director of Operations, Head of Marketing, and Travis Brockett, our Administrative Director. While we’re a small company and there are days where I still wear additional hats, they keep the true day to day operations of the team going where I can focus on bigger picture ideas and projects. 

  1. You said you were a fan of Klayton’s first project Circle Of Dust. Was it love at first listen, or did it take a few tracks to win you over?

I was in middle school at the time and found a cassette in a bargain bin of a store in our local mall. I bought it solely on the artwork (the big cyberpunk eyeball on the cover of the Circle of Dust Brainchild album), but was already a fan of industrial music so it was love at first listen indeed. From there I found the debut, self-titled Circle of Dust album and my fascination deepened even more. But it was the album Disengage a few years later that took Circle of Dust from ‘one of my favorite artists’ to absolutely my favorite artist. From there I knew I had to follow anything Klayton was doing and of course that led to Celldweller and the rest they say, is history.

  1. Can you describe your first professional interaction with Klayton? Did you play it cool or was it more of an “OMG, I can’t believe this is happening” moment? 

I first met Klayton in the Fall of 2000 in a studio in Detroit for the Celldweller Street Team studio visit. This was a transformational experience for me. This was probably the most initiative I’d ever taken to get involved in something. I drove 8 hours from Iowa to Detroit and got to meet some fellow-fans in person, which was amazing in and of itself, but getting to go into a professional studio to meet Klayton and his manager Tyler Bacon who came in from Los Angeles, was like stepping into an alternate reality. I was just a random kid from Iowa and was completely in awe. It was definitely an “I can’t believe this is happening” moment, when I asked Klayton to sign a couple things I brought and one of them was the label, master CD copy of his Circle of Dust Disengage album that he didn’t even know existed. But the icing on the cake was when he answered my question that there was an ‘uncensored’ version of “Deadly Love” that he had never acknowledged anywhere else. A year or so later he sent me a copy of the uncensored version in a package with some other street team promo items and I never shared it with anyone. I could have ripped it and put it online, but by not doing that it was almost an unspoken seed of trust that was planted which later led to future opportunities to work with him.

  1. Do you still pinch yourself sometimes? (Asking for a friend)

No literal pinching, but I definitely stop and appreciate how amazing it has been to go from fan to employee to co-founder and now president of his label FiXT, as well as become his manager. It has all been possible by being built on a deep level of trust and integrity. As well as patience to allow this to all play out. I think there are people who want everything right now and make it about themselves. I’ve always had a service-oriented mindset and you’d be surprised how far you can go in life building on a foundation of just doing the fundamentals consistently with integrity, service, and patience. 

  1. What was it about his music that resonated with you the most?

It was the unique combination of genres and influences that I’d never heard anyone else quite do as uniquely as Klayton. Circle of Dust started it all with the combination of industrial, electronic and metal elements but with both harsh and melodic vocals and thought provoking lyrics, but then Celldweller took things to a whole new level adding psy-trance, drum & bass, techno, nu-metal, and an even broader alternative and hard rock accessibility. And with all of that, the level of production quality, intricate programming, detailed mixing and sonic ear candy it was at a level few other artists, including artists with budgets 100x bigger were able to pull off with even the bigger producers and mixers in LA, he has had this magical ability to create songs that sound different than anything else out there. And finally, his vocals – the level of vocal production has always fascinated me – his melody and harmony choices, and vocal processing, specifically with the use of vocoders has always been extremely catchy and hooky which underlines that behind all the gear, genre-blending, and production wizardry, Klayton is a world-class songwriter. 

  1. Can you share a memorable experience from your time as a fan? (Bonus points if it involves a wild concert story!)

The first thing that comes to mind as a memorable experience from when I was just a fan (before starting to work with Klayton) was not a direct interaction with him, but fond memories of the Flaming Fish Forum (iykyk) and Cellblock 454 Forums where I spent countless hours chatting with other fans and just nerding out on everything Klayton was working on.  As far as a first concert experience, the first concert I ever saw Klayton play live was one that I booked myself to bring Celldweller to play live at Gabe’s Oasis in Iowa City, Iowa. It was only the 2nd public show Celldweller ever performed live and I had a houseful of fans who drove in from all over the country come stay with me the night before and then head up to the show together. The fan community experience was a huge piece in that story as well, but then getting to see Celldweller perform live, 15 feet in front of me was definitely a life changing experience. It was the next step in my journey, towards wanting to be involved directly in the music industry as a career.

  1. How did your journey from being a fan to working in the music industry begin? Were you already heading in that direction or did you have a ‘eureka!’ moment after becoming a fan?

Volunteering on the Celldweller Street Team was definitely step 1. Then meeting Klayton and his manager Tyler at the Street Team studio visit was step 2. Ordering Celldweller CDs at wholesale rates and reselling them to friends and people in the area was step 3. Booking the Celldweller live show was step 4. Then I thought I wanted to get into studio and mixing work and went to The Recording Workshop in Ohio for a ~3 month intensive, on-site trade-school for audio production. It was on a weekend off from The Recording Workshop that a roommate I was staying with on campus and I drove a few hours away to a Celldweller live show somewhere in Ohio and after the show I went and chatted with Klayton a bit (He knew who I was at that point) but on that particular night he asked me if I wanted to go out to dinner with the band after the show. I let a guy I barely knew take my car and told him to pick me up a couple hours later (this was pre-iPhone and all I had was a cheap tracfone with prepaid minutes if anyone remembers those). That night Klayton asked if I wanted to manage the Street Team. It was my first official opportunity to start working with him. It was still volunteer work but I took it on and started doing everything I could to help – from updating the Celldweller website, to helping draft newsletters, coordinating street team marketing efforts, etc… After continuing to prove myself in that capacity Klayton offered me the opportunity to take over his online e-commerce operations and started paying me a small monthly stipend. That was roughly 20 years ago and we’ve never looked back!

  1. What were some of the biggest challenges you faced while transitioning from a fan to a professional? Did you have to resist the urge to fangirl/fanboy in meetings? Asking for a friend.

While I was and still am amazed by Klayton’s artistry, and now work with dozens of other amazing artists at FiXT, I’ve always kept things pretty down to earth. At the end of the day we’re all just people and each of us have our struggles. I think part of how I’ve been a good partner and built great relationships with Klayton and the other artists I’ve had the pleasure of working with over the years, is keeping a service-oriented mentality, to just look for the opportunities to add value and help. I think a lot of that comes down to empathy and realizing each artist has their own demons to face, so I want to be beside them so they don’t have to face them alone, or build the trust to where I can handle more and more things for them to try and take things off their plate so they can focus more on their art and the things only they can do.

Working closely with artists, you sometimes see things that nobody else sees. You see how human they are – the challenges, the disappointments and frustrations they go through and I think that can be hard for some fans to actually see. They want to just see them as this idol that is perfect, and I think there can be a lot of judgment from some people thinking these artists should have everything figured out and be a perfect role model all of the time. But again, we’re all human and some fans struggle with seeing the other side of things. So I really try to approach things as non-judgemental as possible and be there to support. 

  1. What were the key steps you took to start your career in the industry?Any embarrassing first-day-on-the-job stories to share?

I had a 2-year community college AA degree and an audio production trade-school certificate, but more than anything else that contributed to getting into the industry, it was passion and work ethic. I knew I didn’t know a lot of things, but applied myself to figure them out because I saw a need and opportunity and wanted to help. I had no special qualifications to do anything that I ultimately ended up doing. And I think that’s one of the key takeaways I’d want anyone who reads this to consider. Don’t wait for someone to say you’re qualified to do whatever you want to do. You may have to volunteer, and not get paid for doing it, but if you make yourself indispensable to a person, company, or cause that you believe in, a path to getting paid for it and career growth will open up. I believe we need less people trying to do something for themselves and more people seeing the opportunities around them to get involved in something they love and help others to succeed, which in turn can bring opportunity and value back to your own path.

I don’t recall any specific embarrassing first day type stories, although I’m sure I made tons of mistakes and did things that I would be embarrassed of – but that’s another lesson I suppose – you need to be ok with making mistakes and having embarrassing moments and realize they are just moments. They don’t define you. Realize you don’t know everything and when you discover something ‘you should have already known’ just take that as the learning experience to add that knowledge now and don’t beat yourself up for it. We all start somewhere and have to learn and grow along the way. 

I do recall that in the early days I did a LOT of listening. I had the amazing privilege to observe and listen to Klayton and his manager Tyler for years. I got to sit in on calls, see the emails and hear the stories of what/how/why certain things were happening. If you’re in a position to observe and listen to others with more experience, PAY ATTENTION. 

  1. Are there any specific skills or experiences that you found particularly valuable in your journey?

A few things that come to mind include: 

• Look for the opportunities that nobody else sees. That takes time and analysis and a willingness to think differently and consider alternatives to conventional wisdom.
• Take responsibility to develop your own skills – read books, listen to or watch podcasts, watch documentaries, read articles, talk to other people in your industry that have more experience and ask them questions. Talk to people or listen to things outside of your industry – sometimes the best insights come from seeing things from a different perspective. 

• Be willing to pick up the phone and call someone or take the time to get on a video call or meet in person if you can. 

• Treat everyone with respect and realize that life is long and things come around. An intern at a company you’re doing business with may be the VP or President of a company you’re doing business with 10-15 years from now. 

• Protect your reputation and live with integrity. If you take a shortcut or do something questionable, people will talk and everything comes to light eventually. Someone you did business with 3 years ago could be the decision maker in a deal you’re working on in the future and if they don’t trust you because of questionable past behavior, you’ve shot yourself in the foot.

  1. How has your perspective on the music industry changed since you started working in it? Is it more “sex, drugs, and rock ‘n’ roll” or “spreadsheets, emails, meetings, and then rock ‘n’ roll”?

It has never been sex, drugs, and rock ‘n roll for me or FiXT. In fact, we’ve turned away from working with artists whose motivation was more on the “sex and drugs’ part of that. It’s definitely about the music and the business rather than some ‘rockstar lifestyle’. So based on the choices you’ve given here, it’s “spreadsheets, emails, meetings and then rock ‘n roll’. 🙂

To go a little deeper on that, we want our company (FIXT) and our artist’s careers to be sustainable and long-lived, built on integrity and solid reputation. It gets real complicated, real fast when it’s built on partying. When we’re courting new artists to work with, an element we’re feeling out is how big of an ego and what underlying motivations does the artist/band have. We’ve had tremendously talented artists we could have worked with or continued working with who’d ego, attitude and motivations were a nightmare for our team to deal with and we’ve made the decision that it doesn’t matter how successful something can be, it’s not worth the headaches to deal with toxic people.

  1. What advice would you give to fans who aspire to work in the music industry? Aside from practicing your “I totally belong here” face?

There are a million paths that you could take, but just from my personal experience, here’s one possibility:

• Look for opportunities to help a specific artist/band (or maybe a record label) that you’re passionate about.
• Be willing to volunteer and show your worth before asking for money.
• Look for the things nobody is doing or that nobody wants to do and do something remarkable with it.
• Be consistent, show up and be reliable. And then be patient for the right timing of next steps.
• Don’t act entitled and have humility.
• Be a life-long learner and keep developing your skills and knowledge.

  1. What keeps you motivated and passionate about your work today? Aside from caffeine and a good playlist?

The music is always the core. I love hybrid, multi-genre electronic-rock combinations of music with great production and catchy melodies. But it’s the artists themselves and wanting to help them reach their individual goals that really drive me. There’s nothing quite as rewarding as seeing a struggling artist experience exponential growth, helping an artist land their first sync placement in a film, tv show or video game, or landing an artist’s first major editorial playlist or press feature. Even an artist getting their first positive quarterly statement payout. There are multiple artists who’ve worked independently or even with HUGE labels previously, that then worked with FIXT and were blown away when we sent them their first statement with as little as $50. The fact that we send statements and actually pay our artists already sets us apart from a TON of other labels out there. 

But I’d be leaving out a lot of what currently motivates me if I didn’t acknowledge that we have big aspirations that we are still on the path towards – which leads to my answer to the next question.

  1. What are your future goals and plans for the company and your career? World domination, or just getting through the next big project?

While we have artists that reach over a million listeners across all combined global platforms, we have yet to break a million monthly listeners for an individual artist on Spotify and that is THE platform everyone pays attention to. So a big goal on the horizon is getting multiple artists above the 1 million monthly Spotify listener mark, but not to stop there. We want to have multiple roster artists reaching 1-2 million listeners a month but even 3-5 million. Part of our strategy for that is narrowing the # of artists on our roster and investing deeper into each project where we’re making much bigger impacts rather than spreading our resources (time + dollars + effort) across a ton of artists and each only getting a little bump.

We have loft goals for Sync licensing, merch sales, and at some point, a FiXT branded tour. There’s a lot yet to accomplish and build – while we have a great foundation, in many ways we’re still just getting started!

  1. How do you envision the future of the music industry, and what role do you hope to play in it? Do you see more holograms or perhaps robot musicians, more VR concerts?

I think we’ll continue to see platform shifts, from social platforms to DSP services every 2-3, 3-5 or 5-10 years. Technology (whether that is AI or other innovations we haven’t even conceived of yet) is going to disrupt a lot of what was and we want to always be where consumers are. We were early adopters of streaming, when a lot of the music industry were holding tightly to paid downloads. And streaming gave us HUGE success that has become a significant part of our revenue now. I think as AR/VR become more accessible we’ll see unique content that allows at least super-fans to engage deeper, but I think we’re still a LONG way off from casual fans engaging deeply there. There will have to be a killer app that brings masses to those platforms that I don’t think we’ve seen yet. Music Rhythm games in VR are amazing but I think that’s still a niche of the global audience. 

As I look out at the future of how artists and labels work together, I think we’ll see more and more artists thriving independently, but still believe there will be plenty of artists who are looking for the support of a team – whether that is a label or hiring out the own internal team, but one that has the experience, relationships and specialties that an artist needs. At FiXT we bring the services of not just the label, but as a publisher and merch company and we do everything on 50/50 net profit deals. That sets us apart from labels still doing 82/18 or 85/15 deals. We’re artist-owned, artist-friendly and ready to build partnerships into the future.

  1. How can aspiring music professionals get in touch or learn more about your work?

I’m very accessible – james@fixtmusic.com, or find me on Facebook, Instagram, LinkedIn or Twitter and message me on your platform of choice. 🙂

  1. Mandatory – Contractually obligated to ask: And now the most important question of them all! Which would you rather fight: one horse-sized duck or a hundred duck-sized horses?

100 Duck-sized horses! Somehow that feels like the odds are greater to survive and not all 100 could actually be fighting you at the same time!

For more information on FiXT, visit: www.fixtmusic.com.


Mayhem On Madison 2024

August 1, 2024
Label News
FiXT Music, Label News

The very first annual Mayhem On Madison was held this past Saturday July 27 in Covington, KY.  Epic only cracks the surface of this event and the FiXT staff descended en masse to bear witness to not one but two of our bands. It was a night to remember not just for the  FiXT staff who have offices spanning the country and rarely get to meet in person, but to see artists that we work with on a daily basis in their element was both a privilege and an honor. 

“What an amazing weekend building relationships with the FiXT team and artists! With so many of our team working remotely across the U.S. this was the first chance about half our staff has ever met in person. While we work closely together through text/email and video calls, being together in person was an amazing experience for everyone who made it out. 

Similarly, we got to meet 3 of our bands/artists (ENMY, Daedric, and Izzy Reign) in person and it gave us a new appreciation for being part of their team and getting to know them individually on a more personal level.

It was an inspiring weekend and a glimpse of future greatness that these artists hold and of the friendships, respect and joy that we can build in our professional lives.” – James Rhodes

The Skyrim inspired Daedric took to the theater stage earlier in the evening and it was soon evident that she will be back on as a main stage event in the future. The theater stage filled quickly as fans new and old clamored to witness her second ever live performance. By the second track in a shower of lights and thrashing guitars Daedric had the audience roaring. The band behind their masks were lively and completed the ominous set. Unleashing beautiful chaos onto the audience was a natural course of events and you’d never know this was her second ever live performance as Daedric. Pulsing from alluring to full on fatality, Daedric’s live vocal range was seriously impressive, “Mortal.” A checkmark against any naysayers who’ve ever posted on her socials about her vocal abilities, it will take only one live performance to put those doubts to rest and it’s well worth the cost. Her music is fantastic on a given day – but live she is on a whole new playing field and I’m here for it.

Daedric ended her set with “Racing The Parallel”, her collaboration with Dal Av and a hooked crowd screaming for, “one more!”  To say that she’d be welcomed back is a bit of understatement. 

The grand finale was ENMY. If you’ve been to one of their concerts before they are no strangers to the main stage and it shows. They are a humble class act from mingling with fans before their set to interacting with fans while on stage. One memorable moment had lead singer Brady Reis take the cell phone from a fan to sing to the person she was face timing while spinning around on stage. It is evident that ENMY love their fans, and take every opportunity to show their appreciation.

Amidst the blazing lights at the Madison theater ENMY shines like a beacon with their ability to create emotive music that resonates with fans both live and over the radio. Their set included fan favorites like “Silver Bullet” and “Clarity” as well as showcasing a new recently released single, “Broken Man” from their upcoming self titled album. Besides the amazing drum work from David Nester, Brady Reis’s vocal work is impressive live, mixed with bass guitarist and back up vocalist Trevor Johnson and guitarist Michael Quinn’s tantalizing guitar work, ENMY’s live show is a recipe for success. 

For more information on ENMY, visit: https://www.fixtmusic.com/artist/enmy
For more information on Daedric, visit: https://www.fixtmusic.com/artist/daedric


James Rhodes Elevated To President Of FiXT From Fan To Company President

July 12, 2024
Label News
FiXT Music, Label News

FiXT, the USA-based artist-owned record label from Klayton (Celldweller), has announced company co-founder James Rhodes is moving from Vice President to President.

“From the moment I met James, I knew he was one of a kind. His passion is not only evident through his words, but even more so through his actions. At the beginnings of Celldweller I was very protective of the brand and everything I had worked for. 

This kid James had been on my radar for several years and had proven himself as a die-hard fan. What more proof do you need than him spending his own money to wholesale boxes of CDs to resell them and share his passion for Celldweller to everyone he knew.  Although I was initially hesitant when he asked me to give him some official responsibility, I eventually handed over a small task to see what he could do and he streamlined it beyond my expectations. It was acutely obvious to me after 2 years of James working as an unpaid intern, that I needed to figure out a way to take the financial leap and secure him as my first official employee. 

We officially founded FiXT together in 2006 and over the years the company has grown exponentially. We developed multiple artists into independent successes, and built new systems we created ourselves, because there was no other model to follow. The level of trust I have in James has continued to grow over the past 20 years, and he’s never taken advantage of that. There’s no-one else I could envision naming the President of FiXT other than James.” 

– Klayton (FiXT Founder & CEO)
 

Rhodes who co-founded FiXT alongside Klayton, started as a fan of Klayton’s project Circle of Dust in the ‘90s and later became his first employee in the early ‘00s as Celldweller was being established.

James and Klayton first met in the Fall of 2000 at a Celldweller street team studio visit in Detroit, Michigan. In 2003 James took over Klayton’s e-commerce operations as his first employee. In 2005 Rhodes moved from Iowa to Los Angeles to join respected music publishing / sync licensing company Position Music, working under Klayton’s manager Tyler Bacon as part of Klayton’s management team while also continuing to work directly with Klayton for Celldweller merchandise and e-commerce operations.

In January 2006, Rhodes returned to Iowa and co-founded FiXT with Klayton, launching a music label with the goal of supporting artists and providing a fair deal in an industry known for one-sided agreements.

By the early/mid ‘10s Rhodes took on a management role for Klayton’s artist projects, including Celldweller, Scandroid, Circle of Dust and later FreqGen, and has been a key player in nurturing the projects to reach millions of global listeners each month. Rhodes and Klayton have built FiXT into a global brand supporting the careers of over 100 artists with fans in over 150 countries.

“I’m incredibly honored to have the opportunity to continue growing my career in the music industry, I have built over the last two decades working with Klayton. His trust and support in my ability to lead FiXT into the next twenty years is humbling and exciting. We have an amazing foundation to build on with a great team and company culture. Klayton’s vision for artistry, excellence, and quality have given us a north star that we will continue to move towards far into the future. And of course we wouldn’t be a label without our artists. From my first day working with Klayton to the present, my personal mission has been the same – to add the most value possible to the artists I believe in and help them grow their careers in ways not possible on their own.” 

– James Rhodes (FiXT President & Co-Founder)

Some of Rhodes’ accomplishments at FiXT include notable artist signings such as The Anix, The Browning, Fight The Fade and ENMY, to making key personnel hires including Kurtis Redden (Director of Operations, Head of Marketing), Travis Brocket (Administrative Director), and Michelle Steer (Merchandise & E-Commerce Manager). In 2015 he spearheaded FiXT’s move to join the American Association of Independent Music (A2iM), become MERLIN members and move FiXT’s digital delivery business to FUGA. Rhodes is also credited with moving FiXT’s e-commerce operations to Shopify in 2015 and later negotiating direct deals with multiple DSPs including Amazon, and Pretzel. In 2022 he set up FiXT’s global publishing administration deal with SENTRIC and in 2023 co-led FiXT’s sync catalog expansion in a deal with APM Music paired with a global sub-publishing network of 20 territory based partners. He has served multiple terms on the A2iM Mentorship program, and been a guest on numerous industry podcasts, including the Top Music Attorney Podcast, The Music Industry Blueprint Podcast with Rick Barker, Burn This World Podcast with Jonny McBee, Headliner Mindset Podcast with Nik Cherwink, and many others.  

As FiXT celebrates 18+ years of history, the company operates as a record label, music publisher, and merchandise company with over 15+ exclusive artists on its roster, including The Anix, Beyond Unbroken, The Browning, CANTERVICE, Celldweller, Coping Method, Daedric, Fight The Fade, Fury Weekend, HIGHSOCIETY, The Plague, Scandroid, and more. The label boasts over 3.5 billion lifetime streams and over 1,000 Film/TV/Video Game and advertising sync placements, including: Westworld, Power Rangers, Lexus, Toyota, Suicide Squad, Iron Man, Robocop, Jack Reacher, Deadpool, John Wick, Guardians of the Galaxy, Pacific Rim, Call of Duty, Synth Riders, Assassin’s Creed, Need For Speed, Razer, Dead Rising, UFC, and more. 

For more information on FiXT, visit: www.fixtmusic.com.


Q&A – The Anix

May 29, 2024
Artist News, Label News
Electronic Rock, FiXT Music, Label News

By Leasia Korbel

Q: On your most recent release “Shadow.” You said initially, “The track exploits the phenomenon of “Shadow” personality traits- the side of us that rarely gets shown to the world.” Can you give fans an idea of the deeper concept behind “Shadow?”

A: Most of us, if not ALL of us, have a side to us that gets repressed. Maybe its because you feel your boss wont allow it, or your friends will mock you, or your parents wont accept you, or you are embarrassed to be yourself. The unfortunate part of all of this, is that this hidden side to us tends to be the most creative and interesting side. So really the world is being robbed of originality the more we suppress this and conform to social standards.

Q: Can you give us insight into the emotions or experiences you hope listeners will connect with “Shadow?” Do we all need to embrace the dark side?

A: This song, as well as my entire musical career IS my shadow side. Every lyric written, song produced, graphic design element, is the side I tend to suppress from the public. My goal with the song is for the listener to feel heard and seen.

Q: Your latest songs seem to incorporate deep exploration into the human psyche and psychology. Is there a reason behind that?

A: The older I become, the more I become aware of how much life is simply a game. No one knows what they are doing, we are all pretending and acting, and in the end no one makes it out alive. Just do what makes you feel alive now because that chance wont be here for long.

Q: Can you give us a time frame for your next album? Do you have any surprises in store?

A: VOLTAGE should be out in full by the start of Fall this year. It is not entirely finished yet, so maybe there will be some unexpected surprises to close it out.

Q: On a scale from “Shy Shower Singer” to “Rock God on a Dragon,” how pumped are you for this album’s release?

A: Haha, well I am extremely shy and introverted, so I’d go with the shy shower singer for this one.

Q: If your new album was a metaphor for a concept or idea, what would it symbolize, and why? 
(e.g., “Like a phoenix rising from the ashes, the album represents resilience and rebirth.” Or do we need to “Embrace the dark side of the Force”)

A: The album title is VOLTAGE, which represents speed and power in the case of the inspiration behind the album. Faster songs, more sonics, bigger, more electronics, bigger guitars, higher vocals.

Q: In the past, and in several interviews you’ve stated you enjoyed movies like Tron and Bladerunner. (Which honestly is a great fit here at FiXT) Would you say your more recent work continues to embrace that?

A: When those movies came out, the genre was not over saturated. Now you can find 100’s of movies and series on streaming platforms that all look the same, too much CGI, over the top with the Sci-Fi etc, so I just became immune and bored with it. My overarching inspiration, even beyond Bladerunner is Stanley Kubrick’s 2001: A Space Odyssey. The colors, costumes, mood, set design is beyond anything I have ever seen.

Q: Favorite Summer Plans?

A: I hate Summer – can’t wear my favorite clothes.

Q: Pineapple on pizza? Yes or no?

A: Yes with jalapenos!

Q: In a previous interview you said you were “always on the verge of going entirely electronic.” Is that still happening?

A: It is literally always on my mind. I think the next album will very likely be this way.

Q: In the past you’ve stated you prefer working alone, but on a few of your recent singles you’ve worked with Julien-K, most recently “CRAWL” and you have your other project INTRELOCK. What’s different here?

A: I usually like to work alone because I work fast and intense. I do not like the process of making a song, then stopping to send it to someone else, and waiting for their input. It halts and disrupts the creative process for me. Amir from Julien-K understands this when working with me so he is able to get something back to me usually in the same day! That is not his usual style, but for me he bends his own rules and always delivers incredible parts that I would not have, and could not have created on my own. I am interested in more collabs, but it has to be with something that is doing something I can’t do on my own.

Q: I’ve read from previous interviews that music is only a small part of The Anix. What inspires The Anix as a whole concept from music to aesthetics?

A: I have always been very inspired by lifestyle related elements more than music. Architecture, style, sneakers, art and design. There is a huge amount of inspiration from 1960’s American design, such as Charles and Ray Eames, Alexander Girard’s pattern making for Herman Miller, Fender’s Jaguar and Jazzmasters of the 60’s, NASA. In the end, its all art, and art inspires art regardless of what genre you create in.

Q: I am now contractually obligated to ask in every interview: Which would you rather fight: one horse-sized duck or a hundred duck-sized horses? And why?

A: I think I would take the horse-sized duck, in the hopes that its size slows it down from an agility stand point, allowing me to be quicker to make my move.


Follow The Anix
Stream “Shadow”

Q&A – The Plague

May 13, 2024
Artist News, Label News
Electronic Rock, FiXT Music, Label News

By Leasia Korbel

Q: Your latest single “Living In The Past” dives into themes of grief and introspection. Was there anything specifically that inspired it that you could talk about? How did the track come together?

A: The past 5 years have been without a doubt the hardest years I’ve experienced.  In my personal life there has been a lot of death, overdoses, surgery, divorces, relational abandonment, and health problems while there has also been problems in the world and covid. And on top of all that, a profound loneliness, disappointment, frustration and grief more intense than I ever thought possible, only made worse by how I handled it.  Thank God for the consequences because without them, I might not have grown.

For me, part of trauma is that I replay mistakes regularly.  This song is about the power of grief mixed with regret and what it feels like to be stuck.   It’s my attempt to process all that while begging God for a second try.

Q: Almost every aspect of the industry is evolving, from how we share music to how it’s created. How do you maintain your artistic integrity and authenticity in an industry that is constantly changing?

A: This kind of piggy backs the question about advice I would give new artists. I haven’t maintained my integrity.   I have compromised my integrity at times in my life and the consequences have been traumatizing.  I have needed to make mistakes at times to realize who I am and what I’m doing. It’s so important to know why you are doing something and if it is for selfish reasons.  

On a different note, right now A.I. is making a huge splash and it can be a useful tool or compromise your integrity.  I’ve had many conversations about it and for me at this point the line is do i know what i’m trying to go for or do i want the ai to tell me what the “right” thing is.

Q: Let’s talk about the upcoming album for a minute. You’ve got an album release coming up later this year?  Can you talk about any overarching themes and inspirations behind it?

A: This album is a person getting their footing in life again.  From new responsibilities and expectations, post covid life, and after a ton of loss and mistakes.  This album is a mid recalibration expression of sorting life out.  A bit messy and a bit all over the place but sincere and honest.

Q: What do you hope fans will take away from the album?

A: That they aren’t alone and that we are loved more than any of us could ever know.

Q: How has your sound evolved in this upcoming album compared to your earlier release Hope For The F.U.T.U.R.E.?

A: Hope for the F.U.T.U.R.E. was a record of clarity, i knew what i wanted to say and how i did things and how i wanted the music to sound.  This record is a record of transition and exploration.  

My influences have expanded and my tools have changed.  I am surrounded by new types of support with the Fixt label.  My family and friends have changed.  Basically it’s a whole new life.  All of that has deepened my relationship with God.

We have done this record as singles broken up by 9 surgeries so far.  Lyrically the record is about a person processing many stages and aspects of life while trying to keep moving forward.

Sonically, I am trying to remove some process crutches that I’ve been able to identify and that has been super challenging to say the least.  I have crossed some of the dunning kruger thresholds and I am growing everyday!

Q: Are there any collaborations on this album? If so, how did these artists influence the album’s direction?

A: Earl Cohen worked with me on 2.5 of the songs on the records.  I have my studio in my house and I was lucky enough to have him come live with me for 6 months while I recovered from surgery and keep the ball crawling.  

Earl has been an intimate musical mentor in my life.  We have had many ups and downs over a 20 year friendship.

He has influenced my process almost my whole recording life.  But for these songs, he is a part of why “predator” turned out the way it did.  My original version was very metal, and I had programmed a vibey break chorus that we felt  was so cool that we changed the verses to the vibey version and looked at each other and said “this might be more the essence of what we are going for.”

I try to be a flexible person because I don’t think that stubbornness is constructive or collaborative.  I also don’t want to be a perfectionist because I believe it to be counter productive.  I like trying a lot of stuff and exploring.

That being said, around my own music, I’ll try stuff and suggestions but I can be very hard to influence.  I often know what I want and have something I’m trying to get out and I am relentless in that pursuit.  I am still trying to express that vision, I still have a long way to go still.  Earl was definitely in a tough place with me in this area and he did a great job.

Q: What advice would you give to young artists just starting out in the music industry? 

A: I think about this question often because I would go back and give myself advice if I could.  Make sure you know what your motivations are and be very honest with yourself.  God put everyone here for a reason.  Being yourself is a service and contribution to the world, I wouldn’t recommend doing art for selfish reasons such as money or status.  And then also discipline is crucial, slow and steady.

Q: Can you share your process for songwriting? How do you start, and what inspires your lyrics and melodies? 

A: How long do you have? lol  I usually start by jamming with an acoustic guitar or piano and singing over it until I have a chorus melody that I feel is useful.  Then I will make a rough demo with that melody where I make the whole song very quickly with copy and pastes just to hear an entire arrangement. By this point I have decided what the song is about and have chorus lyrics.  I need this to move forward and it is often dictated by feeling what the song is doing emotionally and asking myself what I’m going through that relates to that feeling or could be the reason why I’m interested in the emotional energy that way. Often, I try to relate that to others in a way that I think could be empathetic, sympathetic, or challenging and detail the lyrics and parts from that place.

Q: On a scale from 1 to ‘Spinal Tap’, how would you rate your last live performance?

A: None more black.

Q: What’s the most awkward stage moment you’ve ever had? Did it involve a wardrobe malfunction, a forgotten lyric, or perhaps a rogue insect?

A: One time I threw up on stage because we all ate right before the show and were rocking too hard lol.  A girl that was there was very happy that some got on her and tried to use it as a platform for an intimate relationship if you know what I mean.  She misread the significance of me puking on her.

Q: And finally, I’m contractually obligated to ask everyone this question in every interview now: Which would you rather fight: one horse-sized duck or a hundred duck-sized horses? And how would you distract them with your music if they turned on you? 

A: I would deal with whichever was thrown my way I guess, take life as it comes.  For decades, I have had a recurring nightmare where 100s of cats attack me in a haunted mansion.  I’m not sure whether that sets me up for ptsd with the duck sized horses, or whether it means i’ve been subconsciously training my whole life in my sleep to fight them.  Only one way to find out!


Follow The Plague
Stream “Living in the Past”

Q&A – HIGHSOCIETY

May 10, 2024
Artist News, Label News
Electronic Rock, FiXT Music, Label News

By Leasia Korbel

On Life The Universe And Everything (Related To The Upcoming Album) – A Most Serious Interview With The FiXT Resident Hype Man Himself, HIGHSOCIETY

This week I got to sit down with HIGHSOCIETY to talk about his track “Voices” any details he could share about his upcoming album expected later in the year. 

Micah Martin (Left) & HIGHSOCIETY (Right)

Q: Really loved your last collaboration with Micah Martin. It’s one of my favorite tracks. How did you meet and end up working together?

A: Thank you! That is one of my favorite releases as well. I was actually familiar with Micah’s music for a few years before I reached out to him, as he’s something of an iconic voice in the

 electronic/bass music scene. When I started working on my album with FiXT, he was near the top of the list for vocalists I wanted to collaborate with. I always thought his voice was super well suited for rock-leaning music. 

So I cold emailed his manager with the “Going Under” demo, and ended up on a call with Micah. Instead of talking about the song, we basically spent 30 minutes talking about our favorite rock and metalcore bands, and discovered that we had similar histories of starting out in the rock world before establishing our careers in the EDM space. We were both really excited about bridging the worlds of rock and bass music, so the timing was perfect to put “Going Under” together. Plus he’s just an absolute BEAST so we had to get him on the album twice 🙂

Q: Do you have any upcoming shows/appearances/tours coming up?

A: I do have some things planned for Summer & Fall that are not QUITE ready to announce yet, but stay tuned, I should be announcing a few things on my socials, etc. very soon. I’m also working on creating the “DATAMOSH Live” experience bringing some real instruments into my live show. I don’t think doing straight-up DJ sets is the best way to present my new music in a live space, so I’m working on ways to bring all of this new music to life for shows.

Q: Give me a history of how “Voices” came to be? Are you hearing them now? How did the track come about? Any funny stories you want to share?

A: I feel like the best songs are the ones that come together pretty quickly, almost like they are writing themselves, or you are just a “vessel” for the song to flow through. “Voices” definitely falls into that category – we wrote and recorded almost the entire song in a few hours. 

Micah sent me a text out of the blue that he was going to be visiting San Diego and wanted to record another smash. This was a rare instance where I didn’t have any available demos lying around, so I scrambled to put together an instrumental idea sketch as fast as humanly possible so we’d have something to work on. I don’t even think Micah had listened to the demo at all when he got to my studio, but after a few White Claws, we jumped in and started writing/recording vocals line by line. I hadn’t recorded Micah in person when we did “Going Under” so I didn’t know what to expect. My jaw was on the floor the entire time, he is just an incredible singer and we were in such a great creative flow, bouncing ideas off of each other and “finishing each other’s sentences” about lyric and melody ideas. 

And yes I am hearing those voices now because the chorus of that song is an absolute EARWORM that has been stuck in my head for 6 months! GET IT OUT OF MY HEAD!

Q: Who designed your upcoming merch? What was the inspiration?

A: I design all of my own merch! My merch designs are inspired by modern streetwear and cyberpunk aesthetics. With each merch drop I aim to create designs that expand outside of the world of just my artist project. My goal is to make awesome shirts that people would want to wear whether they are a HIGHSOCIETY fan or not. If someone is going to spend their money with me I want to give them something truly unique (dare I say, “fashionable”?) that is more than just a billboard for my logo. So when I’m starting a new drop, I always ask “would I buy this if I saw it in a streetwear boutique?”

Q: Favorite Summer plans when you aren’t on the road?

A: I function best when I am insanely busy, so when I am home I stick to a pretty strict routine. Even outside of shows there is so much to do to keep the project going, so I’ll typically be working on new music, merch designs, videos/content, etc. I also love to attend shows as a fan to stay inspired and remind myself why I got into music in the first place. I especially love attending metal shows because I sort of get burnt out on electronic music from playing so much. In the next 3 weeks I am seeing Born of Osiris, The Word Alive, and Escape The Fate back to back which I am extremely stoked for!

Q: How long did it take you to use that long extended stainless steel dinner for exactly? Are there classes that teach this for future DJs?

A: Unfortunately this is the level of elite knowledge that only comes with the experience of playing hundreds of shows and failing repeatedly. I do go out of my way to help up-and-coming artists as much as I can with guest lectures at colleges, feedback on their music, etc., but I think this specific technique is reserved for the upper echelon of ultra-famous mega-superstars.

Q: Anything you can sneak in about the album? What haven’t we been told?

A: I feel like fans may THINK they have an idea of how it’s going to sound based on the handful of tracks we’ve released already. There’s definitely a few curveballs coming and some insane collaborations both in & outside of the FiXT roster. We have barely scratched the surface of how insane the “DATAMOSH” sound can be.

Q: On a scale of “Nervous Karaoke Singer” to “Rockstar Riding a Unicorn,” how excited are you about this albums release?

A: I would say it’s like “Shrieking Dolphin Doing a Backflip” – basically a 50/50 mix of excitement and anxiety. Since it’s my first full-length album, I feel a ton of pressure to make a statement and present my music in the best light possible. 

With that said I’m very confident in the songs and I am having an absolute blast creating this album. It’s been awesome to wave the flag for the “rocktronic” movement and I think I’m breaking new musical ground with every track. That is ultimately more important to me than reaching some kind of external milestone around performance or anything like that. 

I want to tell myself that I will take a break after the album is out but we all know that is not going to happen (already working on demos for album #2 btw).

Q: Where can we get DATAMOSH Hard Seltzer™?  Asking for a friend.

A: So I actually just got a rejection letter from Whole Foods because apparently it is “against the law” to combine alcohol with energy drinks? I’m sorry, I thought this was America? I am happy to announce, however, that I have retained one of the top law firms in San Diego to lobby the beverage industry and hopefully change this tyrannical law. If anyone wants a DATAMOSH Hard Seltzer™ in the meantime just come over to my house and I will happily provide a case if you’ve purchased DATAMOSH merch (must show receipt / proof of purchase) [I also have a pool at my house]

Q: What is the one thing you can’t live without on tour (besides your instruments and your fans)?

A: I honestly keep it super minimal on the road, the toughest part is just having basic human needs met. It is such a fun, fast-paced environment that it can be easy to forget to drink water, eat actual food, etc. so I try to go out of my way to prioritize health when I can. I’ve basically accepted that I will get little to no sleep when doing fly-out shows but if I drink a bottle of water every hour and maybe look at a salad I usually do pretty well. 

I have heard from multiple promoters that I have “the most chill rider ever” – it is 24 bottles of water and 12 white claws (doesn’t matter what flavor but lime is preferred if possible). 

Q: What’s the most awkward stage moment you’ve ever had? Did it involve a wardrobe malfunction, a forgotten lyric, or perhaps a rogue insect?

A: Ok this is a good one. I played my first big festival set way back in 2017 and I played pretty early in the day, like 1PM. ~8 hours after my set the promoter tapped me on the shoulder and asked if I wanted to play a 15-minute changeover set before the headliner of the entire show. Of course I said yes, because at this time there were at least 5,000 people at the stage waiting for the headliner to go on. Easily the biggest crowd I had ever played in front of. 

Everything was going great until every DJ’s biggest fear happened, I hit the “pause” button on one of the decks with my elbow and stopped the music cold. A resounding “OHHHHHHHHHHHHHHHHH” echoed from the crowd and my life flashed before my eyes. 

Now as a more experienced DJ I know how to handle “trainwreck” situations like this gracefully, but this memory still keeps me awake at night.

Q: What’s your secret recipe for being awesome?

A: I would say it’s something like 

10% luck

20% skill 

A healthy serving of fear 

One lock of Brian Skeel’s hair 

4 metalcore breakdowns 

621 memes viewed per day

Feeding off the tears of my haters Also please no one ask for the DATAMOSH Hard Seltzer™ secret formula, it is kind of similar to the Krabby Patty formula, i.e. it is proprietary information and distribution of said information is punishable by federal law.

Q: Which would you rather fight: one horse-sized duck or a hundred duck-sized horses? And how would you distract them with your music if they turned on you? (Can you turn this into a reel?)

A: I have thought about this a lot – I think I MIGHT be able to defeat 100 duck-sized horses. The horse-sized duck would just be impossible, ducks can be extremely vicious (speaking from experience). With that said if I just played the upcoming BVLVNCE collab in their direction they would all disintegrate either way because it’s the heaviest song mankind has ever created x 1000000. Oh wait am I not supposed to announce that yet my bad.

Q: Can you give us a time frame for your next album? Any surprises in store?

A: I would estimate it’ll drop sometime in the next 0.5 – 30 years. We actually just decided to add a few more songs to it to make way for some big collabs, so it’ll be a bit later than planned but ultimately more awesome. As it’s my first album, I really want to take the time to make it the best it can possibly be. We’ll be dropping music nonstop leading up to the release so hopefully that can hold the fans over while I finish this BEAST! 

I think there’s something that fans will find surprising about almost every song we have left to release to be honest. I’ve pushed my sound to its absolute limits bringing in orchestral elements, synthwave stuff, basically seeing how far we can take this “DATAMOSH” style. NO RULES!

Q: Describe your upcoming album in three words, but you can’t use “lit,” “fire,” or “vibes.” (Get creative, I believe in you)

A: SONIC STOMP SQUAD!

Q: Is there anything else you’d love to get out to your fans?

A: YES! I want to say a massive thank you to everyone who has stuck with me as I’ve explored and developed this new direction for the project. I know this has been the longest album teaser campaign in this history of music, but I promise it is worth the wait. You guys are the absolute best and it has been amazing meeting and getting to know so many of you over the last year. 

I also want to send a massive shoutout to all of my collaborators on this album, from the incredible featured vocalists, to Brian & Ant who have helped with production/mastering, and the FiXT team for fueling this creative insanity!


Follow HIGHSOCIETY
Stream “Voices”

Inside FiXT 004: Daedric (1 Hour Interview)

May 7, 2024
Label News
Daedric, FiXT Music, Inside FiXT, James Rhodes

FiXT VP & Co-Founder James Rhodes interviews Kristyn Hope, aka Daedric, in episode 004 of the Inside FiXT video interview series!

Follow Daedric:
https://link.fixtmusic.com/Daedric

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