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Sometimes artists have to do battle with their work. The dirty truth is that art doesn’t always come easily. But, if we’re willing to stick with it, these projects can be the most rewarding and most definitive. Case in point: Composer Tony Anderson. He spent four years battling his latest album Chasm and, make no mistake, it was battle:

Paul Davidson, a.k.a. MYYRA, is a self-proclaimed optimist. Which is a bit surprising if you’ve heard his music. His debut album — Erase. Rewind. Restart. — is melancholy to the core. The name smacks of regret — or at least a desire for a do-over. These songs were written a few years ago, after Paul had left everything behind and moved to Nashville in hopes of making it as a musician.

Mia Brubakken (a.k.a. MIIA) is 18 years old. She’s been a working musician for four years. She has a skyrocketing new single called ‘Dynasty’. She’s making frequent trips to Hollywood to build on an already monumental career in Norway. And she’s 18 years old. It just goes to show you that — all other things being equal — when you have it, you have it. Give MIIA’s music even the most cursory listen, and there is no question she’s bringing something new and exciting to the table. She’s already a celebrity in her own country, and her fame won’t stay confined there much longer. Even Billboard is calling her a “Pop star in the making.” And it doesn’t hurt that her latest single has gotten nearly 2 Million Spotify streams in less than three months.

Midnight Riot — a collaboration between singer/songwriter Emily Kopp and guitarist/producer Justin Beckler — is loud, brash, and shot through with fizzy cola. It’s a project built on good old-fashioned guitar riffs, room-shaking stomps and claps, and hooks that sink so deep you’ll be humming them for weeks. They may even leave a little grit between your teeth. And Midnight Riot’s breakout track, ‘Never Coming Down,’ is no exception.

Inside one of the world’s largest airlines, a dedicated group of in-house filmmakers is hard at work producing a steady stream of high-quality branded content. The JetBlue film team’s work — particularly its recent Flight Etiquette series — has gotten a lot of attention, with write-ups in major publications like Mashable, Fortune, and TIME. They’ve also worked as a second unit for airport scenes on projects ranging from Ricki and the Flash to Modern Family. We’re proud to provide their team with music, and we’re proud that we helped them define the JetBlue sound. We talked with Creative Manager Jonathan Weitz and his team about their history, their work, and how they stay agile and creative within a corporate environment.

SKÜMASKOT is a film about loss set in a frozen psychological wasteland. The environment is the antagonist. Man versus nature representing man versus humannature: the main character is at odds with himself. To bring these empty, violent places to life, filmmaker Jared Knecht and actor Madison Hatch flew to Iceland, where they subjected themselves to some of the most brutal conditions on earth. “We literally got saved by the search and rescue crew during a blizzard one night,” Jared told us.

Salomon Ligthelm is literally all over the place: all over the world, all over the Internet. And when we Skyped with him recently about the exclusive Musicbed release of the ANOMALY soundtrack, he was all over Defacto Sound’s studio. Outside briefly, inside briefly, popping in and out of various offices and stairwells. Salomon is frenetic in the best possible way. And that energy comes across not just in his conversations, but in the things he creates. It all feels very human and very alive, which, he told us, was exactly what he was after with this latest score (composed by Ryan Taubert).

We ended up talking a lot about Brooklyn in this interview. That’s the city where composer Chad Lawson got his start, and it’s the city that, several years ago, he decided to leave. Like most people (creative people, especially), we’re suckers for the mythology of New York City, no matter how outdated that mythology may be. There’s just something about that place. And it seems unavoidable that where we are — geographically, emotionally, etc. — becomes a part of what we make. Our context finds its way in. That’s exactly what happened for Chad.