When she is in the moment, literally it’s like magic flying about all over the place and on stage. It simply doesn’t get any better.

Steve Anderson is a pop nerd’s goldmine.

Known today as a songwriter, a producer, and a musical director (amongst other job titles), Anderson’s career actually took off in the late ’80′s as a remixer, acting as one-half of the popular remix outfit, Brothers in Rhythm along with Dave Seaman.

Working out mixes for some of the most popular artists of the time including Cherrelle, Sister Sledge, and Loleatta Holloway, Steve Anderson quickly began carving himself a comfy niche in the pop industry. Yet one of the most important milestones in Anderson’s career came with eventual introduction in the early ’90′s with a certain Kylie Minogue.

Beginning with Minogue’s self-titled 1994 record and continuing all the way to Aphrodite, Steve Anderson has worked intimately co-writing and recording the internationally cherished diva for nearly twenty years. He’s been responsible for the arrangement and production of many of her hits (“Confide In Me,” “Did It Again”), as well as continuing to serve as the musical director of every tour she’s done since 1997′s Intimate and Live.

As time went on, Anderson soon began taking a hand at penning tracks for a variety of MuuMuse’s most celebrated acts: From Atomic Kitten to Holly Valance, to the legendary Miss Britney Spears.

Since then, the talented producer has only continued to busy himself with work. Anderson is currently in the midst of planning Minogue’s massive Aphrodite Tour as well as executive producing Christophe Willem‘s upcoming studio album. At the same time, he’s been eagerly involved in the launch of two up-and-coming acts: Elouise, a classic crooner who brings to mind yesterday’s greatest voices (Judy Garland, Dusty Springfield), and The Ultra Girls, a new girl group rooted in Spice Girls-esque pop for the sake of pop.

Needless to say, Steve Anderson is a busy man.

As a result, I was delighted when I found out that Mr. Anderson was willing to answer a heap of questions I’d prepared for him, along with several questions submitted by Muusers. A dream!

So without further ado, please read on to see the first part of the interview.

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I don’t want to tempt fate, but if that’s not a number one, I’ll eat my sofa.

As the man responsible for such songs as Diana Vickers‘ “The Boy Who Murdered Love,” The Saturdays‘ “Chasing Lights,” and Will Young‘s “Anything is Possible,” as well as some of the upcoming material from Pixie Lott and JLS, pop songwriter and producer Chris Braide has seen his fair share of glory in the UK Top 40 recently.

Two weeks ago, I had the great pleasure of speaking with the busy producer from his studio in London (which is about to be packed away and carted stateside!)

I’m quite proud of this interview–we touched upon all sorts of artists and ended up having a really in-depth discussion about the very nature of pop itself.

Read on to hear all the gossip from behind Braide’s soundboard–loads of pop nerd chatter ahead!

Click “Read More…” to view the entire interview.

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The thing is I don’t know when to shut my mouth. That’ the problem.

Sky Ferreira is an ‘it’ girl.

Immortalized by the industry’s top photographers (Rankin, for instance, took the snapshot above), suited and styled by the most desirable modern couturiers, and produced by arguably the biggest names in the music industry, the 18-year-old Los Angeles native has certainly made a name for herself far before ever…well, making a name for herself. Yet.

After sending out a MySpace message to Swedish power pop producers Bloodshy & Avant back in 2006 begging for a collaboration and armed with nothing but a few raw demos, the singer was stunned when she received an answer back inviting her to come record with the duo. Suddenly she was off to Stockholm, and so began her formal endeavor into the industry.

With her first single already making waves in the UK–the infectious, stuttering electro-pop smash, “One”–as well as an upcoming Ryan Tedder-produced single due out in the US later this summer (“Obsession”), Ferreira is now heading full steam toward her long-awaited debut record, currently slated for release in January. (Click here to hear a 30-second sample of the song now!)

I got the chance to speak to the rising starlet last week during her promotional spin around Londontown. Barring an impromptu (albeit hilarious) cameo by PopJustice and more than a few Britney related questions on my end, Ferreira had lots to say about her music, the industry, and the culture of leaks (of the musical variety). Oh yes, and I asked how she gets her hair so nice.

Click “Read More…” to read the full interview.

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How can you become the best at anything? The way you do it is you just try to kill it every time.

Natalia Kills is a very new kind of radio killer.

Starting with the release of her murderously good buzz single at the end of 2009, “Zombie,” the soon-to-be superstar began capturing new fans left and right with her noir-gone-glam style and urban-meets-dance sound, immediately awarding herself the title of “Most Anticipated of 2010″ here at MuuMuse.

Now, with her self-produced, self-directed “Love, Kills XX” web series (check out the fifth installment, which just premiered yesterday), the singer has prepared herself a unique platform to introduce herself, her creative vision, and her music to the world.

As one of Cherrytree/Interscope’s newest artists on the brink of debut (with an album to be released in the fall), Kills was nice enough to chat with me on the phone last Friday about her background, as well as providing plenty of hints for what’s to come.

Check out our full conversation below to learn more about Natalia’s influences, ambitions, and plans for world domination. And yes–she’s deadly serious about all of it.

Hey Natalia! How are you?

I’m fine, thank you. How are you?

I’m doing great. You’ll have to forgive me. I’m getting over a bit of a cold, so my throat’s kind of scratchy today.

No problem! I hope you feel better.

Oh, thank you! So, you are, of course a very new artist under Cherrytree. I was wondering how you ended up under the label?

Actually, it was quite a while ago. Basically, I’m from England and I made a demo and put it on the internet in 2008. Perez Hilton blogged about me and I got all of this buzz. One of my songs got two million plays in a very short period of time. So, I went to L.A. and had kind of been going for a while hoping to make some contacts and follow my dreams–you know how a lot of people go to Hollywood to make it and such. So I went back to L.A. and I met a lot of people, but it wasn’t that hard to know if you go with Will [Will.I.Am].

I met with labels and a lot of other producers and artists: Timbaland, Justin Timberlake and just many people that had a really creative connection with Will. He signed me to Interscope. He has a label at Interscope and one of the labels I had actually met with that I was very excited about was Cherrytree at Interscope. So, once I signed with Will to Interscope, he has a really good relationship with Martin Kieszenbaum, who runs Cherrytree and is the head A&R of Interscope International and we kind of navigated my project back to there while Will was on the road with the Black Eyed Peas

Would you say that the image or narrative that you’re projecting right now is something that you started out with when you were searching for labels–the whole persona of Natalia Kills?

No, it’s definitely been an evolution. It’s definitely been a growing process. When I made my demo, it was actually called Wommanequin. It was under my real name, Natalia Cappuccini, and the whole thing was about searching for perfection. Being a girl; a mannequin being the perfect female form as a woman. So, I definitely started with the idea. My album is called Perfectionist. It’s literally the next step up from that demo; that idea. So, that idea hasn’t changed.

Developing who I am and making it more obvious was the first thing I was really encouraged to do once I was signed. You know, “Black Eyed Peas”–it says something. It’s a group. There are groups out there like The Knife, and certain words are very easy and invoke a certain feeling so that fans immediately identify. I thought to myself, in this quest for perfection and this great life and everything, “What do I want to do? How can you become the best at anything?” The way you do it is you just try to kill it every time. So, the label said “Maybe that’s what your name should be,” and I stuck with Natalia Kills.

I can see all of the influence that channel into the image because you have a sort of Tumblr style website with different pictures and quotes that inspire you and there’s of course the “Love, Kills XX” series. What sort of influences or references inspired the series?

I’ll give you a really small background of how I got into the film making. Basically, before I decided to do music, when I was quite a bit younger I was 14, I was doing a lot of acting. And you know a lot of creative people slide in and out of music, acting, and theater because it’s all a kind of system of being an expressionist. You have to express. You have to perform. So, I was doing that before I realized that music was what I really wanted to pursue.

I was on all of these sets learning lines and seeing how it was really done for years, and I have learned to a certain degree how it works. You write the script, you write the characters, you find locations, you find a director, you find a producer. and you make the show. So, when I was actually signed to the label they said “Look, I know you’re into all of this [Alfred] Hitchcock, [Stanley] Kubrick sort of stuff. But how are you going to translate that to people? What you need to do is be on the internet and make a diary or talk to the camera while going to the studio.” And I said that was silly to me, because I didn’t really want to be talking to the camera like “Yo, guys! I’m in the studio!” That’s not who I am. That’s not what I like.

So, I said “Well, how about the fans really get to know me through film?” They get to see me being me, but in almost imaginary and extraordinary situations. I’m writing, producing and co-directing it, so really, they’re getting a full-on take of my imagination, and that’s how they get to know me. Not just by seeing this Natalia Kills running around being a femme fatale maniac. They also get to see exactly what I think about, exactly how I feel by me writing all of this and actually directing it and making it real.

So, that’s kind of the general idea of the show, and we’re going to have twenty episodes. I’ve done most of them, but obviously you have to wait until they come out once a week. I’m very glad people are responding to it because it basically brings a very direct and visual impact to show people what it’s about instead of just pictures and interviews or whatever. It’s a different level of entertainment.

Are they leading up to something? Will there be a single or album release when they’re all said and done?

Yes, absolutely. We finished the album and it’s been wonderful. The single will hopefully be going on air in the summer and building from there.

Oh, good! Because you released two buzz singles..

Well, it’s funny. They were really buzz singles. “Zombie” was the first song I even recorded for the record, but I do have a first official uptempo–could be played radio; could be played pop single.

I’m so creative that it’s hard for me to hold back and make people wait for so long, so it was really good that the label allowed me to officially leak a couple of the songs so that people could get a really good feeling. The first single won’t be either of those songs, but definitely in the same vein. Same sound, same style.

You also gave a little preview in the latest series of another song..

Yep, and that will continue to happen, actually. That will keep happening, but if it was up to me, I would want my music to go out into the world and want people to hear it. I would be playing full versions, but I definitely have to leave a bit of mystery so when people get the album there are surprises on it.

Who have you worked with on the album besides Will.I.Am?

I’ve worked with really incredible producers. I’ve worked with Jeff Bhasker. He’s done work on Kanye West’s last two records and the one that’s coming up. Alicia Keys and Jay-Z’s albums as well. He did “Zombie” and is very rhythmic, dark and creative. It’s a lot of fun.

I’ve worked with Akon, who is a wonderful person. I was kind of wondering how he’d be before I met him because I had no idea, and you see people all over TV and they have a certain sound of music. But, when I met him he was very intelligent and creative. I totally understand why he and Will.I.Am. have achieved the level of success that they have because they’re really, really, really good.

I’ve worked with Fernando Garibay and Cherry Cherry Boom Boom [Martin Kierszenbaum] who have worked with Lady Gaga on her new album that no one has heard. She’s working on it right now.

I’ve worked with Ron Feemster who worked with Dr. Dre for five years and Michael Jackson for four years. He was Michael Jackson’s protégé. Michael’s new album that no one has heard (and probably won’t hear now) was all done with Ron. He was looking for a new artist and project after the passing of Michael, and it was really wonderful to work with him. He’s phenomenal, and I believe he could probably change the world with his music. He’s excellent.

That’s a great mix of producers. It sounds like some different sounds all in one..

Yeah, but you know what? The best thing was I got into the studio with Jeff and he started playing away. I do this thing were I choose all the sounds, so we’re kind of musically creating the actual music together. Once we found the sound and all of the different synths and rhythms and stuff, I went to all of the other producers and said “The songs we make have to marry this. They have to out-do it, they have to undo it, they have to re-do it, they have to all be absolutely consistent.”

So, even though I’ve worked with a couple of people on my album, all of those sounds and all of those ideas are absolutely consistent and flowing one after the other. It doesn’t sound like a patchwork of different sound, one in pop, one in hip-hop, one is urban or whatever. It actually sounds almost like the same person might have done every song, but just taking it to another level.

Do you know at all when it will be released?

Yes. In fall, my album will be released while we’re still growing the first single over the summer. I’m very excited for my album to come out. I am.

A lot of my readers were tweeting “When does new music come out?! Finally!”

Yeah, I know! I really want everyone to hear the music! At least the through the webisodes I can kind of leak little snippets so that people are already familiar.

Final question: A lot of artists in the industry are being compared to the same artist: Lady Gaga. What would you say to critics who may try to compare you to Gaga?

I would say thank you for comparing me to someone creative and talented, and not somebody who relies on other people or other sides of the industry to manufacture who they are. That’s what I would say. Thank you very much.

Good answer!

Thank you! Feel better!

Thanks!

Bye.

Bye.

Special thanks to RJ Kozain for transcription assistance.

Click here to visit Natalia Kills’ official website. To hear more, click here to preview and purchase songs from Natalia Kills on iTunes.

People steal your music and post it online after working for days to record and write a song. It sucks.

As anyone who’s been reading MuuMuse knows by now, Wynter Gordon is one of the most anticipated artists on the brink of breaking out onto the music scene.

As a songwriter, she’s already worked to pen tracks for artists like Jennifer Lopez (“What is Love?”), Mary J. Blige (“Gonna Breakthrough”), and Danity Kane (“Two of You”). As an artist, she’s been featured on David Guetta‘s sensational “Toyfriend” and Flo Rida‘s summer smash of 2009, “Sugar.”

Currently however, the singer is preparing the release of her own debut album, which will (hopefully) see the light of day later this year. Her debut single from the collection, “Dirty Talk,” is a filthy, speaker-throbbing affair that’s already won the hearts of plenty of muusers here at MuuMuse.

Last week, I got the opportunity to chat with the rising star a few days ago. Check out what she had to say below!

Read the interview.