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Elizabeth Goodfellow is an LA-based artist specializing in drums and percussion. Beth has toured and/or recorded with Iron & Wine, Julia Holter, Madison Cunningham, Calexico, boygenius (Phoebe Bridgers, Lucy Dacus and Julien Baker), Allison Russell, Orkesta Mendoza and Lauren Monroe (sharing drumming duties with Rick Allen of Def Leppard). Beth has served as drummer for acts on major tv shows such as Jimmy Kimmel Live, James Corden, Steven Colbert, and a special episode of The Ellen Show hosted by Brandi Carlile. She has also appeared onscreen in the 2022 Miramax film "Confess, Fletch" as herself, drumming with the Hot Sardines, and in Sara Bareillis' series "Little Voice". Elizabeth’s current focus as a solo artist is her singer-songwriter approach to writing for marimba and voice.

I'm Callen (2024)
I am an independent multi-instrumentalist, singer-songwriter, and music producer. My genres typically revolve around Alternative, Singer-songwriter, Alt-pop, Hip-Hop, Indie, Indie Folk, Rock, Pop/Rock, EDM, Indie Pop, and many more. Ultimately, I tell stories about this world we are living in so that we can at the very least sing something we both relate to. 

👻 Add my album, "Ghost Reflections" to your playlists in the link below 👻.
Preview my new EP "Fake Promises" in the link below √

ciao! Sono Francesca Pani!
Amo cantare da sempre, spero ti piacciano le mie interpretazioni!
.........................................................................
Hello! I'm Francesca Pani!
I've always loved to sing and I hope you like my interpretations

Ground  

(Chill Mountain Rec)

DJ/Producer 

General Producer of Chill Mountain Records (JP)

Booking&contact
→ info.chillmountain@gmail.com
Gig Schedule
→www.instagram.com/mtchill_ground/

Based in Osaka, Ground processes and reconstructs sounds he encounters around the world to create new creations for the dancefloor. evoke visions of pulsating otherworldly ecosystems. Immersing oneself in these sounds often feels like transcending the human-alien divide.

He started DJing in his teens and has played all over Japan, based in Osaka's underground music scene. He was one of the founders of the Chill Mountain collective, which held regular parties on the mountainside of Osaka, and later, together with sound engineer Kabamix and designer Mt.chills, started to focus on the record label Chill Mountain Recordings. He began to focus his efforts on the Chill Mountain Recordings record label with sound engineer Kabamix and designer Mt.chills. They have performed at various festivals and events in over 27 countries, including the USA, Canada, Chile, Brazil, Germany, Ecuador, Croatia, Israel, Cyprus and Switzerland.

He has a thriving personal career, with a rich and complex catalogue of EPs, singles and collaborations, as well as seven albums & seven Ep releases, including his 2018 world debut album SUNIZM on the LA label ESP Institute.


Booking&contact
→ info.chillmountain@gmail.com
Gig Schedule
→https://www.instagram.com/mtchill_ground/

www.mortalprophets.com

“Anyone having trouble getting to, or staying, asleep should proceed with caution when playing The Mortal Prophets’ debut album around bedtime. The demonic intentions implied by the album’s name and defined by John Beckmann … coil each selection in menacing directions, bringing fresh, often frightening twists to these standards. Be aware - when you engulf yourself in these riveting, uncompromising performances. They are not for the squeamish.”
- American Songwriter

The Mortal Prophets: John Beckmann’s Cinematic Descent Into the Electric Psyche

In the sprawling constellation of modern music, The Mortal Prophets occupy a shadowed corner—less a “band” in the traditional sense than a living, breathing séance conducted by John Beckmann. Across a series of albums, Beckmann has been excavating the strata of Americana, dream pop, blues, and avant-garde minimalism, folding them into a fever-dream narrative that feels like it was beamed from a late-night pirate radio station somewhere between the Mississippi Delta and the outer rings of Saturn. 

Beckmann, who founded New York’s Axis Mundi Design before turning his obsessive creative drive toward music, approaches songwriting like a visual architect—each track a space you inhabit rather than simply hear. His arrangements have the tension of architectural blueprints: precision married to instinct, steel and stone softened by ambient light. In GUITARWORKS II, the most recent installment in a sprawling instrumental odyssey, guitar tones unspool like distant telegraph wires, calling to mind Robert Fripp’s collaborations with Brian Eno, or the glacial drift of Cluster’s experimental soundscapes. It’s profoundly cinematic, yet never ornamental.

If Beckmann’s earlier releases (Stomp The Devil, Me and The Devil, Dealey Plaza Blues) reached back into mythic Americana—the open road, outlaw ballads, acid-washed folk visions—his more recent work tilts toward the abstract, replacing narrative with mood. This is music that understands how memory works: fractured, impressionistic, prone to bleed between truth and hallucination. The Mortal Prophets operate in that liminal space where you’re not sure if you’re dreaming, or just remembering wrong. 

Vocally, when Beckmann steps to the mic, it’s with a delivery equal parts Leonard Cohen confession and Bowie-esque theater—half-smirk, half-sermon. Lyrically, he trades in arcane symbols and sly allusions: 19th-century mystics rub shoulders with dive-bar drifters, and romantic longing flickers like neon through a rain-soaked windshield. He’s not afraid of obliqueness; in fact, he seems to revel in it. Where many contemporary songwriters flatten their work into algorithm-friendly hooks, Beckmann builds labyrinths. 

Part of The Mortal Prophets’ magnetism lies in its refusal to settle. One album might summon the humid ghost-blues of Junior Kimbrough refracted through a loop pedal; the next might drift into synth-heavy dream pop worthy of an early-’90s 4AD release. Beckmann’s collaborators—rotating players drawn from both avant-garde and roots backgrounds—expand that sonic palette, giving the project an almost shapeshifting quality. 
In a cultural moment where genre boundaries are largely performative, Beckmann treats them as haunted ruins worth spelunking through. His songs feel like dispatches from parallel histories of American music—histories where psychedelia never died, where blues never got sanitized, and where experimentalism didn’t have to hide in academic halls. 

The Mortal Prophets may never break into the Billboard mainstream, but that’s hardly the point. Their appeal is in the slow burn, the intimacy of discovery. Beckmann’s work isn’t built for quick consumption; it’s built for listeners willing to linger, to decode, to wander down the long corridors he constructs. In an era obsessed with speed and surface, The Mortal Prophets offer the opposite: a deep dive into the echo chamber of the self, scored by a man who seems to know exactly how to make the walls sing.

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