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After keeping quiet for years, New Jersey’s Cre8ive MC just came back swinging with his debut album Make Sure They Spell Your Name Right . This isn’t just a bunch of tracks, it’s a manifesto. Raw. Unfiltered. The kind of project that doesn’t beg for validation, it demands it. Glenn Paul Simon, the man behind the mic, isn’t some new face chasing hype. He’s been cutting his teeth at North Jersey open mics, opening for legends like Common and Talib Kweli. The stage has always been home. But this record? It’s not about proving it to anyone else. It’s about proving it to himself. “I needed to know I was worth it as an artist,” he admits, and you feel that hunger in every bar. The album unfolds like a three-act play. At first, he’s witty and sharp, flexing wordplay that grips you. Then the mood cracks open with Come Back Home , where heartbreak, depression, and raw vulnerability take the lead. But Cre8ive doesn’t stay stuck in the pain; he flips it. By the end, he’s celebrating survival with humor and grit. Boiled Peanuts  shows his lighter side without losing depth, proving resilience isn’t just about getting through, it’s about owning the comeback. What makes this debut hit harder is its balance. Golden-era hip-hop runs through its DNA, but it’s laced with modern edges that keep it fresh. The bars cut clean, the storytelling’s layered, and the flow refuses to be boxed in. For fans of Wu-Tang or KRS-One, the lineage is obvious, but this isn’t nostalgia; it’s a bridge between eras, with Cre8ive standing firm in the middle. Recorded between The Sweatshop and The Vault Studio, the sound bounces between raw grassroots grit and studio-level polish. But this album isn’t about perfection. It’s about claiming your identity. Because if you can’t even demand people spell your name right, how the hell are you supposed to demand your spot in the game? With shows lined up and a debut this unapologetically authentic, Cre8ive MC isn’t just making noise; he’s making sure you don’t forget his name. The album is broken into three distinct acts. How did you structure that journey, and what did you want listeners to feel in each section? It came naturally. I wanted to develop a relationship with my listeners by showing many sides of myself. I think with every relationship, you introduce yourself as a confident individual. An individual who comes across as strong and level-headed, and maybe even flexes a little when it comes to their positive attributes. The first song is called "M.C." Even though it touches on a variety of subjects, it serves as a perfect introduction. It showcases what I have or will discuss in my music. I'm proud of this track specifically for the fact that if you look at the lyrics throughout the whole song, each word either begins with an M or a C. For example, it starts like, "My Creativity Moves Crowds, Making Classics, Molding Clout, Mortal Creatures Might Conceive My Crown."  The second song, called "I've Arrived," solidifies my return after years of stagnation. With an uptempo, hard-hitting beat, I express my love for the craft of writing rhymes and declare my intention to move forward on my musical journey with full force. The third song and lead single, "Talk," is a catchy tune about ignoring naysayers and how not to let their toxic negativity stop the way you move, and it's a beautiful way to wrap up the first act. So, after that initial phase of a relationship, you start getting to know the person better. You might discuss philosophical views or show more vulnerability. After that song, a transition between Act One and Act Two begins. "On Both Sides" feat John Reapa starts by exploring duality and how things can look from multiple perspectives, sprinkling advice that the listeners can take, but mostly reminding ourselves so that we don't get lost in the sauce of life. The next song, "Come Back Home," is a remix of a fellow musician's Christian "Mourning Coffee" Diana's single. The song expresses the emotions of heartbreak and misinterpretation of relationships, and it fits in so well that he gave me his blessings to have it on the album. This leads into the song "Just A Phase." This song explores the thrill of online dating and the potential pitfalls of trying to establish a romance through a dating app. How history can sometimes make you question whether you are taking the right steps toward a brighter future. After "Just a Phase" is the song called "F.A&L.S" which is an acronym for Fuck Around and Learn Something, and it's featured by a talented singer named Pricilla Ponzano. The lyrics are about fighting depression and trying to will yourself out of a dark state. This song was probably the hardest to complete. The subject matter was tough. I was trying a new flow, and it didn't sound complete until Pricilla added her angelic vocals, which helped take it to a place I couldn't take it myself. I ended up being very proud of the outcome of this track. This song concludes the 2nd act of the album and goes into the final act.  The third and final act is an appreciation of the small things that make life worth living, set against the backdrop of how I began my journey in music. The third and final act begins with the track "Boiled Peanuts." This song transitions out from the darkness of Act Two and shows a light and softer side. "Boiled Peanuts" is a song about my favorite snack. This is a southern plate that my father always cooked growing up. I was born and raised in New Jersey, but my father was raised in South Carolina. It's a funny thing to rap about, but when I break it down in the lyrics, I talk about a different way we open up to each other. When a relationship really starts to develop, you want to show people what makes you who you are. Often, we start by sharing food or a part of our culture with people we want to get close to. We're showing you a certain side of us that most don't see. So if you are listening to my album, you are learning something that strangers usually don't. Then we go straight into the song named after the album title. "Make Sure They Spell Your Name Right" gives a backstory of my journey. The first verse explains how I got into hip hop as a fan, the second verse explains how I started making music, and the backstory of my former group and me deciding to focus on other things besides music. The third verse tells you about how I was inspired and started chasing my dreams again. The final track on the album, called "The Product," is me rapping from the perspective of a hustler who is selling his music. I'm using this album as a way to showcase my work and get people to listen. I describe myself as a salesman who delivers on my promise to create great music with heart and soul, hoping listeners will reciprocate by supporting the art. I wanted the listener to feel the cohesiveness in the project and take it in as individual experiences or as a collective experience. I aimed to convey my perspective while maintaining a high standard in rhymes, wordplay, beat selections, and flow. At the end of the day, I just hope that I can take something away from it. I want people to be satisfied but also excited to hear more of my story.   "Come Back Home" dives into themes of heartbreak and depression. Was it difficult to share such personal experiences through your music? It's difficult in a way to expose a hurtful emotion. It's difficult to admit where your fault lies if a situation goes badly. But when it comes to putting my thoughts on paper, I'm not really, sure, haha. I feel that it's an easy emotion to express when it's out of frustration. In fact, I probably could've written more, but the song was already perfectly structured, so all I had to do was fill in the blanks that were left for me. Unfortunately, this is an emotion that's occurred on plenty of occasions, so it's simple to tap into. The harder songs are sometimes the most fun to brag about because you have to feel that confidence as you write them, and some days you might not have it due to internal or external circumstances.  The title Make Sure They Spell Your Name Right  is both literal and symbolic. Can you talk about the deeper meaning behind it? "Make Sure They Spell Your Name Right" is both literal and symbolic. In a literal sense, it's pretty straightforward. Don't let people spell your name wrong. Literal, as in a misspelled name isn't your name to claim, because technically, it's not you. But if you get deeper. Many people have names, either cultural or unique, that are frequently spelled incorrectly. If you let them spell your name wrong, you are letting them get away with something that isn't correct about you. Your name is your name, so make sure people spell it right. If you let them spell your name wrong, what else in life are you willing to let them get away with? When you correct them immediately, you are setting a standard for respect that immediately lets them know you're tough to take advantage of. I get it all the time, especially with my rap name. But my spelling has meaning. I include the eight because it represents the month I was born, and if you multiply by 2, it represents the day I was born. If you notice in my logo, the 8 has headphones in it, so it's a representation of me being a fan since birth. Turn the eight sideways; it represents infinity. Spelling has meanings, and there is always a reason behind it. You have opened for legends like Common and Talib Kweli. How did those experiences shape your approach to your debut project? Those experiences showed me that there's a lot of talent. Some of those acts that went up were incredible. I watched and learned from the professionalism that was presented. Watching the headliners was incredibly motivating. It's a great feeling to be on a stage, and then a few hours later, see an act you grew up listening to and studying rock on the same stage and in front of the same crowd as you. Weirdly, it's a part of the dream coming true. I also appreciated the moment because every gig is an opportunity to open up for your heroes. So you have to use it as an inspiration to work harder. So I used it as a way to make this album great. I wanted to create an album that would get a hip-hop fan's seal of approval. I learned about movement and breath control and made this album with the intent to perform. Acts like that changed the way I interacted with the crowd and how I present myself. Utilizing out-of-the-box thinking and showmanship to present a well-thought-out and entertaining project. Now that the album is out, what do you hope people walk away with after listening, both about you as an artist and about themselves? Ultimately, I want them to feel like they've gotten to know me. I aim to meet all their criteria for what makes great hip hop. Great songs and great lyrics, and great flow. I want them to walk away getting a sense of artistic cohesion. I hope to win them over if they have never heard of me. I want them to experience a range of emotions. I want them to feel like they can have fun, think critically, and be motivated. I also want them to feel motivated to explore what else I have to offer. Through other projects, I sell merchandise, but what's most important to me is seeing them at my shows. I want them to feel like they are contributing to like-minded individuals who share the love of the genre. I also hope to give them what they need to pursue what makes them happy. I want them they walk away, making sure other people spell their names right.

Craymo is back with a brand-new single that feels both nostalgic and strikingly current. “T ear Me Apart” is his latest release, an emotional homage to the golden era of 80s soul-pop, pulling from the same lineage as icons like George Michael, Martin Fry, and Paul Young, while carving out its own space in today’s indie landscape. Released on August 15, 2025, “Tear Me Apart” already earned Craymo two Indie Music Channel Award nominations in Los Angeles for Best Pop Artist and Best Pop Recording. The song itself came to life during a surreal moment: the devastating Los Angeles fires earlier this year. Between recording sessions in January, smoke and flames hung heavy in the city, giving the music-making process an otherworldly backdrop. The result? A track layered with intensity, urgency, and emotional rawness that mirrors the chaos outside the studio doors. “Tear Me Apart” follows Craymo’s single “Love Together,” another award-nominated track, with both songs earning a combined five Indie Music Channel Award nods. Where “Love Together” leaned into themes of unity and hope, “Tear Me Apart” dives into vulnerability, heartache wrapped in shimmering 80s-inspired pop production. It’s a reminder that Craymo’s artistry has always been about balance: the highs of connection and the lows of loss. Known for spreading messages of love and unity through past hits like “One Love One World” and “Love Power,” Craymo’s music has reached global audiences through films, TV, and even anti-bullying campaigns. With “Tear Me Apart,” he’s proving once again that even when the subject matter turns toward heartbreak, his songs still manage to uplift by giving listeners space to feel. With a decades-long career and no signs of slowing down, Craymo is continuing to define what it means to be an independent artist with both staying power and heart. “Tear Me Apart” doesn’t just channel the spirit of the 80s; it reinvents it for 2025, delivering a sound that feels both timeless and urgent. “Tear Me Apart” channels the energy of 80s soul-pop icons. What drew you back to that era for inspiration, and how did you make it your own in 2025? Everyone has their favorite period in music; mine is the 80s. The alternative, soul pop, and new wave sounds of the vocalists of that era give me endless inspiration! "Tear Me Apart" is an homage to those bands and singers, giving them a modern twist while incorporating a hint of nostalgia. Martin Fry, of ABC, is who this song was modeled after, the way he vocalizes and phrases his words. A good pop song sticks in your head; that's what we were aiming for. You recorded the track during the devastating Los Angeles fires earlier this year. How did that surreal environment impact the mood or energy of the song? Yes, recording during those dark, passionate, and disturbing times was intense, and I believe that passion and intensity transferred into the song for sure. We also recorded "Love Together" at that time, and the intensity really brought a whole new meaning and another level to that song.  The creative energy in the studio was electric, while everything was chaotic outside; it was very surreal. For some reason, Tear Me Apart is probably my all-time favorite vocal performance. With both “Tear Me Apart” and “Love Together” earning multiple Indie Music Channel Award nominations, how do you feel this moment reflects your growth as an artist over the past two decades? Receiving an award nomination for something that you love and enjoy doing is very humbling. Receiving five, man, at 64 years old, I am totally honored that my music is still relevant, moving, and emotionally touching people. That's what it's all about for me. I constantly feel myself growing as an artist and feel my songwriting getting better with age. I have a lot of life experience, you know! Much of your catalog is known for spreading positivity and unity. What made you want to lean into the vulnerability and heartbreak of “Tear Me Apart” this time around Unity, equality, and peace are all things I have been passionate about and have been fortunate to be able to sing about. My other passion is love! Actually, I am a child of love; my mom's maiden name was Love! I am a balladeer at heart. I love a heartfelt torch song or ballad that pulls on the heartstrings. You should check out my songs "December Rain (Carol of Love)," "Moment," and "So Far Away." This isn't my first rodeo, ha ha! Looking back at your career, songs in films, TV, anti-bullying campaigns, and now award-nominated singles, what’s the legacy you hope your music will leave behind? Unity, equality, and peace are all things I have been passionate about and have been fortunate to be able to sing about. My other passion is love! Actually, I am a child of love; my mom's maiden name was Love! I am a balladeer at heart. I love a heartfelt torch song or ballad that pulls on the heartstrings. You should check out my songs "December Rain (Carol of Love)," "Moment", and "So Far Away." This isn't my first rodeo, ha ha!

British rock powerhouses The Struts are back in the spotlight with a bold new reimagining of their quintessential single, “Could Have Been Me,” this time featuring the legendary Queen guitarist Sir Brian May . Released today alongside a striking official music video, the collaboration breathes fresh fire into the band’s already iconic anthem of defiance and empowerment. Since its original debut, “Could Have Been Me” has lit up global stages, stormed playlists, and even soundtracked Sing 2 . With Brian May’s unmistakable guitar work now woven into the track, the song takes on an even more timeless edge, solidifying The Struts’ status as torchbearers of modern glam-rock swagger. Luke, you've called Brian May your hero. What was it like recording and reimagining this track alongside him?    Brian and Queen have always been a huge part of our lives, musical influences, and British rock n roll DNA. To have Brian excited about  our  music and want to be involved and put his stamp on it has been a remarkable compliment and honour! "Could Have Been Me" has become an anthem of empowerment worldwide. Why do you think it continues to resonate so strongly a decade later?    The message of Could Have Been Me and the song's original conception came at a time when the band was facing some real challenges early on…we poured our frustration into a positive moment that captured the imagination of thousands of people around the world. We're still so moved by how many fans stop us in the street, message us, and even get tattoos of the lyrics, telling us how the song helped them through their own challenges. The fact that the song was born with us, "not looking back, saying it could have been me," and now features our hero on the track a decade later, after he has toured the world, is truly our "could have been me" moment. We're excited for even more people to discover it and feel that empowerment.    How did Brian's involvement shift the energy or direction of the track compared to the original?    We always loved what Queen did with their fast version of 'we will rock you'. This was almost a little nod to that, taking an anthemic halftime rhythm and reimagining it with a different energy.    The Struts are known for their electrifying live shows. How do you plan to bring this new version to the stage during your current tour?    We play a hybrid of the original & the Brian version in our live show now. One hell of an honour for our guitarist, Adam, to play Brian's solo every night! One of the highlights of the show for sure.    Looking ahead, do you see more collaborations like this in the future, or was this a once-in-a-lifetime pairing?   We will always welcome collaborations if they make sense and provide something of real value to our fanbase. In terms of 'legendary' status, there are very few that come close to Sir Brian May. As a band member, starting out in your teens, to release a song featuring one of the musicians from your bedroom wall posters will always be an amazing feeling…but Brian May is one of those few, extra special artists, and we're so thrilled to be sharing this with the world.

Los Angeles-based singer, songwriter, and multi-instrumentalist Giselle is officially in her rebirth era, and she’s not holding back. With her new album GISELLE REBORN , the Boston-born, Buffalo-raised artist shows off her range, sonically, emotionally, and creatively, in a project that feels like a rollercoaster through her own personal universe. This isn’t some cookie-cutter pop record chasing playlists. Giselle wrote every single track herself, pulling from her love of adventure, heartbreak, self-discovery, and, yes, even horror (because what’s a Giselle album without some Halloween flair?). The album opens with “VEGAS,” a vibrant, neon-soaked anthem about risk, chance, and chasing thrills. Then comes “COLD,” a sharp-edged heartbreak track that stings like it was ripped from the middle of a breakup. “GAME OVER” flips the script with playfully defiant energy, while “TIME” slows everything down into an introspective ballad about growth and perspective. Things lighten up with “CRUISIN’”, a breezy ride-along that practically screams windows down, volume up. But Giselle doesn’t shy away from darker corners. “VAMPIRE” is her full-blown horror moment, fusing cinematic production with biting (literally) metaphors about toxic love. From there, “SUNSHINE” beams in with hopeful energy, followed by “I’LL ALWAYS LUV U BBY,” a heartfelt dedication wrapped in tender R&B tones. “SHALLOW” pulls you back into reflective waters, and the record closes with “SCHOOL’S OUT,” a rebellious send-off that feels like youthful freedom bottled up. “ I hope this album not only brings entertainment to people, but I hope they can find a connection to a song or multiple songs on the album ,” Giselle shares. “ To me, music has always been about connecting with others. ” And connection is exactly what she delivers. Whether she’s belting over piano, weaving through R&B grooves, or diving into darker cinematic textures, her versatility shines. It’s not surprising, given she’s been at this since she was five years old and can play basically every instrument you throw at her, piano, drums, guitar, violin, ukulele, you name it. What makes GISELLE REBORN hit even harder is how hands-on she is with the entire creative process. Not only did she pen the songs herself, but she also directed all the music videos tied to the album. That DIY hustle is what’s gotten her from small Buffalo gigs to performing at legendary LA venues like The Hotel Café, Whisky a Go Go, The Mint, and even iHeartRadio showcases. GISELLE REBORN isn’t just a title, it’s a statement. It’s Giselle declaring she’s not afraid to explore, evolve, and expand what pop and R&B can mean when an artist is bold enough to keep experimenting. And if you’re already hooked, don’t get too comfortable: she’s got new music coming October 1st. Consider this the warning shot. This album is called GISELLE REBORN. What did you have to go through personally or creatively that made you feel like this project was your reset button? There are a few reasons I wanted to call this album GISELLE REBORN. The first one: it dropped on my birthday! I love to release albums on my birthday, August 4th. The second reason: I don't feel that I've changed much musically; however, I feel that I am now more confident to explore musically. I always have, but this time felt different. It felt like this was a new phase of me! The third and final reason: This release happened on my 30th birthday. I have entered a new decade of my life! So it felt like GISELLE REBORN was very fitting.  The record jumps from heartbreak to empowerment to even a horror-inspired track. How did you decide to weave all those different moods and stories into one project without it feeling scattered?  Personally, I love a little excitement in an album. I love that feeling of, "What's next?!" I wanted to give that feeling to others while listening. I think the way I worked it out, it doesn't feel too scattered since the layout is made to tell a story with a quick horror intermission! The album starts with my song VEGAS, which is about finding out you've been cheated on while your partner was in Vegas and going through the motions of that pain (that never happened to me personally, but it was fun to write about it because the song also leaves the listener with a sense of empowerment as well). COLD is the song that follows after VEGAS. While COLD is actually about some of my own struggles and doesn't connect to VEGAS, I feel like in the "album universe," it does connect. I view COLD as the song someone would sing after going back to their partner who cheated. The song they'd sing reflects back on all the good times, and they're confused as to why times are so bad now and why their partner is making all of these horrible decisions. GAME OVER is a song that follows COLD in both the "single release" universe of mine and in the "album universe." GAME OVER is a power anthem! Letting the person know "I'm tired of your games. I'm tired of your lies," and finally leaving them for good. After that song, listeners are invited into a new world where the song discusses the dramas of dating. TIME is all about people wasting your time, and you don't want to deal with it. I was actually watching Shera Seven on YouTube and thought to myself, "I could write a song about this," and that's how TIME came to be! Many people are looking for a partner who can provide, but in my terminology, I am speaking of someone who can provide loyalty, honesty, fun, trust, and maybe a little gift giving too! "I can do all the things you're offering to me for myself, so why don't you offer me something else?" It's a very independent woman type of song, but also is searching for a love that provides comfort, and if you "can't even provide," then you "need to hide" and "stop wasting my time." After TIME, the listener then gets to enjoy a song called CRUISIN'. To me, in the "album universe," this song gives off the vibe of "you know what, let's just have fun!" The story in this song is about just enjoying time with someone. Not making it so serious after all. Sometimes it's okay to just cruise on down the coast with no destination (watch the music video though and you'll get a very different story haha)! After CRUISIN', the listeners get a break with my horror song, VAMPIRE. This song is like a brief intermission from the "album universe storyline" and welcomes listeners to just enjoy a heavily inspired 80s synth horror track! This song is fun, upbeat, and haunting! It's one of my favorites. After that intermission, listeners will jump back into the storyline with the song, SUNSHINE. I also jokingly place it after VAMPIRE since in most Vampire literature, films, and shows, vampires can't walk outside when the sun is out. It felt like a funny little easter egg of a joke I placed in the album. Anyways, SUNSHINE evokes all the amazing feelings of realizing you're in love with someone! So this song easily fits in with the "album universe's" theme of CRUISIN' and shows that the narrator (singer) has actually fallen in love with this person and realizes that they could be so much more! After this song, I'LL ALWAYS LUV U BBY comes on. This is another favorite of mine! This song is upbeat and fun, but also brings back that serious talk of a relationship starting to change. Feeling like the magic is slightly fading away while also still loving someone so deeply. SHALLOW, the next song on the album, is about breaking free from a failing and horrible relationship. Finally, for once, put yourself first. In the "album universe," SHALLOW is the song that comes after I'LL ALWAYS LUV U BBY because in this album storyline, the new love didn't work out, and the narrator finally chose herself. I wanted it to feel empowering to almost end the album this way. But then, I said, "No, School's Out needs to be the final kicker." SHALLOW has this cool fade out, and then instantly the listeners are thrown into SCHOOL'S OUT, a pop punk song, which is a new musical genre for me to write in. One I grew up listening to, but not one I ever dared to write in, until now! I felt that this song was the most powerful way to end the album because I firmly believe our childhood plays a big role in why we are the way we are as adults. It impacts us in our relationships (emotional and platonic), it sets the tone for the type of disrespect we will tolerate, it forms us into someone who constantly feels small... OR it forms us into someone who is brave, willing to put in the work to heal, someone who will NOT tolerate disrespect. It can form us into someone brand new. Someone who has self-love oozing from their soul! For me, SCHOOL'S OUT was about saying my peace to my childhood but in a badass way. I was bullied horribly as a young child, teenager, and even in college. For a very long time, I carried that weight with me. All of that pain. Many people do. But this song allowed me to say a big "F--- YOU!" to those who hurt me... from fellow students to teachers. To all the people who told me my dreams were too big and I'd never amount to anything. It was a way of saying to them and to myself, "I can do it and I did do it. I became all the things you said I couldn't and I won't stop now." It was also my way of calling out people and holding them accountable, something they would never do themselves. Most importantly, it allowed me to heal my inner child. To let her know she is safe now, stronger no,w and in a better place. It was a way to say goodbye to my pains and traumas and to allow new doors to open in my life. It was a way to remove fear and to remind myself that I don't need to take people's disrespect or mistreatment in love, in friendships, with family, or with strangers. I feel that helps conclude the album and wraps it up nicely with a bow on top! Once we heal the inner child, we become more powerful and no longer accept disrespect!  You wrote every song yourself and directed the videos; that’s a lot of creative control. What was the biggest challenge in carrying the whole vision on your back, and what part of that process lit you up the most? It's exactly how I like it to be done!! I love love love to have creative freedom and the control of my own visions. I wouldn't say there's any particular challenge; however, I will say that when I first took up editing my own videos, I felt like it for about 30 minutes. I was on a new system that was more advanced for me, but I allowed myself patience and grace to learn! And I am so glad I did! A good chunk of my videos now are not only directed by me but also edited! Every single part of the process lights me up every single time! From writing the song, to recording vocals, to writing scripts for the videos with dialogue, to storyboarding, to filming, directing, and editing! I love it all! It all gives me so much joy! A lot of artists move to LA and get swallowed by the scene, but you’ve carved out space for yourself. How has living and working here shaped the album, compared to your roots in Buffalo and Boston? Thank you so much!! I can't wait to keep carving out a space and a path for myself! It's like carving a pumpkin (haha, had to throw in a Halloween reference). For me, living and working here has been amazing. Not that I didn't find creativity and freedom in Buffalo and Boston. But I feel more here. I feel pushed more than I have before. I feel oddly safer in a bigger crowd to just be me! It's been a great time, honestly, and I love connecting with other artists and performing all around Los Angeles and SOCAL!  You’ve said you want people to connect with this album. When listeners walk away from GISELLE REBORN, what do you hope sticks with them the longest? I hope this album, GISELLE REBORN, can provide multiple things to people. But most importantly, the lesson of growth, self-love, and self-worth.

Canadian singer-songwriter Clara Cloud unveils Rabbit King , the second single from her forthcoming sophomore album As Above . Known as “BC’s Kootenay fairy songstress,” Cloud once again proves her mastery of folklore-infused storytelling, this time reimagining the Orpheus and Eurydice myth through the lens of a crowned White Rabbit undone by his own tragic rise. With cinematic production, ceremonial rhythms, and vocals that feel equal parts ethereal and commanding, Rabbit King is a descent into a shadowed realm where seduction and ruin walk hand in hand. Rabbit King  reimagines the White Rabbit and weaves in Orpheus-like themes. How did these inspirations come together for you? For me, thematically, the themes and imagery of the two stories came together in a really natural way. With Eurydice's fate, she ends up losing her life and her soul, tumbling down, in a way, to the Underworld. There are many depictions of her tale, and those like her, that end up tied to Hades in some way. Most of them begin as innocent in some way. Similar to the White Rabbit, who in many ways can be viewed as a symbol of purity and innocence, they did not know what they were in for when making a "deal with the Devil". At this point in the album, Eurydice's life has ended, and she is beginning her downward spiral (both literally and physically) into the Underworld, putting her at the mercy of Hades. In this analogy, Hades is our Red Queen figure. Coming across as trustworthy and kind, when he is really just trying to entice you, like a snake wrapping itself around you tighter and tighter until you are unable to move. From a storytelling perspective, as Eurydice is experiencing this, I like to imagine this Alice-in-Wonderland-like story is her way of coping with the things happening around her. Hearing stories of past souls who have fallen into this trap, and simultaneously falling into it herself. Your music often blends Celtic, folk, and chamber pop influences. What sounds or instruments shaped this track the most? This particular track was produced by Sal Verma, a collaborator I first worked with on The Woods and who has (thankfully) been super involved with this album as well. He's got an incredible ear and a great understanding of what I hope for in this combination of genres. Plus, with his experience and love for darker, more cinematic compositions, I knew when I had the idea for this album that I wanted him to be a part of it.  This track is definitely one of the heavier-feeling of the bunch, with dark string instruments sounds meant to feel as though they're pulling you down the rabbit hole. The use of string instruments throughout the whole album is meant to reflect on this blend of genres, with some more fiddle-leaning (Celtic), some more light (folky), and some heavy to bring that medieval, chamber pop vibe. This song definitely leans more to the latter, but still with some Celtic inflections making an appearance throughout the vocals, and the eclectic percussion brings a sense of folkiness. I wanted this whole album, and especially this song, to feel very visceral as if the song itself is sucking you down a spiral.  The refrain “Ra ta ta ta” feels ceremonial. What role did rhythm and ritual play in crafting the song? Funnily enough, it was actually the first part of the song that I wrote! With As Above, I knew I wanted to create a reimagining of Orpheus and Eurydice, with more focus placed on her experience. Ritual plays a huge role in the album thematically, as at its core, it's really a story of reconnecting with oneself and one's strength. Because I had this concept so strongly in my mind, I ended up writing the album backwards compared to my usual pieces. I had a couple of songs already written that I thought would fit well, but for the remaining, I wrote out the tracklist as if I were naming chapters of a book. Most of the songs on this album started as just a name. I knew I wanted a song called Rabbit King, with some kind of Alice in Wonderland imagery, for Eurydice's descent to Hell, and I knew I wanted it to be a patter-y piece with a repeated rhythmic refrain "ra ta ta ta . . .". I didn't know, though, HOW I wanted to execute it. Until one day, I was on a bus to Langley for a film shoot, and I remember feeling compelled to write. In that 45 mins, I wrote the lyrics to the entire song. That night I sat down and started playing with chord progressions while whispering "ra ra ra rata tatatata", which later became the intro. The song fell together in a lot of ways, as did much of this album and much of what I write, but Rabbit King was really built off of that rhythmic piece. How does  Rabbit King  connect to the larger story arc of your upcoming album,  As Above ? Rabbit King is the fifth song on the album. And, without giving too much away, the songs leading up to it allude to and depict the relationship between Orpheus and Eurydice (in Lemons, which is available on all streaming platforms as well), uncertainty creeping in and planting seeds of doubt, and Eurydice's ultimate demise. This song immediately follows her death in this story and allows the listener to follow her on her downward spiral into Hell, where the remainder of the album takes place. You balance being both a performer and a music educator. How does mentoring young artists influence your own creative journey? I truly learn just as much from them as they do from me! I'm still very much learning and growing as a performer and an educator, but I feel so lucky to have gotten to teach, connect with, and learn from so many incredible musicians since I started teaching 10 years ago. I also think that in a field that can feel so vulnerable and personal, it's really important to have someone in your corner building you up. Knowing there is always something positive to be found and built upon is something I constantly remind my students, and it acts as a reminder to myself. As a teacher, I'm a learner first (the two really go hand in hand), which can make things doubly cool, because every opportunity I have to learn and expand my musical toolbox, I know that I'm learning it to bring back and share with students as well.  I once had a music teacher tell me that if you can't find an opportunity that feels like a good fit for you, you can create your own opportunities. As I navigate my career in both performance and education, I hope that any opportunities I create can act as both proof and a pathway for my students to create that space for themselves.

Bones Owens isn’t just dropping an album; he’s dropping a whole damn fever dream. His new 15-track record, Best Western  (out September 19), feels like stumbling out of a dive bar at 3 a.m. with guilt on your chest, whiskey in your blood, and the devil daring you to keep walking. This thing rips through blues ballads, road-worn anthems, gospel-soaked confessions, and punk grit with zero apologies. Owens, Missouri-born and Nashville-seasoned, doesn’t just wear his influences, classic rock, southern blues, garage punk, gospel, even hip hop; he bleeds them into something that sounds both timeless and post-apocalyptic. Produced by Owens himself, the record brings in heavy hitters like drummer Julian Dorio, Relient K’s Matt Thiessen, and longtime co-conspirator Yelawolf. The result? Raw, unpolished, and brutally human. The title track, “ Best Western ” featuring Yelawolf , hits like a cinematic showdown. Part myth of the Wild West, part modern war vet gone rogue, it’s a dark, sprawling tale that crashes into a mid-song Yelawolf verse like gunfire in the desert. The idea was sparked in a Georgia hotel of the same name, where Owens and Yelawolf were holed up while filming the western Day of Reckoning.  What came out is pure outlaw energy, a story that feels as dangerous as it does alive. Best Western  is the kind of record that doesn’t ask for your attention; it kicks down the door, pours itself a drink, and dares you to keep up. The title track “Best Western” with Yelawolf is a standout moment. How did that collaboration take shape, and what made it feel like the centerpiece of the record? Wolf and I have a long collaborative history. A decade ago, I was co-writing songs on his records and touring around the world with him as his guitarist. It had been a long time since we’d worked in the studio together, and it felt like it was time for that to happen again. I was interested in what it would look like to have him feature on a track for one of my albums this time around. We talked about it, and on one of the last days I had booked in the studio, he came in, and the song took shape within a few hours. It was just like old times. You produced this album yourself for the first time. What challenges and freedoms came with taking full creative control?  It was a lot of work. I knew it would be. There is no such thing as “easy” days in the studio when you’re playing most of the instruments and self-producing the record.. So I would say staying fresh and not getting burned was the main challenge. And trying to remove yourself from time to time and view everything from afar, keeping a proper perspective on the album is a challenge. Freedoms, I don’t know… I guess having the ability to make a record 100% your own way is about as free as you can get in this industry. The themes of sin, redemption, and survival run through the album. How do those tie back to your roots in Missouri and your life on the road? Those themes exist everywhere at all times. Sin and redemption were learned and engrained from a young age.. turns out many of those cautionary tales I learned in bible school as a kid have become real life experiences in adulthood. I’ve always been surrounded by people who worked for what they had.. I learned that work ethic as a kid and have carried it over into everything I do now. Survival and self-preservation are a daily part of the road-dog life that goes hand in hand with being a touring musician.  Best Western pulls from blues, punk, classic rock, and even hip hop. How do you approach blending so many influences without losing your core identity?  I don’t think I really think about it.. I try to just do what feels authentic to myself. Sure, I like a variety of styles of music, but they’re all pulling from similar core influences if you peel back enough layers.  You’re known for riding your Harley to shows. How does that nomadic, outlaw lifestyle feed back into the music you write and perform? I guess your environment bleeds into your art.. If I find myself constantly living that nomadic life, there’s no other choice but for it to feed into the type of songs I’m creating. What comes out is like a soundtrack for my life, and for other people living like me, or even for people who work in a cubicle but wish they could be on their Harley instead. For all the difficulties of living this way, I try not to take for granted that I’m getting to live many people’s dream life.

Italian-born, Atlanta-honed artist  Prince Philippe  returns with his most powerful and personal release to date, “Hour of Need." Known for his hybrid style blending alternative pop, R&B, hip-hop, and electronic soul, Philippe transforms his eclectic influences into a soaring anthem about redemption, resilience, and the courage to face yourself in the darkest moments. Serving as the closing track of his forthcoming project  TGT , “Hour of Need” is the record’s emotional climax. Written and co-produced by Philippe himself, the song reflects both artistic growth and personal conviction. It is a track about transformation: confronting the cycles of doubt and despair that hold us down, and finding the faith to rise above them. From its opening notes, “Hour of Need” feels cinematic. Layers of atmospheric synths, pulsing beats, and Philippe’s soulful, versatile vocals create a soundscape that is both contemporary and timeless. The verses carry a confessional tone, while the chorus bursts open with anthemic energy, capturing the moment of breaking free. The song’s production mirrors its message: intimate vulnerability giving way to cathartic release. Philippe’s lyrics speak directly to the human capacity for change. “Even in our most fragile moments, we hold the power to rebuild ourselves,” he explains of the track’s meaning. That belief permeates every line, making “Hour of Need” not just a song but an act of testimony. For listeners navigating their own hardships, it is both a mirror and a light. Beyond the music, Philippe continues to expand his creative vision with The StoneHouse, a community-driven space where fans and artists alike can connect through shared stories, exclusive content, and cultural exchange. With “Hour of Need,” Philippe is not only closing a chapter in his upcoming project but also opening a door for others to step into healing, growth, and collective strength. “Hour of Need” leaves a lasting impression: deeply personal yet universally relatable. It is an anthem for anyone standing at the crossroads between despair and hope, reminding us that transformation is possible when we choose light over darkness. As the climax of  TGT , it affirms Prince Philippe’s place as a rising voice in alternative pop and R&B—one unafraid to merge faith, artistry, and vulnerability into music that truly matters. "Hour of Need" closes out your upcoming project, TGT. Why did this song feel like the natural ending to the story you are telling? From the beginning, I knew "Hour of Need" had to be the closing track of  TGT . The whole project is a journey through struggle, doubt, and self-discovery, and this song is the moment where all of that weight transforms into clarity. It's about redemption and resilience – finally choosing light after spending so much time in the dark. Ending with this track felt natural because it carries the sense of hope and renewal that I wanted the story to leave behind. It's like the storm finally breaks, and you can breathe again. You co-wrote and produced the track yourself. How did that creative independence shape its sound and message? Taking on both the writing and production gave me complete freedom to build this song exactly how I imagined it. Every synth, every drum, every vocal layer was chosen to carry the message of perseverance and faith. I wanted the production to feel uplifting and dramatic, so the chorus soars and the energy rises, reflecting that moment of breakthrough. Creative independence let me merge my personal experiences and beliefs with modern sounds without compromise. What you hear is the most honest version of the song I could make. The song deals with facing inner demons and embracing hope. Was there a specific moment in your life that sparked the writing process? It was a time in my life where I could either let the darkness consume me or turn it into something meaningful. So I started writing this song. It became my declaration that I wasn't going to give up – that I was going to face my demons head-on and choose hope instead. I needed a track that, every time I sing it, makes me relive that choice.   You're building The StoneHouse community alongside your music. How does this release connect to that broader vision? The StoneHouse is about more than music – it's about creating a space where people from different backgrounds can come together, share their stories, and inspire each other. "Hour of Need" represents the spirit of that community. It's about overcoming darkness and finding your light, it's about getting out of misery and becoming the best version of yourself, the divine and royal being we all are deep inside. This is why I chose Prince Philippe as my artist name, and I see those themes as the foundation of The StoneHouse. When I invite people to be part of this movement, it's because I want them to know that "healing" is not a simple process. It requires time, effort, and the courage to lean into your darker shades to get out of their hold. I want to share my process and my story, leading you there. This release is like the first stone laid in building something bigger than just my songs – a home for hope, connection, and resilience.   What do you hope fans feel or do after hearing "Hour of Need" for the first time? I hope they feel uplifted. Less alone. As I said, "healing" means having the courage to face yourself and your darkest shades – and that's what I want this song to inspire. Maybe someone will hear it and realise that, with plenty of other people going through hard times, it's not a lonely path at all. Whether it pushes them to take a step forward in their own life, to reach out for help, or simply to believe in themselves a little more, that's the impact I want. At the end of the day, if "Hour of Need" can be a light for someone in their darkest moment, that'll be the biggest reward.

London’s about to get a little more honest, and a whole lot louder. Rising singer-songwriter Clara Moschetta isn’t just dropping music; she’s dropping truths. Her debut EP, Worthy Conversations Around a Kitchen Table , lands September 17, and trust us, it’s not background noise; it’s a full-on sit-down moment. Clara’s got this rare ability to make you feel like you’re right there in the room with her, sipping tea while she tears open the kind of topics most people tiptoe around. Body image, regret, politics, identity, it’s all fair game. Every track feels like a late-night kitchen chat where someone finally says the thing no one else will. And the best part? She does it with that mix of sharp humor and raw vulnerability that sticks with you long after the song ends. The lead single, TV , is already making noise online, tapping into the messy reality of body dysmorphia and recovery. It’s not sugar-coated, but that’s exactly why it hits so hard. Clara’s been building momentum on TikTok, but she’s not stopping there. She’s got the “Father Never Tells Me” project, where strangers spill the words they wish they’d heard from their dads, and an Artist Conversations Series that keeps her audience talking just as much as listening. She’s literally turning music into community therapy. And if you’ve caught Clara live, whether it’s her on the piano or with a full band, you already know. She doesn’t just perform, she disarms. Her shows leave you wrecked in the best way, feeling like you just got hugged and called out at the same time. That kind of impact is rare. She’s celebrating the EP release with a show at SJQ in London on September 18, which is basically guaranteed to be church for anyone who shows up. Worthy Conversations Around a Kitchen Table  proves that Clara Moschetta isn’t afraid to dig deep, and she’s making sure we all pull up a chair while she does it.

Los Angeles singer-songwriter, producer, and multi-instrumentalist Charlie Kogen has released his new single, “ Not Wastin’ Time ." The track follows his buzzworthy releases Comfort in the Pain and Life of the Party (of one), once again spotlighting Kogen’s knack for heartfelt storytelling, genre-blending production, and retro-inspired grooves. A National YoungArts winner and Kennedy Center performer, Kogen has been building momentum with a sound that bridges eras. Influenced by the smooth textures of Michael McDonald, Todd Rundgren, and TOTO, the Stanford grad-turned-full-time musician calls the new single “yacht rock for Gen Z.” “This song is about needing instant gratification, even if we know it’s not good for us in the long run,” Kogen explains. “Musically, I tried to capture the spirit of some of my favorite artists of the 1970s and 1980s… In other words, with this single, I took a stab at yacht rock for Gen Z.” Raised in Los Angeles and trained in classical piano before diving into rock, jazz, and salsa ensembles, Kogen has never been afraid to experiment. Beyond his solo work, he composes for film and collaborates with other artists, marrying cinematic textures with narrative-driven songwriting. With “Not Wastin’ Time,” Kogen cements his reputation as a versatile, forward-thinking artist whose music resonates across generations. The single is available now on Spotify, Apple Music, and all major streaming platforms.

Film Photographer: Sara Espinosa Inglewood’s own Son Kuma is back with a track that feels like both a sigh and a statement. “ Overtime ,” the first single off his upcoming self-produced album Keep That Energy , is a hazy, alternative R&B gem that blends hypnotic production with sharp, layered lyricism. For an artist who has balanced physics degrees with mixtape milestones, this release feels like the most natural next step that embraces both intellectual weight and emotional vulnerability. The song opens in a warm lo-fi haze, where minimal instrumentation leaves space for Kuma’s conversational vocals to breathe. It is intimate without trying too hard, the kind of delivery that makes you feel like you are in the room with him. His tone is calm but steady, carrying the weight of someone who has been putting in the hours physically, mentally, and emotionally. Early listeners have pointed out how natural this delivery feels, and it is true: Kuma does not force a thing. Lyrically, “Overtime” threads clever wordplay with raw commentary. When he raps, “reap and sow what it seems, they seem so unaware they wear you out,” it is more than a workplace gripe. It is a sharp critique of the grind culture that chews through creatives. Sewing, seaming, sowing, and wearing each homophone folds into the bigger picture: work consumes, and the worker is left drained. The chorus drives it home with painful simplicity: “I might not come home tonight, I’m working overtime.” It is an anthem for anyone caught in the tug of war between survival and freedom, between grinding for a dream and losing yourself in the process. Kuma describes it as a tragic oxymoron. He fantasizes about a better life while work becomes the very means of escape. Sonically, the track blurs genre lines. The atmospheric textures lean toward modern R&B, similar to Brent Faiyaz or SZA, while Kuma’s phrasing and wordplay echo Chance the Rapper and Smino. It is experimental without feeling detached, soulful without being boxed in. “Overtime” does not explode; it lingers. It is the kind of track that gets under your skin slowly, a soundtrack for late nights when you are questioning why you are still at your desk, or why your phone buzzes when you would rather be home. For Son Kuma, this single is less about flexing and more about reflecting. If this is the entry point to Keep That Energy , fans are in for an album that does not just play, it resonates. How did creating the beat yourself shape the song's overall vibe? I appreciate BuzzMusic to the max! Been working with y'all since 2021. The idea for this song came about pretty randomly. I was in my car, waiting for someone, and I wanted to imagine what the tracklist for an "Energy/Physics" inspired album or EP would look like. I started jotting down potential song titles that incorporated physical quantities: "By  Force ", "Long  Distance ", "Are We  Work ing Enough?", "Over time ", " Power ", etc... As I started composing and sequencing   these songs, a common theme of work impeding personal/spiritual progress started to manifest.  By nature, "Overtime" had to serve as a moment of both tension and release. With that in mind, I knew the production of this song would need to embody a form of duality, which I captured through intentional contrast between the verses and the hook. The verse production is supported by light percussion, jazzy guitar strumming, sparse bass, and soft melodic progressions. The hook's production feels heavy, almost like gravity got turned back on because the arrangement suddenly thickens with layered synths and bass. I wanted the hook to feel more labored without losing its chill, nighttime aesthetic. This sonic contrast mirrors the song's central tension:  the fantasy of freedom versus the reality of being overworked to attain it.  You balance clever wordplay with deeply personal themes—do you write lyrics first or let the production guide your storytelling? This song started as a concept. The song titles and sequencing "By Force", "Long Distance", "Are We Working Enough?", "Overtime", "Power" that I randomly brainstormed started to stick. I began to sit with these ideas and weave them together into a cohesive narrative. I imagined a character who would do anything for freedom, even take it  by force.  But the fantasy of revolution threatened the societal balance that allowed him to one day settle down with the love of his life. This character decides to overwork himself so that one day he can afford this life of freedom with his beloved, leading to something of a  long-distance  relationship between them. She begs the question, " Are We Working Enough? "  Overtime  is his answer to that question. No, we aren't working enough; in fact, our character feels compelled to work more. With this in mind, I vaguely knew what the song was about before I even wrote the lyrics. I let this abstract concept guide the production, which in turn guided my lyrics and solidified the story I wanted to tell.  The songwriting is clever and layered, with subtle work-related wordplay like "r eap and sow what it seems, they seem so unaware they wear you out"  -- a line that critiques the corporate disconnect where higher-ups assume you're reaping rewards from producing results when in reality, you're worn out. The line threads together homophones and clothing metaphors:  sew/sow ,  seam/seem , and  wear/unaware,  to tell a story: I do the  sewing  and  seaming , while the corporations and the consumers  wear   me out.  The laborious anthem,  "I might not come home tonight, I'm working overtime,"  is simple but potent. I wrote it in the shower right after sequencing the beat switch. I don't usually write hooks away from the mic, but this one just felt so apparent that I immediately recorded it afterwards. What follows,  "I know there's more to life, put in work till I die,"  is a tragic oxymoron that   aches with emotional suppression -- I fantasize about a better life while using work as a means to escape my current one. For the second verse, I wanted to explore what happens after this realization, particularly the struggle of putting in Overtime when you want to go home to be with your partner.  "I pick up the phone to hear the tone of your voice fasho, now you're putting on a show like whoa. You know how this goes... Tell me you've seen this episode, in this scene you've got no clothes and I'm fiending for you, hoe, can't believe I'm on the road now..."  I kept the delivery playful to capture the tug-of-war between duty and desire. In this hypothetical scenario, it seems like the character ditches work and speeds home to his partner, but by the end of the verse, it's revealed that he won't be coming home after all --  "I'm not tryna be foul, I'm just on third base. I got a lot on my plate, so I might not come home tonight. I'm working Overtime." The chorus captures the struggle between grind and freedom. How much of this song reflects your own lived experience post-label setbacks? The struggle of being an independent musician is real. I love the freedom that comes with independence, but the responsibilities and obligations that follow are far from desirable. It isn't easy to balance my life, day jobs, and artist career. My day jobs take up most of my time and fund my life and artistic pursuits. With little time left and split resources, I have had to sacrifice many personal relationships and constantly ask myself, "Is this worth it?" The song not only captures my own struggle, but the struggles of many people I am close to. I knew this song would resonate because many of us share this feeling. Genre-wise, this track pulls from R&B, hip hop, and lo-fi textures. Who are your biggest sonic influences right now? Right now, I don't have many sonic influences, which is not common for me. I think with this song and the rest of this album, I wanted to really look inward and find  my frequency.  That being said, I really love Leon Thomas. He's probably my favorite artist right now, which may have influenced me to take a smoother approach with my production this album cycle. Looking ahead, what message or energy do you want  Keep That Energy  to leave listeners with? It isn't easy because we live in a society where, unfortunately, you have to work and give up your energy for survival.  The goal then should be to find a way to limit how much energy we give to non-replenishing recipients like exploitative companies, non-supporters, and parasites, and keep the rest of it. Because the more energy you have stored up, the bigger shockwave you can produce when it matters most. The album concludes with a song called "It Matters," and I hope it will communicate this message effectively.