INTERVIEW: Nathan James Talks The Rot In The Entertainment Industry with 'Hollywood Mortician'

Los Angeles-based artist Nathan James has built his reputation from the ground up, blending gritty nu-metal, hip-hop bravado, and horror aesthetics into one immersive artistic vision. After years behind the scenes as a photographer and creative for major acts, James stepped into the spotlight himself in 2020. Since then, he's rapidly amassed a following for his aggressive genre fusion, DIY ethos, and visually striking content. With the release of his debut album Hollywood Mortician on July 11 via Crowdkill Records, James delivers a scorched-earth critique of the entertainment industry with both teeth and flair, including the vapid nature of careerism, a diss track against Machine Gun Kelly, and what James calls "high school with more cocaine and fake smiles."

I recently had the chance to speak with Nathan about his journey into music, the inspirations behind Hollywood Mortician, and what's ahead in 2025.

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First off—what have you been listening to lately?

I've been bumping 50 Cent—specifically “Many Men.” That song just never gets old. And a smaller artist I’ve really been into is my homie Mad Kelly. He’s dope as fuck. He’s gonna blow up.

Going back, who were some of the bands that first pulled you into heavy music?

Staind was the first band that really got me. I remember hearing “It’s Been Awhile,” “Mudshovel,” “Outside”—I watched the video for “It’s Been Awhile” like a thousand times back in high school. Aaron Lewis just felt like the coolest fucker alive to me.

You’ve mentioned your background in photography. Can you walk me through how that led you into doing music professionally?

Yeah, it was kind of an accident. I used to play college basketball, but two knee surgeries ended that. My mom sent me a camera and I started taking photos. That led me into doing photography and content for artists. When I moved to LA, I dove into that world and learned a ton—especially about branding, video, visuals.

All that ended up being huge when I started doing music, because I already knew how to shoot, edit, and post. I honestly think if I hadn’t learned all that before doing music, I probably would've quit or burned out early on. These days, content is a massive part of breaking through as an artist. People gotta see you before they hear you.

Do you actually enjoy the content creation side, or is it just something you do because you have to?

I love it. People who call it a “necessary evil” are tripping. If you’re trying to be in music in 2025, then necessary is the key word. And honestly, I treat it like a creative challenge—not pressure. You just have fun with it and try shit. No one’s gonna care about your music until you make them care.

Your first track dropped in 2020, and now we’re here with a debut album. How has that journey been from your perspective?

It’s been a grind. Like, yeah, I’ve had some good momentum, but 2025 so far has been a bit of a lull for me. That’s part of the game though. You get highs, you get lows. What matters is not quitting. I just dropped a track with Orgy and I’ve got this whole album coming—so I'm hoping that pushes things to the next level. But even if it doesn’t right away, I keep working. That’s the secret: don’t stop.

What flipped the switch to focus on your own music versus working for other artists?

Honestly, I did this photo gallery, and I had this idea to make a song for each photograph. The first six songs I made were trash, like actual trash, but I got hooked. I realized I could do this, and I wanted to make it my career. All the elements I loved—visuals, aesthetics, sound—I could combine into one thing as an artist. That’s when I was all-in.

Let’s talk about Hollywood Mortician. What does the title mean to you?

I feel like I’m the Hollywood Mortician, collecting bodies of people who doubted me or were fake. It’s a statement. So many people out here play the clout game, trying to suck up to whatever “group” is trending. This record is me cutting through that bullshit. I tried to be cool with people, but I won’t fake who I am to fit in. So I built my own thing. And now, I’m the last person they want to see—because I’m still here.

Would you say this album is a critique of the entertainment industry?

Yeah. It’s like high school with more cocaine and fake smiles. Everyone’s clout-chasing or trying to ride the next wave, and if you don’t conform, you’re out. I’d rather be a lone wolf with a tight circle doing real shit. I’m not trying to live some “rockstar” lifestyle just to post about it. I just care about making dope music, visuals, and playing live shows. That’s it.

Tell me a bit about the people you made the album with.

Most of the songs were produced with my guys Hiram and Mike. I also worked with engineers Joel and sometimes Hiram again for mixing. That’s my core team. I’ve had a couple of these songs sitting for over a year and a half, like “Nails” and “100 Proof,” and I knew they needed to be on this album because they brought diversity and dynamic range.

What song do you think best represents the record?

“Crown of Thorns,” the opener.

That one’s going to have the craziest music video I’ve ever shot. I just got the first cut back, and it’s unreal. I think it could really take things to the next level.

“Lost Angeles” stood out to me too—it felt like a horror movie in a song.

Hell yeah. That track is all about the dark side of Hollywood. There’s a line in there—“Hollywood assholes bending over backwards, getting fucked in the asshole, begging like a dog to get a spot on the guest list.” That’s what it feels like out here sometimes. The video’s got slasher vibes too. And if you like that one, wait till you see what we did with the “Crown of Thorns” video.

Musically, your style is really hybrid—some songs have old-school nu-metal energy, others lean modern metalcore or hip-hop. What guides your writing?

I’m not trying to recreate nu-metal or chase trends. I just naturally blend heavy shit, melodic stuff, and hip-hop. That’s what feels good to me. Some songs lean more in one direction than others, but those three elements are always in the mix.

What's next after the album release?

Every single song is getting a music video. Like, the whole album will be visualized. Then I’m going on tour this fall—most likely November. After that, I’ve already started working on my next set of songs for 2026.

Any final words for people discovering you for the first time with this record?

Just remember, I’ve done this all mostly independent. I’m not the industry favorite. But I’m still here, still fighting. For anyone who’s an underdog, who’s been counted out—this album’s for you. Let’s make shit happen.

Hollywood Mortician is available now via Crowdkill Records.