FOUNDED IN 2011, VITALIC NOISE MANAGES THE CAREERS OF MANY MULTI-PLATINUM AND GOLD SELLING GRAMMY, JUNO, ARIA, AND AIR AWARD WINNING ARTISTS WHILE REACHING OVER 5 BILLION STREAMS WITH THEIR PROJECTS AND PERFORMING AT SUCH FESTIVALS AS COACHELLA, CORONA CAPITAL, P’AL NORTE, PRIMAVERA SOUND, ESTEREO PICNIC, BONNAROO, LOLLAPALOOZA, BURNING MAN, LIFE IS BEAUTIFUL, OUTSIDE LANDS, LANEWAY, SPLENDOUR IN THE GRASS, LIGHTNING IN A BOTTLE, SHAMBHALA, RED ROCKS, OSHEAGA, ETC. WHILE ALSO PLACING THEIR CLIENTS MUSIC IN NUMEROUS TV & FILM SYNCHS WITH PORSCHE, AUDI, TACO BELL, KIA, SAMSUNG, THERMAREST, OREO, NEW BALANCE, NETFLIX, HBO, VICE, SHOWTIME, STARZ, EA SPORTS, ROCKSTAR GAMES, BALENCIAGA, ORACLE, AND MORE SHOWS ACROSS NETWORKS

_JUSTIN KATERBERG
_MAX STERN
_MARK ALLEN
_GABRIEL GITLIN
_RUTH PATIÑO
_AURELIO ALVAREZ
_ROB MUÑOZ

MOVIDA MÚSICA

MOVIDA MÚSICA, OUR LATIN AMERICAN DIVISION BASED OUT OF MEXICO CITY, IS A MULTI-FACETED COMPANY WITH LABEL, ARTISTS SERVICES, TOURING, AND TALENT BUYING ARMS INTENDED ON BUILDING SUSTAINABLE CAREERS IN BOTH CENTRAL AND SOUTH AMERICA FOR ARTISTS FROM AROUND THE WORLD. MOVIDA WORKS WITH SUCH ARTISTS AS ODESZA, PASSENGER, FLUME, TOVE LO, BICEP, DIPLO, FRANC MOODY, MARIBOU STATE, TYCHO, ALICE GLASS, CARMEN DELEON, BBNO$, YVES TUMOR, ARMIN VAN BUUREN, VACATIONS, LOUD LUXURY, LAST DINOSAURS, PURPLE DISCO MACHINE, BLACK COFFEE, ZEDD, AND MORE.

LOOSE CHANGE

OUR PUBLISHING COMMUNITY, LOOSE CHANGE HAS OFFICES IN BOTH BRISBANE, AUSTRALIA AND LOS ANGELES, USA FOCUSED ON DEVELOPING THE NEXT GENERATION OF SONGWRITERS AND PRODUCERS. THEIR WRITERS HAVE MULTIPLE #1S WHILE WORKING WITH SUCH ARTISTS AS BLACKBEAR, DIPLO, RAE SREMMURD, KYLE, DOJA CAT, TREVOR DANIEL, ÆSPA, MONSTA X, NCT-127, STRAY KIDS, PARTYNEXTDOOR, MIKE SHINODA, DANIEL CAESAR, STEVE AOKI, MIKE POSNER, LAUV, KIMBRA, FLIGHT FACILITIES, BJ THE CHICAGO KID, CHRISTIAN GATES, AND MANY MORE.

Elsa y Elmar

Much like the sea for which she is named, the essence of Elsa y Elmar — the alias of Colombian indie artist Elsa Margarita Carvajal — moves with the tides. What anchors her genre-meandering, “spiritual pop” is her dauntless approach to songwriting. In each song she boldly excavates her soul for her most intimate revelations, and emerges with pearls of emotional wisdom for her fans.

“It’s very complex, the spiritual dimensions of us millennials,” she explains. “I try to capture that in my music — we’re all about giving others a space for their feelings. That’s a pretty spiritual experience!”

Born in the Andean town of Bucaramanga, Colombia, the 30-year-old singer-songwriter braved the unforgiving Boston winters to study at the Berklee College of Music, where she graduated in 2015 with a Bachelor’s degree in music performance. In 2019, her buzzy sophomore album Eres Diamante earned her a nomination in the category of Best New Artist at the Latin Grammys, alongside a nomination of her work as a co-writer on una ves más by Ximena Sariñana which was nominated for Best Pop Song; her 2022 LP, ya no somos los mismos, earned her four more nominations that year, including for Album of the Year.

Her new song “entre las piernas,” her first offering in two years, is one that she almost hesitated to write down. What began as an epiphany during the artist’s moon time — “I was super PMSing,” she says — culminated in a pulsating, feminist alt-pop anthem. The music video, produced by animation studio The Crux, depicts a lush, jungle environs populated with colorful vaginal blooms.

“Women truly carry the world,” says Elsa. “How many women at any given moment will be walking around the city center, carrying a mountain of blood between their legs? Beyond blood, we carry so many burdens — we also carry the expectations of how you should behave, how you should look like, how you shouldn’t get too angry lest you become hysterical. It’s all so much.”

In writing the song, she revisited a particularly vulnerable emotional state, when she first set foot in a recording studio at the age of 16. “These producers not only wanted me to use songs already written for me by a stranger in Miami,” she says, “But they said I’d look a lot prettier without my braces. I knew there had to be another way, so I went to school for music.”

“As an artist, as someone who writes about feelings and romance, I admit I was afraid of writing a political song,” she confesses. “Even if I am a feminist, writing my ideology into a song kind of scared me. Because I even judge myself as a woman musician — I know now that I don’t have to adopt masculine behaviors to temper my feminine side. This is the body that I inhabit as an artist. This is my experience. I needed this song to embody myself.”