Nathan James doesn't hold back his opinions. He never has. In a city that often values superficiality, he has spent the last few years building a career by exposing the inauthenticity around him. His debut album, Hollywood Mortician, released on July 11 via CrowdKill Records, is more than just a collection of songs; it is a statement of purpose. It represents someone who has fought to carve out their existence in an industry obsessed with image and has determined that authenticity is more valuable than acceptance. “I’m proud of it,” he reflects on the record a few months later. “The physical vinyl copies sold really well, and it feels like a true representation of me. But I learned a lot from releasing my first album. For the next one, I want it to feel like a complete painting, more cohesive rather than a collection of scattered ideas.” That word—cohesive—captures Nathan's current mindset.

For an artist known for his disruption and independence, Hollywood Mortician marks a pivotal moment where everything has become clearer. It’s not a debut aimed at mainstream appeal; instead, it offers a powerful message of defiance, self-reliance, and introspection from someone who has faced the pressures of the industry and resolved to remain authentic. If there’s a thesis behind Hollywood Mortician, it’s written in the bones of “Lost Angeles,” one of the album’s lead singles. The video is dark, cinematic, and deliberately stripped of glamour, taking aim at the hollowness beneath Hollywood’s glimmering surface.

 “That song is about people I know in this industry,” Nathan explains. “I’ve seen artists betray others, people who lack integrity. The only flexibility they have is the ability to bend to fit in and get ahead. ‘Lost Angeles’ serves as an indirect call-out to all of that — there are no morals, no loyalty, just a desire to do whatever it takes to achieve their goals.”

 This sentiment runs throughout the entire album, offering a raw commentary on the entertainment industry’s obsession with façades. “Many of the songs come from a defensive place,” he says. “I’m standing up for myself and my morals. When I released ‘Tickets to Your Downfall’ — the MGK call-out — I knew it would damage some relationships. But I also knew it would forge new ones. That’s the price of having integrity. You do what’s right, even if it means sacrificing opportunities.” For Nathan, this kind of defiance is not just rebellion for show; it’s a matter of survival. His songs are not polished protest anthems; they are reflections of his lived experiences as a creator navigating an industry that rewards conformity and punishes those who refuse to comply. When CrowdKill Records launched this year, Nathan was chosen as its flagship artist. For many, this might have signaled a shift toward the comfort of label backing. However, for Nathan, it was just another extension of his DIY philosophy. “What’s cool about CrowdKill is that it’s small,” he explains. “But artists shouldn’t ever think that a label deal is the magic formula. You create your own work. Signing doesn’t make it easier; it makes the workload heavier. The grind shifts.”

He views his role at the label not as a figurehead, but as a tone-setter. “I want CrowdKill to represent real artists,” he states confidently. “There are too many cookie-cutter musicians out there pretending to be something they’re not. I want the label to be about authentic, dedicated musicians who genuinely care about what they do.” This conviction comes from years of being underestimated. “I’m definitely the underdog,” he admits. “Most artists have full teams managing everything, but I’m overseeing almost everything myself. Sure, I have people who help, but the heavy lifting? That’s on me. I wish I could clone myself sometimes. It’s a lot, but that’s what keeps me sharp.” He pauses for a moment and then adds, “I’ve never sold out to fit in. It may take longer this way, but when you finally get there, it’s real.”

Nathan is not just an artist; he is also a director, photographer, and storyteller. His creative control influences every visual associated with his name. The upcoming cover of Drowning Pool’s “Bodies,” a collaboration with the North Carolina metal band FILTH, provided him with an opportunity to merge all these identities into one project. “My management also manages FILTH, so they put this collaboration together,” he explains. “All the band members were amazing. We shot the video in North Carolina; I directed it and performed in it. This was my first time directing someone else’s music video, rather than my own, and it was quite an experience. There’s more pressure involved because you don’t want to mess up someone else’s vision, but it’s also a lot of fun. It pushes you to think bigger.” Directing has become second nature to him. “Every song I create feels like a mini movie,” he says. “I want the visuals to reflect that. It’s not about being flashy; it’s about creating something that feels right. Even the walking videos on social media, where I perform the lyrics, resonate more deeply than anything else. I believe it’s because people can truly feel it. It’s authentic.”

For all its chaos and confrontation, Hollywood Mortician isn’t just about anger; it represents intention. Each track has its own unique pulse, but one stands out above the rest. “Crown of Thorns” anchors the whole project,” Nathan explains. “That’s why it’s the opener. It’s heavy. It hits home. It embodies everything I’ve experienced during my eight years living in L.A.: the highs, the struggles, the grind. That song sets the tone for the entire record.” Some songs, like “Nails” and “100 Proof,” took longer to reach their final form. “Those two were years in the making,” he says. “I wrote ‘Nails’ almost two years ago with Orgy, but coordinating everyone’s schedules was challenging. Then there’s ‘100 Proof’ — that one was finished in 2023 and almost got dropped three different times. I eventually said, ‘If I don’t include it on this album, it’s never coming out.” This blend of patience and precision gives Hollywood Mortician a lived-in feel. It doesn’t chase trends; instead, it documents them from the perspective of someone who has learned to navigate the music industry without losing himself in the process.

 If you’ve seen Nathan perform live, you know that his energy transcends the lineup. Whether sharing the stage with bands like In This Moment, Kim Dracula, or gearing up for the upcoming America’s Rejects Tour alongside Attila, Butcher Babies, and DED, his approach remains consistent. “I don’t change my set for anyone,” he says. “Those bands wouldn’t bring me out if they didn’t already feel a connection. I perform what feels most authentic to me, what resonates the hardest with my fans. That’s my only rule.”

 Still, evolution is part of his essence. Between tours, Nathan is heavily involved in new projects—including the release of “Bodies” with FILTH that dropped on October 22, a new single set for November, and in December, fans can look forward to a cover of 50 Cent’s “Many Men.” Additionally, he is creating with Johnny Hawkins from Nothing More and Prayers, the gothic icon behind the Cholo Goth movement. Nathan will have a few select performances in Mexico before the end of the year. This includes a show on December 3rd at the Fuckoffroom and a performance with As I Lay Dying on December 5th at the Foro Velódromo in Mexico City.“ There’s a lot of exciting things in the works,” he says with a smile. “I just want to keep pushing and continue doing what feels real.”

 When asked what he hopes Hollywood Mortician will represent in years to come, Nathan doesn’t hesitate. “I hope it shows that I was someone who didn’t care what others thought,” he says. “I stayed true to myself, took risks, trusted my instincts, and went for it. I didn’t play it safe or follow the rules. I did what felt right.” He leans back, appearing reflective. “If there’s one message I want people to take away, it’s that you can succeed without compromising your values. The underdogs still matter. Those who create on their own terms and keep music alive.” In the end, Hollywood Mortician isn’t about death at all. It’s about rebirth — the moment an artist stops chasing acceptance and begins creating for themselves. For Nathan James, that’s not rebellion; it’s survival.