Actve Captve On the Making Of “Ellis Island”
Can you share any interesting or unique stories or perspectives in "Ellis Island?"
With the debut of their latest single, “Ellis Island,” Actve Captve, the versatile rock/soul/pop band led by multi-instrumentalist Justin Han, explores the poignant and universal themes of love, loss, and hope. The song artfully parallels the emotional turbulence of a heartrending breakup with the journey of immigrants who leave their homelands in search of new beginnings, much like the thousands who passed through Ellis Island in pursuit of the American Dream. Drawing from Justin Han’s personal experiences, this new single delves deeply into the complexities of human emotion and relationships, capturing the dichotomy of leaving behind a cherished world while simultaneously holding onto the hope of creating a new one.
Were there any challenges or breakthrough moments during the songwriting process for "Ellis Island?"
The most challenging part of the process was harnessing all the various talents needed to create music at the professional level. From finding a producer who shared the same musical references and goals, to a mixing engineer who was on the same page, to a mastering engineer who had the experience necessary to tie all the disparate influences and styles together. Instrumentally, “Ellis Island” is deceptively simple, and requires a deep well of experience and musicality to perform the way the parts are intended. Thankfully, Actve Captve has a deep well of talent and artists to pull from in bringing the artistic vision to life.
Can you talk about the recording and production process for "Ellis Island?"
Produced by Jason Heninger, mixed by Israel Doria, and mastered by Justin Colletti, “Ellis Island” stands as a testament to Actve Captve’s meticulous attention to sonic detail. Cassie Brandi’s soulful vocals add an almost gospel-like quality to the track, recorded at Blue October’s Orb Studios in Austin, TX. The musicianship is further anchored by the rock-solid drum work of Kyle May, recorded in Nashville, Tennessee. songwriting process for a piece like "Ellis Island" can be both challenging and rewarding. One challenge is capturing the depth of emotion and significance associated with such a historical and emotional location. Always aiming to strike a balance between honoring the past and creating a song that resonates with contemporary audiences.
How do you approach creating something new and different?
Actve Captve is built on a philosophy of collaboration and the belief that every perspective is valid and full of fresh ideas and potential for innovation. From writing to recording to mixing and mastering, there is a new opportunity to remain open-minded and take creative risks at every stage. Of course, there is such a thing as too many cooks in the kitchen, so remaining mindful and intentional about who is brought into the creative process, and at which times, is key.
Are there any upcoming projects or releases that you're particularly excited about?
The band is very excited about the single that will follow “Ellis Island”, which is titled “Away From You” and is the biggest exploration into new sonic territory that the band has made yet. Pulling from contemporary pop and hip hop production references like Cautious Clay and Juice WRLD while retaining the emotional vulnerability and authenticity of songwriting influences like Alanis Morissette and The Smiths is the cutting edge of the band’s future sound, and we can’t wait to share that song with the world in October.
No Thanks, Man On the Making Of "Inside Out There"
What was the creative process like for this particular "Inside Out There?"
This song first revealed itself to me as the melody and lyrics of the chorus. I like to sing at night and just let it flow — whatever comes out, comes out. One night, I just sang the chorus in full and I found it kind of catchy so I kept on singing it, not sure what else was to come.
At the time, I was experimenting with metal drums in the mornings, the part of the day when I like to play music freely with no real intention. The richness of sound was very deep, and I couldn't get enough of these metal drums.
The overtones were sort of dictating where to go and as the music started to take shape, I discovered that the chorus I had been singing at night time fit perfectly over what I had been playing in the morning…which is why the heart and soul of this song is really in the metal drums.
Have you noticed any particular interpretations or connections that listeners have made with "Inside Out There?"
I've been surprised by how many people find this song relaxing or calming because to me it will always be a little sad - this woman, stuck trying to break free, trying to be seen… but then I realized that there is an inherent calm that comes when you accept the isolation, even if it's an acquiescence of sorts.
One person even found it to be tropical, which ironically enough is where I was longing to go. When listeners share their experiences, you realize how all the details and complexities that were hanging in the background inevitably shine through.
So to me, it might be sad thinking back, staring out the window in the cold, harsh winter, and wanting more for my life… but I realized there was also a sense of calm that went along with that isolation...and the calm that was necessary to eventually make the right changes in my life.
What has been one of your favorite memories along the path to making this track?
During the mixing phase, I got really into spatial imaging, and I had been telling me a friend of mine about it who is a percussionist from Brasil and a staple in the Washington DC music scene. I was geeking out over the whole idea of putting instruments in certain places, so that it would create a soundscape and create dynamics beyond just what was written on the page.
So one night I finally had the opportunity to play an early mix for him and I decided to get out my good headphones and pressed play on “Inside Out There”. I couldn't hear anything of course but I saw in his face the different parts of the song, and after it was over, he looked at me with eyes wide open and just said “More, more. How can I hear more?” It meant a lot to have his respect and I knew at that point I was definitely on the right track. So I really dug into that concept while I produced the final version.
Can you share a bit about your musical background and the journey that led you to where you are today?
While studying music theory and composition in college, I had the opportunity to play many percussion instruments, but I especially loved the marimba. I was so taken by the sound I would play for hours…there was just a special love, a special reverberation I felt from the instrument.
Although I always loved the marimba and that never left me, I don't think No Thanks, Man would exist today if it weren't for my work as a lead sound engineer at the Percussive Arts Society International Convention (PASIC). Experiencing world percussion again, I deepened my understanding of how percussive overtones can create a feeling otherwise lost with standard instruments.
By working so closely with percussion ensembles, I also began to understand the spatial imaging they used on stage to create more complex arrangements, as well as the emphasis on dynamics. The mix was always very important to the performance because of how much effort was spent creating the right dynamic and careful attention to the staging and spatial image — it is almost something sacred within every piece.
I just felt like I had a unique perspective with all of these different influences and my music exists because of the rich musical tapestry I was exposed to and my underlying love of a well-written pop song.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I think of my songs as experiences as opposed to stories. I feel that as long as I stay true to that experience, and to the song itself, then there's a natural balance between creating something relatable and maintaining my unique voice.
At the core of it, we are all quietly suffering in our own way, and through compassion and love, we are able to find a little bit of joy to share with each other… We really are all one, so it is in being true to your unique voice that you actually create something relatable.