By Leasia Korbel
Tell us a little about yourself—where are you from, and what’s a fun fact people might not know about you?
The easiest answer is that I am from Burlington, IA but I have lived in multiple places in Southeast Iowa but have lived in Burlington on and off throughout my adult life. I most recently came back when I got hired at FiXT.
My go-to fun fact is that I am a classically and commercially trained vocalist, having attended Millikin University for voice in the early 2000’s and have done everything from Opera to Deathcore. I currently have one active metal project (Lituus) that I am working on and a few now dead projects.
What’s your role in the music industry, and what do you love most about what you do?
I am the Administrative Director for FiXT which encompasses a great deal of things but a lot of it focuses on the finance side of the business. I really enjoy numbers and data. I like to analyze things and look for trends or things that might help us make better decisions for the label and our artists. I also enjoy the connection we have to our artists. There is a trust and respect that goes both ways.
You are also a metal vocalist. What got you into metal, and what drew you to extreme vocals?
So my love for metal started back in the early 90’s when my stepdad got me into the Metallica album And Justice for All. It got me into thrash metal and I listened to all of the Big 4. I started to develop my own tastes through the years and always tried to scream along with the songs. I wanted to learn how to do things right so I talked to my commercial vocal styles teacher in college about screaming and then a few years later got into the Zen of Screaming video series from Melissa Cross.
Can you share a bit about your journey in the music world?
On a professional level, things started with my schooling at Millikin. I knew from there that I wanted to get into the industry but I thought my only way in was through performing. There aren’t a lot of options in the Midwest. I ended up in the finance world, working in banking for 13 years. I saw a job for FiXT posted and I knew James Rhodes because he was a friend of mine that I met in High School. I hit him up and the rest is history. I started as the Accounting & Royalty Manager working mostly on finance related items but have picked up things like Rights Management, HR, Legal and more in my time since coming on and getting promoted.
On the personal side, I have been performing since I was a kid. In the metal world, I joined my first band in 2005. I have been in a few different bands during that time but in 2021 I really kicked things up starting a Death Metal band called Misery System. From there, I did a solo project under my artist name BlkmetalvoX and am currently working on a project called Lituus.
What are some career highlights or accomplishments you’re most proud of?
Recently we made a switch to the Curve royalty processing system and it was quite the lift to get everything up and running. I took on a lot of that burden as the person who was going to be working with the system more hands on and getting that moving and having a next level royalty solution for our artists was a great feeling. Also, just working on the budgeting process when it comes to the label and our roster as quite the accomplishment. Lastly, my promotion to Administrative Director was an incredible honor. I appreciate the trust and support that Klayton, James and Kurtis have put in me.
Who are some of your biggest musical influences, and how have they shaped your career?
Vocally, I have plenty of musical influences but on the metal side of things, it would be people like Howard Jones (ex-Killswitch Engage, Light The Torch, Blood Has Been Shed), Vincent Bennett (The Acacia Strain), Trevor Strnad (The Black Dahlia Murder), Brook Reeves (Impending Doom) and others. I think that I was able to take pieces of their vocal styles to really find my own. I try to write about what I know or am going through. With Lituus, I am really trying to dive into my story telling and build a world.
Are there any Black artists, producers, or industry pioneers who have inspired your path?
I mentioned him before but Howard Jones is a big one for me. I also have a lot of respect for some black artists in the metal scene because it is hard for us out here. Byron, Doc, and Corey from God Forbid, Terrance Hobbs in Suffocation, Tom Morello in RATM, Tosin Abasi in Animals as Leaders, and more. I grew up a big fan of Prince and Michael Jackson and was in awe of the talent that they had. It is people like that who truly inspire me.
Have you faced any unique experiences or challenges as a Black professional in the music industry? How did you navigate them?
I think the most unique thing I have had to deal with is microaggressions. I have lost track of how many times I tell people that I work for a record label and their automatic perception is that it must be a rap/hip-hop label. As a person of color, these things tend to happen more often than some would expect so you really learn to deal with it in a way that resolves things in a good way. I usually just try to explain what we do, what I do, and squash any misconceptions.
What’s one piece of Black music history that more people should know about?
The Broadway musical “Shuffle Along”. It was the first major black musical in 1921 and it was pivotal for having black representation on stage. It really challenged racial barriers not only on the stage but in this country.
How has your cultural background influenced your artistry, business approach, or work ethic in the music industry?
I have always felt like I needed to work a bit harder because of my background. I didn’t want to fit into a shell or stereotype that someone had created for me. I feel it has made me a better person and I try to meet others like me in the industry to connect with. I want to continue to grow in this industry and I know there are others out there doing what I want to do. The best way to get there is to start those conversations so I am going to take advantage of the conferences I attend or calls that I have with other black music industry professionals.
What advice would you give to young Black artists, producers, or industry professionals trying to break into the business?
Do not let others tell you that it can’t be done. There are black people in all of those walks of life. I would recommend reaching out to anyone you see that is doing what you want to do or is on a similar path you want to take. I think we are all there to support each other and want to see our people succeed. If I am the person that can help you, I want you to hit me up.
Outside of work, what are some projects, initiatives, or community efforts you’re involved in that celebrate Black culture and music?
I have been a mentor for young black youth through the Big Brothers Big Sisters program, I have volunteered with inner city youth in the past, and I have been a guest speaker at numerous black events including the Teen Summit by Delta Sigma Theta at the University of Iowa with the goal to help young minority students acquire the tools to become successful both personally and professionally.
If you could recommend one song, album, or performance that embodies Black excellence, what would it be and why?
I am gonna give two just for different reasons. The first is “To Be Young, Gifted and Black” by Nina Simone and the second is “Say It Loud – I’m Black and I’m Proud” by James Brown. The first just really speaks to empowering young black people and the second is just an anthem to show pride in who you are as a black person in this country.
What’s a piece of advice or a motto that has helped you in your career?
I think one of the guiding things I learned years ago was “The Talented Tenth” by W.E.B. DuBois. The thought is that for black people to advance, there must be an elite of exceptional men to lead them. I have always strived to be one of those men.
“The Negro race, like all races, is going to be saved by its exceptional men. The problem of education, then, among Negroes must first of all deal with the Talented Tenth; it is the problem of developing the Best of this race that they may guide the Mass away from the contamination and death of the Worst, in their own and other races.” – W.E.B. DuBois
What’s the best way the music industry—and fans—can celebrate Black history and Black artists all year long, not just in February?
While it is great to see highlights of past or current examples of black excellence during Black History Month, it would be great to see them year round. We can utilize this time to show the great things we do but I urge fans to continue to reach out and try to find artists or companies of minority groups and push them out to those you know. Spread the love. I think the industry could continue to push for panels at conferences, articles in publications, and just lifting minority voices all year round instead of what has become the convenient time to do so.
