Alana Rich just released her new single, “New Stereo,” a catchy blend of old-school new wave and modern electronic pop. Produced by Rich herself and Justin Sprout, and engineered by GRAMMY Award winner Aviel Calev Hirschfield, the song’s energetic beat and colorful sound evoke the excitement of a retro dance club; it could be something you hear in shows like Stranger Things.
Inspired by the style of 80s dance music, “New Stereo” is a fun pop song that stands out in today’s music scene filled with cookie-cutter music. It’s a powerful anthem that cuts through the noise, making everyone turn their heads and take a bit of their time to listen to it. Fun fact, the song was nominated for a GRAMMY Award before its official release! This is proof of Alana Rich’s great potential and talent.
We sat down with Alana to discuss “New Stereo,” her GRAMMY nomination, and more.
What sparked your interest in music? When did you realize you wanted to pursue it professionally?
My journey as a music artist has been a gradual evolution rather than a defining moment. I was immersed in the arts from a young age—singing, writing poetry, drawing, and playing the guitar. These creative outlets have always felt like second nature and were vital tools in finding my identity over the years. I remember being a shy pre-teen and having so much I wanted to say but not feeling comfortable enough in my skin to use my voice. That’s when I started channeling my thoughts onto paper and into my music. When I began performing my songs at events, I saw how my music could articulate my feelings in a way that connected people, and from there on out, I continued a path of exploration and growth through my art, which I haven’t stopped since.
Who are the musicians or bands that have inspired you the most throughout your career?
I grew up listening to everything from strong female pop artists like Selena Quintanilla and Xtina to classics like Elvis and Michael Jackson and bands like Green Day and The Rolling Stones. While my music taste is a little eclectic, the common thread between all of the artists I admire is their ability to create unique, musical experiences that transcend beyond the current era and aren’t too concerned with fitting into a box.
How has your Asian heritage influenced your musical style and songwriting?
That’s a great question. The connection between my heritage and songwriting has been a symbiotic one, in a sense. I come from a Southeast Asian refugee family who escaped to the U.S. from communism less than 50 years ago. Knowing that I’m here today and have the freedom to express myself through art because of their resilience reminds me that songwriting is a privilege in itself. I feel like I channel that into the way I approach songwriting. To me, having this privilege means owning the responsibility of expressing myself from an authentic, intuitive place and in such a way that liberates me from a single genre. On the other hand, music and writing have also been tools for me to explore what it means to be an Asian-American woman in the creative industry and pave my path.
Your new single “New Stereo” is absolutely captivating. Can you tell us more about the songwriting process and the inspiration behind the song?
Lately, I’ve approached music and writing from an intuitive place rather than going in with a rigid plan. I like to play an instrumental on repeat, absorb it, and hum along to it until melodies and lyrics flow out. This is the most natural way to make sense of my internal world and articulate what I can’t always figure out in the moment. New Stereo was about a month of meditating on lyrics and the instrumental before I recorded the first demo. I had no idea what this song was about when I first wrote it. A few lines in the song go “When it’s said and done, was it worth it all for the fame,” and “Is this the life you’re craving?” The more I’ve sat with it, the more it’s become such a vital reminder to tend to my roots, remember where I came from, and make sure that my path is authentic to me and the message I want to leave. Life is beautiful and challenging, and I think channeling those emotions into a pop track is my way of staying grounded and reminding myself to see the light in things and not take things too seriously.
What was it like collaborating with Justin Sprout and Aviel Calev on “New Stereo”? Did they bring any unique perspectives or ideas to the project?
Working with both of them felt very natural. I’ve worked with Aviel a handful of times, so we’ve developed a good flow when capturing my vocals the way I want them to be captured. His perspective on refining my vocals hits every time. Justin was also very receptive of my vision for the instrumental and was somehow able to run with it and make it sound even more cinematic. He has a natural inclination towards electronic, synth goodness that I admire, and I’m thrilled to have had his support in bringing this track together.
With “New Stereo” being considered for the Grammys, how do you feel about the recognition and potential award?
Honestly, to even be considered is unreal. Growing up, I never saw songwriters or artists who looked like me, so it’s an honor to have seen my name alongside so many artists I admire on the first-round ballot. I’m deeply humbled and even more motivated to continue writing and putting out music I’m proud of.
Now that “New Stereo” is out, are you already working on new music? What can you tell us about your upcoming projects?
I’m working on a handful of music and music-adjacent projects I’m excited to share eventually. On the songwriter front, I plan to release a handful of singles within the next year to share an EP album. I’m also excited to continue my work in music and arts advocacy as a member of the Recording Academy.
