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From the Spotify New Music Friday charts, today we are sonically graced with Jayden Bartels new single “Alphabet”. The song is super fun and easy to dance along to. "Alphabet" is the type of song that breaks the mood you were currently in and amplifies it into a regenerated and positive one. The fun fingerpicking guitar style sets the tone with the company of Jayden’s fun lyrics that explain the alphabet in a way that spells out an anxiety-filled breakup. While the lyrics are dark, her approach of using each letter of the alphabet to describe the emotions of a toxic relationship ends helps us feel like, “When one door closes, another opens” and that the future will be better. Also helping remind us that it’s good to both recognize bad situations, and then having the power to leave them. The chorus is a super eccentric and sonic experience, with monotone style vocals. That's what makes the track that's easy to enjoy and move with. By the end of the song, you are definitely curious about who this artist is and how you can hear more! The good news is that Jayden Bartels has a slew of singles that you can dive deep into, and we are sure there will be more to come. Be sure to follow Jayden Bartels on all socials and keep up to date with new music and tour dates coming soon! You can access and listen to the soundings of Jayden Bartels here. Thanks for being with us at Buzz Music today! Your new song "Alphabet" seems to be doing super well! What inspired the unique lyrical approach for this? I came up with this song idea when I was thinking about how much your perspective changes from when you were young to now. When your young, each letter of the alphabet means something happy. If you were to find a meaning for each letter of the alphabet now it would probably be a lot different. What was it like to have your song “Can’t Help Me Now” featured on New Music Friday? It was amazing and I was so honored! It was also my first song I had ever released so I couldn’t believe it was already on a playlist! You will be supporting Echosmith on tour! What city are you most excited to play and why? Definitely Los Angeles because we are playing at the Fonda Theater and a couple of months ago I was going to see artists perform there and I never thought that one day I would be performing there! Who was the producer of Alphabet and why were they chosen to produce the track? The producer was David Kidd and I chose him because he totally understands my style of music and has so many amazing ideas that I knew I wanted for Alphabet! When can we hear more new music? Any plans for an EP/ album? - I am currently working on tons of new singles and I’m really excited for everyone to hear this new sound! facebook.com/jaydenbartels instagram.com/jaydenbartels twitter.com/jaydenbartels #BuzzMusic

Heralded by fans as the Carole King of today, Rehya Stevens is an award winning singer-songwriter with a handsome satchel of press-worthy tv, film, and advertizing placements. But for us, it's her compelling songs and soulful voice that make her the talk of the town. Ironically, Stevens' fresh sound and vivid lyrical signature harkens back to the inkwell of treasured hits by Donny Hathaway, Burt Bacharach, Carole King and Gerry Goffin. Bucking the trends of today's pop music climate has served her - and her audience well. Her all-original Christmas album "Celebrate" has received multiple accolades, including a #2 Billboard hit with Happy Holiday, and an HMMA Award (Hollywood Music in Media) for Jingle Jangle (awarded "Best in Holiday"). Additionally, Jingle Jangle is featured in three films; "Noelle" (Disney+), "Sense, Sensibility & Snowmen" (Hallmark), and "Black Christmas," which made it's theatrical debut on December 13th, 2019. Rehya's latest single "'Tis The Season" is a self-penned, fun-loving ode to the stress and chaos of the holiday season. Stevens' seasoned talent is showcased boldly on this track, which comes off as a sure-fire holiday classic for the ages. The singer’s masterful vocals sweep engagingly throughout, leaving no wonder as to why it's been so well received. Perhaps it's simply a foreshadow of future success to note that 'Tis The Season is featured alongside Jingle Jangle in the Disney+ film, "Noelle" (starring Anna Kendrick, Bill Hader, and Shirley MacLaine). Unlike traditional tried and true Christmas songs, Tis The Season brings something fresh, yet evergreen to the same old holiday playlist. We’ll definitely be playing this song on repeat throughout the holidays! Check out 'Tis The Season here. Welcome to BuzzMusic Rehya! Your musical career includes quite the repertoire! Was writing music for film/tv etc. placements a goal when you started out? No! I started out writing and recording music that I wanted to make - with no designs on film and tv. The film/tv placements happened unexpectedly. I have written songs specifically for film and tv, but the songs that see the most placements were written just because. Your talent has been compared to some other great artists like Carole King and Stevie Wonder. Are these the artists that influence you the most? I have so many influences. Growing up, I was mesmerized by Tapestry and Songs in the Key of Life. But nestled in-between were albums like Joni Mitchell's "Blue," every album from Mariah Carey, Michael Jackson, Prince, Aretha Franklin, The Carpenters, Madonna, Annie Lennox, John Mayer, George Michael, Dolly Parton, Shania Twain, and all the pop and jazz standards from the American songbook. I have always been a music junkie. What was the creative process for making "Tis The Season"? I started writing 'Tis The Season at my Yamaha upright, after two glasses of wine. I was puttering around the house - just trying to let go of the long day I'd had and in pops this melody and lyric, "Deck! the halls with boughs of holly (fa-la-la-la-la it's Christmas time)... 'Tis the season, oh by golly too..." so I stayed up and worked on it until the wee hours of the morning. A few weeks later, I played it for Jon Kubis, and we decided to finish it together. He's a father of 3 young children, so he started rattling off all the demands of pulling off a 5 star Christmas for the family. Like, staying up until 4 am on Christmas Eve, putting bikes together -- and trying not to wake up the kids. But, you're so exhausted that you keep dropping tools -- losing washers, nuts, and bolts, and bumping your head on the coffee table. I mean, who hasn't experienced the exhausting side of the holidays? It was fun to write about the chaos of Christmas, with a little "Que sera, sera" nod to the season. I mean, we all know that we drive ourselves mad at Christmas time, but we do it over and over again, year after year! I guess it's a testament to the fact that we all feel compelled to create and experience the magic, no matter the cost. Where did the desire to write a holiday album come from? I have always loved Christmas music. I love the lush elegance of the holiday standards. The melodies are so musical. The lyrics are like 3-D paintings. The arrangements are timeless. Yet, as much as I love those 20-30 standards, by mid-December each year, I want to hear something fresh. So, I set out to make a Christmas album that people might cherish for years to come. I suppose I needed to hear new Christmas standards SO desperately, that I decided to take a swing at writing a whole new Christmas catalog. The Celebrate album is a collection of 9 all-new original Christmas songs, so that's a good indication of my level 10 passion for Christmas music! Also, I just love to celebrate. It's fun to make music that celebrates the journey. Without big, fun, festive indulgences now and then, we'd never take our noses off the grindstone long enough to appreciate our lives! What's next for you in the coming new year? I've written songs for a few artists that I'm crazy about! I can't wait to see them launch, and how they're received. I also plan to release some new music in the summer and follow up with another Christmas album in the fall. If all goes like clock-work, I'll be able to do all of it. It'll take some heavy lifting, but I believe in this new music, so I'm excited about the adventure! You've put us right in the holiday mood with "Tis The Season," how are you spending your holidays this year? I'll be loading up my sleigh, and heading up to northern California to be with family. I plan on cooking and baking up a storm, reading, watching movies, taking long walks and bike rides through the woods, playing in the snow, and enduring epic 5-day games of Monopoly with my niece, Sarah and my nephew, Matt. We go hard! All we need is a block of Tillamook sharp cheddar cheese, ritz crackers, and cider, and we're ready to roll for days! instagram.com/stevensrehya twitter.com/rehyastevens #BuzzMusic

STR8WYZ is a reggae group from Kingston Jamaica who was founded in early 2018 by British singer, songwriter, and producer Str8 up. This group has been recording with some of the greatest names in Reggae, including Sly & Robbie, Big Youth, and Scientist and call the world-famous Tuff Gong studios home. They’ve spent the last two years recording and releasing music that’s bound to get you in the reggaeton vibe you desire. STR8WYZ has a vast range of releases in this year of 2019 that impacts their impressive tracklist. Some records hold features yet still delivers the heat. Songs like “Liberty” “Natty Ras” and “Yu Wrong” showed us that STR8WYZ knows how to correlate their sound alongside another artist, and manage to still bring a finely-calibrated sound and trailblazing hit. However, this group doesn’t need any feature to still stand out! The release of their single “Quiet Place” proves that they are hard-hitting hitmakers in their own league who can resonate their music well with an audience and reel in new fans. If you find yourself falling in love with Str8WYZ music the way we did this year, you might be wondering when they will drop the next sizzling hit right? Well, you heard it here first folks! STR8WYZ is, in fact, working on their debut album that’s bound to leave a memorable mark on the music industry by this dynamic group. Listen to STR8WYZ here. Welcome to BuzzMusic STR8WYZ! How has it been performing with one another as a group? How do you manage to blend in each other special characteristics into one unit? Hi and give thanks for having us. The core of the group is me - Str8 Up and Wiser Dhon. Put the two names together and you get STR8WYZ. Anyway, the two of us have a very clear idea of the sound we want - funky, modern, urban reggae that never loses sight of its roots in the culture of Jamaica. So there isn’t too much conscious adapting to each other’s style - it’s kind of automatic because we’re so used to working with each other at this point. STR8WYZ is a unit. I guess you could say the sum is greater than the parts and each of us just plays our role to the best of our ability. In the beginning, there were some difficulties and clashes while we struggled to figure each other out but now the group feels like a well-oiled machine - just humming along you know? When you look at the broader group which includes Masta Blasta there is some blending going on but that’s just the normal process of working with other musicians in the studio or on stage. We do adapt and by adapting to Masta Blasta’s sound we’ve enlarged and enriched the sound of STR8WYZ. That’s, even more, the case when you consider how much we’ve recorded with Sly & Robbie. Of course, they’re not members of STR8WYZ but working wid dem has been the highlight of our musical career so far. The sheer depth of musical knowledge, expertise and flavor they bring to a recording is almost beyond words. They are the all-time greatest drum and bass players in reggae and they’re still going strong, still recording and performing. When they came on board we adapted to them, no question. They enlarged and enriched our sound and also enhanced our connection to the very roots of reggae as we know it. So Nuff respect to dem, de Riddim Twins as they’re known. Let’s talk about your amazing music this year. You released tons of singles collaborating with different artists. How was the experience collaborating with these major names in the reggae industry? Did you find any aspect of it challenging and why? It was the highest honor and blessing to work with the likes of Big Youth, Sly & Robbie and Scientist. The first was Big Youth and I can say him bredren. Really. I always listen for almost twenty years to his music and when I first met him at Small World Studios in downtown Kingston last year he know dat, him feel it man. We had a connection, no question about it. We recorded Girl Named Pat together wid him on lead vocal and de tune just connect! Big Youth is one of the legendary originals from reggae’s golden age in the early to mid-1970s and he told me stories like maybe Jacob Miller borrowed, shall we say, the melody and lyrics for Girl Named Pat from Big Youth back in the day. Just to be clear, the STR8WYZ tune Girl Named Pat is a cover of Jacob Miller’s song of the same name from the Augustus Pablo sessions in around 1976 and Big Youth’s saying, and I believe him, “you know me think Jacob get dat tune from me”. Anyway, you can see that when you’re recording and hanging with the greats you’re literally hanging out with living reggae history and you learn all sorts of crazy stuff. Another thing is seeing how Big Youth deal wid de recording session. He go outside de studio on Charles St, smoke one or two or three massive chalices and den come inside and lay down the vocals in one take!! No drop-ins, no edits, just BOOM!! Do it in one go. Just like in de 70s. That was an eye-opener. Incredibly impressive compared to so many of today’s musicians that just piece everything together in the studio but they don’t have the ability to just bust out an entire track with all the brilliance and nuance and artistry of someone like Big Youth. Today’s artists could and should learn from de generals like Big Youth otherwise how will they improve? As for being challenging, yes, just working with Big Youth was challenging in the sense that I didn’t want to let him down, you know, with the quality of our music or anything else. Of course, I was a bit nervous when I first met him at our first recording session but the mark of a true professional and star-like Big Youth is how relaxed they make you feel about the music and the session. You soon adapt! Music is about vibes and the great generals dem know how fi mek yu feel de vibes man! The same goes for Sly & Robbie and Scientist too. Of course, you HAFFI be on your toes when yu working wid dem! It necessarily brings out your own professionalism. So it’s a learning curve man and it’s quite steep but just pay attention and do your best and you will learn. For example when we were recording Natty Ras with Sly & Robbie and I was laying down guide vocals and guitar while Sly was playing along on the drums and doing a take, I had to put out of my mind the mind blowing idea that the legendary Sly Dunbar was accompanying me on drums and just focus on playing the song properly and getting all the changes in the right place. I really had to concentrate but eventually through that concentration and focus you get this relaxation and bliss that is the experience of real music-making. In the end, it’s a kind of communion and this feeling is especially strong in reggae when it’s done right.  How did you want your single “Quiet Place” to translate to your listeners? We wanted to take a reggae classic originally recorded by John Holt and then by Horace Andy, a pretty well-known track, and really give it something new and different. With Wiser Dhon doing his semi rap in the middle of the song we kind of mashed up the genre making it solidly urban and a bit hip-hop as well as clearly being reggae. I also wanted to have more adventurous production than is typically used in contemporary reggae. For example, the ADT effects used on the vocals - the double-tracking sound used a lot by the Beatles, especially John Lennon, was something that gave our version of this reggae classic a crossover appeal in my opinion. What was your personal favorite element to “Quiet Place” and why? Probably the horns. We got really lucky with the recording session at Tuff Gong. Here’s another example of ‘challenge’ and ‘learning curve’. I’m just gonna say it - I’m an experienced musician, I’ve been playing instruments since I was five years old. I studied music at the Royal Academy of Music in London, so I have a certain amount of music knowledge and ability. But I hadn’t directed a horn section before. On our earlier recordings with horns, like Girl Named Pat, etc, I’d only had to discuss what I wanted in a general sense with the legendary saxophonist Dean Fraser and then he told the trumpeter and trombonist what to play, and that worked out great. On Quiet Place there was no Dean Fraser - still it was an excellent horn section, but I had to direct them almost note for note, in real-time, right off the top of my head there in the session, and boy did I have to concentrate and not get lost and confused!! I had to keep track of three different instruments that by the way, all have different tunings. For example, the tenor sax is in the key of B while the piano, which I use to visualize notes, is fundamentally in the key of C, as well as being in 11 other keys. I stepped up to the plate and got it done and in the end, we got a fantastic horn track laid down with real soul and bite and riddim. It was a triumph. It’s still probably my favorite aspect of the track. How would you describe the songwriting approach you took behind “Quiet Place”? Since it’s a cover there wasn’t that much songwriting to do, just some arranging. Wiser Dhon basically freestyled his original section in one take so we nailed the backbone of the song in one session at Tuff Gong. In the next session, we added the backing vocals with Nicky Birt. As for the approach, I’d just say we had mad vibes to just add our version of this reggae classic to the canon and have people love it. As such our songwriting tool was the studio. We did everything in the studio - the world famous Tuff Gong. By the way me just haffi shout out here to our engineer, triple Grammy winning Roland McDermot (Damian Marley / Stephen Marley) - without him we couldn’t have done such a great version of Quiet Place, so nuff respect to Rolly! For most other tracks we work a lot on the material outside of the studio - mainly at Wiser’s place in the bush outside Port Antonio or at my place in Kingston, but for Quiet Place we just worked it all out right there in the studio. There was a freshness and excitement there that me just love. We hear you’re working on your debut album! What can we expect from this project? Mind hinting some details to us? Yes Iyah!! We’re going to include probably about five or six of the singles we released this year including Quiet Place and Liberty. We’re recording three brand new tracks for the album plus a Nyabingi chant intro wid all the STR8WYZ crew as well as, hopefully, Big Youth, if his schedule permits. That’s all we can reveal right now. There will be some other guest star appearances too! instagram.com/str8wyz facebook.com/str8wyz #BuzzMusic

Ryan Nealon is a singer and songwriter all the way from San Diego, California, who’s currently based in Los Angeles. What’s a standout characteristic of Ryan is his deeply rooted background in music, and how it goes much further than just self-taught artistry. Nealon has received a Bachelor of Arts Degree (BA) from the University of California Los Angeles (UCLA) for Ethnomusicology - Jazz Studies with an emphasis in Jazz Voice. This has caused Ryan Nealon to absolutely kill it when it comes to creating success for himself as an independent artist. As an unsigned artist, Nealon has over 200,000 streams and over 10,000 followers on social media. Along with media content, Nealon has booked countless successful shows at renowned venues all across the United States such as Rockwood Music Hall in New York City and The Hotel Cafe in Los Angeles. This has caused Ryan Nealon to become familiar with crowds and slowly but surely crafted him into a seasoned performer. Not only has Ryan Nealon executed stellar live shows, but he also acquired many collaborations under his belt. Nealon has also collaborated with several artists of notoriety such as Alisan Porter, Brooke Simpson, and India Carney from NBC's "The Voice," Noah Barlass and Matt Bloyd from "The Four," and has sung background vocals for artists such as Matoma. The success Ryan Nealon has developed for himself landed him multiple features on different blogs including The Drunken Coconut, Unclear Magazine, and Digital Tour Bus, and has been featured in the San Diego Union-Tribune, The Daily Bruin, and The Los Angeles Times. Nealon's most recent credits are singing Background Vocals on the Matoma tracks "Sunday Morning (feat. Josie Dunne)," which was released on November 9th, 2018 under Parlophone Records--a subsidiary of Warner Music. Ryan Nealon is undeniably a huge rising success whose creating nothing but major buzz for himself. His independent release “City”, passed over 80,000 streams and gained a mass amount of positive critical reception and press including a feature on Apple Music’s “Breaking Pop” playlist. Nealon's next single "Sleepwalking," which features fellow Los Angeles Singer/Songwriter Kylie Rothfield, is out now on all platforms. Ryan Nealon is the next breakout star, and 2020 is destined to be a major year for him. Listen to Ryan Nealon here. Welcome to BuzzMusic Ryan Nealon! In what ways has your background in music education influenced your personal artistry? Well about 7 years ago, I made the move from San Diego to Los Angeles to go to UCLA, and I can’t even imagine where I would be now if I had never gone. Being at UCLA helped me learn a lot of really valuable things like how to lead a band, how to write charts, and how to really read and understand the music I was writing, but it also taught me a lot about myself. Before I got to UCLA I was very shy and didn’t know how to really believe in myself or my talent, but the whole experience really helped me become a fully realized artist. It humbled the heck out of me and made me realize that music is not a competition which is what a lot of young artists have a hard time understanding. How would you detail the approach you took to your release of “Closer”? For Closer, I wrote this track in 2016 with my friend Bret, and it’s the only song I play still from the “Baby Ryan” era (lol). We wanted to do something completely different compared to what we had been doing with the song for years and with the help from our friends Peter Kastner and Sam Murphy we were able to have a completely realized vision. We basically took a piano ballad and turned it into a Weeknd-Esque R&B/Pop ballad, which to me was super exciting since I had never put out anything that was electronically produced. What was the most challenging aspect of creating the song “City”? For City, in particular, it was the first song where I had multiple co-writers involved which in this situation means a lot of cooks were in the kitchen. There were a lot of contrasting ideas being presented and on one hand, we had the original idea for an 80s pop-inspired track along with a completely modern approach, but somehow we were able to combine those ideas and jeez I’m glad we did. How was it collaborating with Kylie Rothfield on your single “Sleepwalking”? About 2 years ago, I saw Kylie playing at the Hotel Cafe in Hollywood completely acoustic and was just in awe of not only her voice but her writing. Funny story, Kylie wasn’t even the one I was going to see at that show—it was her sociopathic ex who I was there to see, and can’t tell if you gathered that info correctly, but I’m definitely not friends with him anymore haha. Thankfully though, I was able to gain a friend in Kylie who I now consider to be my closest friend in LA. I wrote Sleepwalking about a year later and always had Kylie in mind, then a year after Kylie and I were able to record it and she even co-produced it with our pal Zack Djurich. Working with her was a dream come true for me. What’s the major theme behind the song “Till The World Ends”? Heartbreak, plain and simple. I wrote Till The World Ends based off of how I always feel when it comes to relationships or whenever I pursue someone. I, unfortunately, embody the “nice guys finish last” saying in relationships and no matter how much someone hurts or has hurt me I’ll still wait for them or forgive them. So basically the song is a haunting ballad about waiting on someone who you know will never wait for you. What’s next for you Ryan Nealon? What are you looking forward to in 2020? I’m so unbelievably excited for next year. I don’t want to speak anything into the world since nothing is solidified yet, but next year is going to be amazing with a bunch of new music, new visuals, and a new era from me. facebook.com/ryanealon ryannealon.com #BuzzMusic

Feyer is an artist who knows how to do it all: singer, songwriter, composer, producer, and multi-instrumentalist with diverse musical experience spanning many genres and styles. Feyer constructs his unique sound by combining personal yet theatrical lyrics with a classically influenced melodic and instrumental style, coupled with electronic-rock production. Who else do you know have that ability? While you think of some artists who can attempt to compare themselves to Feyer, let us tell you more! Key components of Feyer's style are the fusion of retro and futuristic sounds and the incorporation of visual elements into the mix, drawing great influence from nostalgic cartoons, movies, video games, and animation loops. There is absolutely not one artist who fuses together these key elements to create a unique and detailed hit record the way Feyer has the capability of doing. In early 2017, Feyer released his debut album, Signals Internalized. The music was described as energetic, exciting, thought-provoking and risk-taking by a number of online publications such as Music Connection, Impose and Pure Grain Audio. The result of this? Several music videos that gave Feyer the opportunity to perform at some of the greatest venues you can think of in NYC! When he is not working on his own music, Feyer can be found involving himself with other projects with a number of different artists and bands all across the music world. These include recording, producing, and remixing other artists, co-writing with other songwriters and producers, and running the audio production company Accretion Sound, which offers services in composing and sound designing for films, shows, video games, commercials, and audiobooks. Feyer is a refreshing artist whose hard work, dedication and talent send him into great heights of success. Feyer's new singles, "Stuck in a Video Game" and "Parties!" are now out on all platforms, in partnership with Kobalt's AWAL. Check them out and stay tuned for more exciting Feyer news to come! Listen to the vocal stylings of Feyer here. Welcome back to BuzzMusic, Feyer! What has been the biggest challenge you had to overcome as an independent artist and in what ways have you overcome it? Thanks for having me back! For me, the biggest challenge as an independent artist has been cutting through the noise. Thanks to the rise of the internet, and social media, in particular, thousands of people are producing great content every day, and it can be easy to get lost in the shuffle. I find that trying to not copy what everyone else is doing will get you more recognition in the long run, especially if it is something that feels true to you. The most important thing I need to tell myself is that it’s not going to do me any good sitting around comparing myself to others and feeling jealous of their success, but rather celebrating their success as something to motivate your own work. What are some of the elements we can find in your single “Stuck in a Video Game”? In “Stuck in a Video Game,” you can find elements of retro and modern video game soundtracks, as well as 80s progressive rock and new wave vibes that I am greatly influenced by. It is definitely one of the most ironic and on-the-nose songs I’ve written, but my audience seems to get a kick out of it, particularly during the chorus. The music video puts the song to a story where I get sucked into a video game and have to fight off different enemies to get to the next level. Is it a metaphor for real life? Perhaps. What was your personal favorite component to the creative process for your single “Parties” and why? “Parties!” has been in the works probably longer than any of my other released songs. The track’s infancy began during my junior year of college in late 2014 when I broke six bones in my foot and needed to have surgery. Unable to walk for almost half a year, it made socializing and enjoying the college experience quite difficult. While I was away from my peers recovering, I began to write “Parties!” and what became my favorite element was the sharp contrast between the verses and the chorus. The verses are introspective and portray a sense of anxiety about having a social life, while the chorus is a tongue-in-cheek anthem about the acts of partying itself, taken from the perspective of an outside narrator (me). I think the combination of these opposing tones makes for an unusual but satisfying experience. How would you describe your approach to the production of both “Stuck in a Video Game” and “Parties”? What was the major difference in both of these songs? These two recent singles are from very different ends of my writing spectrum. First of all, “Stuck in a Video Game” embraces elements of 8-bit and electronica, while “Parties!” has more of hard rock production. I approached “Stuck in a Video Game” like a game soundtrack, borrowing inspiration from some of these video games I played growing up (most of them I was terrible at!) “Parties!”, on the other hand, was more in line with a live rock band in mind, alluding to real-life festivities by cranking up the energy. One of my friends describes “Parties!” as “If Andrew WK was actually a social outcast.” The thing that makes both of these songs similar is the observations of everyday life and how they can be transformed thematically and metaphorically. What’s the theme most of your music presents Feyer? I try to dabble in many different themes, as I believe most artists have different aspects of their personalities that come through at different times in different environments. I’m no exception. However, I've noticed over the years that a common theme I frequently go back to is anxiety. Anxiety is something that affects all of us, some more than others, and I feel as if writing about it can be the best form of therapy. There is a stigma attached to discussing mental health that I hope one day is broken, and I try to use my songwriting to help move that forward. That being said, I certainly don’t want my music to be all doom and gloom, so I will often put an ironic, self-aware spin on it that eases some of the tension. What’s next for you in 2020? I am very excited for 2020 and beyond. A new decade brings a new wave of excitement and hope for the future. At the moment, I am planning some live events outside of my hometown of NYC. I have several collaborations with other artists in the works, as well as a few remixes I’m working on under the name Draniods (my DJ, remixing, and EDM production project). Additionally, I have recently launched my own audio production company named Accretion Sound, which will operate more in the realms of sound mixing, sound design and scoring for films, commercials, podcasts, audiobooks and other forms of media. I try to keep busy, as you can tell! facebook.com/FeyerMusic instagram.com/feyermusic twitter.com/feyermusic #BuzzMusic

Who is this band that’s gaining great buzz? A band with an impressive stage presence and well-established delivery? A band that can combine eccentric energy with soft and flowing lyricism? Their names are Visenya, and they’re a four-piece Alternative/Rock Post-Hardcore band from Piscataway New Jersey. This quartet released their debut single titled “Tides” at the end of 2017 which sent them into great heights. This record blended together energetic and technically impressive instrumentation with catchy and intriguing vocal melodies to showcase the band’s unique twist on the post-hardcore genre. Although they’ve been playing at numerous shows in and around their local scene, Visenya has also been working hard at promoting their debut EP, “Common Place”. "Common Place" has great meaning and substance behind it. This project touches on specific situations that the singer James Perry has personally gone through. Visenya is a promising band with a riveting sound that will move their listeners into an explosive dimension that they will not want to escape. If you’re longing for a band to create exciting endorphins and electrifying energy for you to come to indulge in with every aspect, then Visenya is truly the band for you. Their trail-blazing instrumentation and multi-faceted vocal textures create an unforgettable experience for their listeners that will serve as memorable. Listen to the soundings of Visenya here. Welcome to BuzzMusic Visenya! What’s the story behind your super cool stage name and what inspired this? Thank you for having us again! I hope you like super nerdy explanations cause our name comes from Game of Thrones. Not so much the show, but in the lore of George R. R. Martin's book series that the show is based on, Visenya Targaryen was a badass warrior queen to the first king of Westeros. Our drummer Nick was rattling off names from the series one day while we were trying to come up with a band name and that one stuck. That's it, it just sounded cool to us haha. Let’s talk about your EP “Common Place”. What was the biggest challenge in creating each song on this project? For me, it was writing the vocals. At first, I wasn't very good at it and not confident in my abilities to make the parts as good as I thought the songs' instrumentals were. While in the studio doing pre-pro, we were all apprehensive to change parts because we had grown so accustomed to how we were playing them, so getting over that hurdle of letting go of something you were so attached to was a big challenge, but it gave us a better idea of how the creative process goes in a professional studio setting. I think by now, we all know each others' strengths when it comes to songwriting, and how we each write individually, and I don't think that's something we had completely figured out while writing this first EP, so that was another challenge. It's good though because it was a learning experience, and I think we became stronger as a unit and found a more common ground to work from when writing. What is one element you found surprising from your own artist perspective on your EP “Common Place”? I was surprised by how catchy I was able to make some of these songs. Obviously, as musicians/artists, we're our own worst critics, and it's hard for me to find a piece of music or a vocal line "finished" because I'm always thinking of ways that it can be better. For some of these hooks though, I was just feeling myself, and that gave me so much more confidence to better my writing as well as my technique. How would you describe your creative process in creating what came to be your EP, “Common Place”? With the exception of 'Simple Conversations,' I think every song started out as an instrumental with the vocals added afterward, which is a formula we're already changing up for some of our new material. A lot of the focus was on making the instrumentals ones we would enjoy listening to even without vocals on top of it, so the vocals kind of became an afterthought. It made it difficult for me to write over the instrumentals at first, but I overcame it by focusing on which part was what and solidifying the choruses first and making sure they were catchy enough to stand on their own, and then building the rest of the vocals around that. Let’s talk about the lyricism of this project! What aspect of the songwriting did you find to be most inspiring for this project and why? Like any songwriter, I channel my emotions into words and try to paint a picture with the lyrics around a common cohesive theme. For instance, the second track on the EP, 'Enchiridion' uses a lot of symbolism of books and stories because the main takeaway of that song for me is that there's no tangible guidebook to living a "good life" or living the right or wrong way, so you have to find your own meaning of happiness and strive to make the story of your life one that you yourself would enjoy reading. What’s next for Visenya in 2020? We're still pushing the EP as hard as we can, delving into Spotify and Instagram marketing every day to reach new friends. We have some video content to release in the upcoming months, like some acoustic sessions, and we're trying to branch out into other local markets like NYC and Philly. We might have some bigger gigs to announce in the near future. You can still expect a silly promotional skit from us whenever we have something like a big show or new music to push, or anything else that we deem worth the time to shoot and edit a video for that'll get 12 views online haha. Oh, and we're writing new music. Facebook.com/visenyaband instagram.com/visenyaband twitter.com/visenyaband #BuzzMusic

Bomethius is the solo project of Dallas-based multi-instrumentalist and singer-songwriter Jonathon Hodges. Bomethius is such a versatile artist whose mixed with various different skills like piano, guitar, and vocals. With Bomethius, he draws from his classical training for a mischievous brand of baroque pop that echoes the sounds of Andrew Bird, Elliott Smith, and Randy Newman. Developing the character of the songwriter’s complicated alter ego, Bomethius doubles as a vehicle for channeling the frank, existential audits of a disenchanted young man plagued by alienation and shame. Bomethius first release “Intimatitudes” showcased the songwriter’s wit and impressive command of his instruments to chronicle the internal turmoil of an earnest youth’s coming of age. Another spry meditation on selfhood and doubt, his sophomore record As Roses (2018) achieved a tighter, more refined sound through superior songcraft, vocals, and piano and guitar work. Bomethius constantly elevates himself with every record and continues to advance the sound of his music, taking his listener into multiple new dimensions that we can fall more and more in love with Bomethius with. But let’s talk about his 2019 releases! Exploring a range of styles from blues and jazz to minimalism and chamber rock, Sweet Nothings (2019) followed. His strongest and most mature effort to date, Sweet Nothings is Bomethius’ stirring anthem to his own manic strain of indifference — at turns exalted and heartbreaking — tempered by restless obsessions with home, memory, and time. That isn’t the only single from Bomethius that he has completely excelled in this year. Bomethius released the single “Tornados in Dallas” days after twisters tore through his Texas hometown. A sincere folk ballad with a simple, repetitive structure recalling the early recordings of Paul Simon and Leonard Cohen, the song celebrates the mystery and power of disasters, which destroy lives even as they bind people together. Bomethius is an obvious master of his craft when it comes to instrumentation. He takes pride in being a skillful instrumentalist who curates a different story through each of his records. We promise you, you have yet to meet an artist like him before! Listen to Bomethius here. Welcome back to BuzzMusic Bomethius, we're happy to have you! What would you say is your favorite highlight of 2019? Thank you for having me, it’s wonderful to be back! Probably the highlight of 2019 was all of the interest people took in my music. I tend to just assume that people won’t really get what I’m trying to do, I suppose I’m trying to keep my expectations as low as possible. Keeps me from being disappointed when I am rejected, but it also makes it that much more exciting when someone reaches out about or reacts to my work, or wants to interview me or write about an album/single, etc. It was really shocking and exciting to see articles and podcast episodes about my work this year. I really hope that the trend continues. What was the most challenging aspect of creating your single “Tornados in Dallas”? I’m not sure any of it was challenging. I wrote and recorded “Tornados in Dallas” two days after the tornados came through so it was really just about capturing the emotions and the thoughts behind living through something that scary. I tend to write best when it’s all in the moment. I want the immediacy and urgency of my work to come through in my writing... “this needs to be written right now because I’m feeling it completely,” kind of thing. I live right off of one of the streets that were hit hardest by the storm, and it seems downright miraculous that the apartment complex I live in was ok — a few blocks of surrounding streets were just completely closed for almost two weeks; felled trees, destroyed houses and debris everywhere. I teach music almost full time, and many of my students live near me. One family, I teach for lost their whole house, others had to cancel lessons for a week or two. Many of us were without power for anywhere from a few days to a whole week... Our food went bad, air conditioning was shot, traffic was a disaster, it was just uncomfortable. The only good thing about it all was the fact that no one died, that was all you’d hear people say. During the storm, right after we lost power, I got my guitar out and wrote a piece in the dark while listening to the wind howl outside. It’ll probably appear on a future album, but it didn’t have words and words wouldn’t really suit it. I wanted to write a song (with words) about what I was feeling and what it seemed like we were probably all feeling, as a city — especially as we tried to recover and move forward. I mean, for a few hours it seemed like the world was ending in Dallas, but then we all got up alive the next day, and we had to carry on. A lot of the carrying on meant getting to know your neighbors and making sure people were ok. So it seemed to me that there were at least two good things to come of it all: we’re all still alive, and we know each other a little bit better. The storm seemed like a reminder to not take things for granted, so I tried to write something uplifting. How would you describe the arrangement you sought after with your album, Sweet Nothings? Sweet Nothings was the culmination of all of my work throughout college, and it was also written during the first year of my life as a real adult. I was on my own financially, I bought a car, I was paying rent, bills, I was fighting the administration at my school, I was entering the second year of a serious romantic relationship… I was really living life. I met quite a few important people the summer before I wrote Sweet Nothings because I was playing in an orchestra in Upstate, New York. Andrew Binder (a great jazz artist/composer) introduced me to quite a few artists that influenced the sound of Sweet Nothings, notably Andy Shauf — The Bearer of Bad News is a fantastic record. Patrick Lenz (an incredible composer) showed me some cool theory tricks that I was able to implement in a few songs, and even notated all of “Empty Promises,” the opening track on my first record, Intimatitudes. I’ve never written down a single note of my music (mostly because I’m lazy and I don’t have any patience for composition software), even my a cappella tracks are all improvised by ear, so it was bizarre and interesting to look at my music on a page. He helped me think more critically about my approach to harmony, intonation, and the structures/forms of my songs. I also met Ricky Roshell (an incredible musician), who ended up giving the (bass) clarinet performances on the record itself. Due to some shenanigans in my final semester of college, I was able to take lessons with Kevin Hanlon, the chair of the composition department at SMU. We ended up having some of the greatest conversations of my collegiate career. I took almost all of my songs to him for feedback, and then I’d bring the recordings to him. We would talk about whatever we were thinking about that week, strengths and weaknesses in our writing, the historical contexts for genres, personal anecdotes, mixing... It was just plain fun. Kevin doesn’t have any of the ego issues that most of academia is plagued with. In school, you’re either a janitor, a student, a section leader, a professor, a conductor, or an administrator. No one is ever just a human being. With Kevin, in those lessons, we were allowed to be human beings. I think I’ll treasure them for the rest of my life. All of these people were really instrumental in shaping Sweet Nothings, but ultimately I just wanted to scale back my recorded sound. As Roses, its predecessor was kinda instrumentally big. It pushed the limits of what I could really get away with given the fact that I’ve basically made all three of my albums on a budget of about $0. It also fared the worst of any of my albums. It was rejected by everyone except for one blog… A Diverse Sound has always been really supportive of my work — big thank you to Lucas Munachen! I mean, I couldn’t even get a promotional copy written for that album... I knew I needed to change my approach, and I really wanted to focus on my songwriting. I had spent a lot of my first two records trying to be as clever as possible, and it didn’t really seem to be paying off. It started to feel cheap, and unnecessary, so I decided I’d try to write songs that needed as little as possible. I knew I wanted to follow the flow of the other two albums: start the record with an a cappella, end with an instrumental or ironic twist, not have any two songs sound the same… Oh, I wanted to introduce my violin playing in a serious way. I hadn’t really had anything to say with the violin previously, so it felt like it was time. Which song from Sweet Nothings was your personal favorite and why? “My Clementine” is probably the song I’m most proud of. The poetry, the chord progression, the counterpoint in the guitar solo… I find it satisfying to listen to and to play. It feels like a valid and legitimate addition to the world’s already long list of sad breakup songs, which seems like something of an accomplishment. Did you experiment with any new elements in Sweet Nothings? Mind explaining? I think I experimented a lot with many of the elements of Sweet Nothings, but of course, that’s all relative to my previous discography. I would classify it as growth rather than “new elements.” On Sweet Nothings the lyrics were extremely personal, the progressions were generally simple, (“The Lumin,” has like 4 chords or something), the instrumentation was more varied and more carefully chosen, the recording was mostly done with a condenser mic as opposed to a USB mic, (haha, thank you Travis Carroll!) and the drums were real (thank you, Nic Wells!). I think recording and working with other people was the new element in this album. Earlier in college, I really didn’t have time for other people... I was writing what I could when I could, and I tend to be extremely introverted. So including other people in the process of this album made for the biggest change. What’s next for you in 2020, Bomethius? I have two albums slated for release in 2020: inadiquit and Seasons of Limbo. The first is a collaborative album with my uncle, Dave Hodges. He wrote the majority of the lyrics and I wrote the majority of the music. It’s completely different from anything I’ve done previous, but I think it’s my strongest work to date. I’m equal parts excited and nervous about it. I kinda felt like I had written myself into a corner after Sweet Nothings was finished, so I jumped at the opportunity to do something completely different — I hope we pull it off, haha! I also plan to follow up with another solo record (Seasons of Limbo) that picks up where Sweet Nothings left off. “Tornados in Dallas,” will be on this record, to give you an idea. It’ll hopefully be my most intimate record. I wonder how many times I’ll say that about subsequent releases before I die... facebook.com/Bomethius/ instagram.com/bomethius/ twitter.com/bomethius #BuzzMusic

Tyler Suarez is a name you must get used to hearing. Ever since this 20-year-old multi-instrumentalist from Connecticut was 4 years old, he has used music to process the world around him. Tyler’s musical atmosphere is very fluid. Creating more artistic and conceptual projects, Tyler's songs become more than just three minutes of music; They become pieces that expand on and elaborate on the themes and messages within a project. Tyler Suarez is a man with a message. He keeps himself busy writing original music but also spreads important messages through art and activism. This is a highly attractive characteristic to not only the artistry of Tyler Suarez but also his personality as well! We learned that through the riveting music and trail-blazing sound, Tyler Suarez is a human with a voice just like the rest of us. Tyler Suarez is the perfect artist who can relate to his peers and the general public, his genuine vibe resonates through his music undeniably. We have no doubt that Tyler Suarez is the next big thing who will not only enlighten his listeners but give them radiating energy through his explosive sound that will send waves through the music industry! Give a listen to the soundings of Tyler Suarez here. Welcome back to BuzzMusic Tyler Suarez! Are you a self-taught instrumentalist? Did you ever take professional classes? You are amazing! Hey! Thank you for picking my brain again and including me in your “Best of 2019.” Honestly, I can’t remember a time when I didn’t have an instrument in my hands or music in my ears. At the age of four, I was drumming on pots and pans on my Grama's kitchen floor and strumming plastic Wiggles guitar toys in the living room. My family saw this musical drive trying to escape me, even that young, and took me to an old music store called “Daddy’s Junky Music.” There I got my first guitar, and never put it down. After that, my Mom looked into private guitar lessons for me. I took 12 years of private lessons with the same guitar teacher, starting when I was just six. I was able to learn a lot of music theory and exponentially sharpen my playing skills over the years. For the past 3 years, I have been studying Music Education at the University of Bridgeport. The guitar is the only instrument I have had lessons in, everything else I have learned on my own. From drums, bass, and piano to songwriting, production, and recording. That is something I am very proud of. Do you try to include your hope for change through your music? If so which songs would you say best represents that? There are a lot of uncertainties in life, but music is the one thing that is constant and can bring people together, communicating nonverbal messages, and truly has the power to change the world. There are only so many things you can say with words, and only so much someone can understand your message through those words. Music transcends the constraints of everyday life places upon us and connects people in indescribable ways. I believe if an artist is honest and creates music for themselves, and for no other reason, that manifestation of feelings formulaically can tap into the listener’s soul. A lot of music nowadays is not created in this way. The top 40 charts are a graveyard for genuineness. I do not care if anyone even listens to my music. I create for myself, and if other people can connect to it then it makes the whole experience 100 times better. The song, “I’ll Let You Know” off my most recent album, “I Don’t Feel at Home” is probably one of the most reflective and personal songs I have written. The mantra “honesty is the best policy” is spot on. With my heart on my sleeve I explain, “when I figure out who I am, I’ll let you know.” Talk to us about your EP “Exit 26”. What was the biggest challenge in creating this project? Most musicians are the same way, but personally, I am a perfectionist and still to this day I feel like I don’t know how to play music. I know that is a ridiculous thing to say but there is just something inside of me that is never fully satisfied, and I feel like that is what keeps me creative and creating. I am constantly trying to improve and grow as an artist, and as a person in general. With this EP nothing was necessarily challenging, besides trying to make the songs as important as the people they are written for are to me. Every new project is an adventure for me, mentally, physically and creatively. What would you consider your favorite song from “Exit 26” and why? Each song on “Exit 26” has a special spot in my heart, it is hard to pick one as my favorite. The first track, “All We Have” is written for and features my 9-year-old little brother on the piano and backing vocals. This song is a message for his future self and is the main point I wanted to get across in this EP, “...all we have is family, you and me and music.” “People” is the second track and is written for my role model and hero, my Pop. That song speaks for itself. Another song that speaks for itself is “Do We Exist (Interlude).” If I had to choose, that would be my favorite because it preserves the voices of the people who are essential to my life. “You Two” is written for my Mom. The biggest thing I want for everyone in the world is to find happiness, my Mom especially. I have truly found happiness, and that is all because of my girlfriend. “My Love” is dedicated to her. The lyrics are formed from a poem she wrote to me for Valentine’s Day, and if you listen closely you can hear her singing some background vocals. To wrap up the EP, “The Journey” communicates the lesson my Grama has instilled in me. I can’t even count the number of times she has said “it’s all about the journey,” and I have begun to live my life by that. How would you describe your songwriting approach towards most of the songs on “Exit 26”? Any specific theme this project had? That is one of the most asked questions I get, and it is always the hardest to answer. This may sound cliché but most songs, I feel, write themselves. One thing I never want to do creatively is forced a song to be born. With “Exit 26,” each song felt like it needed to come out. That is what usually happens and why I just continuously release music but, this EP especially is super meaningful and personal to me. The whole theme behind it is family and each song focuses on and is written for, someone important to me. I try and parallel the connection family provides with the clarity music does, embodying the lessons I have learned, things I have always wanted to say and the guidance I have been given in the form of a down to earth, reflective 6 song EP. What are you looking forward to in 2020 Tyler Suarez? What can we expect from you in the new year? There is something within me that doesn’t feel complete without creating. Whatever the vessel may be, playing live in bands, writing and releasing my original music, making music videos or organizing events, I need to be doing something! So, I have constantly been creating since my freshman year of high school, and I don’t plan on stopping anytime soon. For 2020, I am starting the year off right. At midnight on December 31st, I am releasing "GENESIS," a collaborative EP with one of my best friends and the most amazing musicians I know, Brenton Morrison a.k.a. TRAXX (https://soundcloud.com/beatzbytraxx). I also have another solo album in the works set for the summer of 2020. So, be on the lookout for all of that good stuff! ...and maybe more, who knows :) facebook.com/tylersuarezmusic instagram.com/tylerrsuarez twitter.com/tylerrsuarez #BuzzMusic

Tie Bond started off as an athlete but eventually fell in love with music. Tie Bond has always had a love for making music and looks up to the artistic offerings of Wiz Khalifa, Raine Maida, and Drake. Tie Bond recorded his first professional single "Palm Trees" in Toronto, working with music engineer Myer Clarity. He then went on to shoot and release the "Palm Trees" music video in the summer of 2019, with Director Chris Cordova. Tie Bond recently stayed a month in Los Angeles, working with various artists from the popular group Taylor Gang, recording new music for an early 2020 release. We had to recognize the tough work-ethic and fruitful conduction of his music that resonates highly well with the listeners. Tie Bond knows how to reel you in with his refreshing melodies and refined beats that give him an upper hand on the competitive music industry that’s taking over right now. The way he ensures he remains constant and relevant is by changing his sound with each release. With the release of “Palm Trees”, Tie Bond hoped for an exclusive visual experience from the perspective of the listener. Tropical and refreshing elements are staples to Tie Bond's sound, and we know that he'll be able to transcend further as an artist using these elements throughout 2020! Listen to "Palm Trees" here. Welcome back to BuzzMusic Tie Bond. Tell us, how was living in LA for a month? What kind of inspiration did you get from the trip? Thanks! It was great to be out there working & experiencing LA. I gained a lot of inspiration & knowledge from the people I worked with, on how to further my career for 2020 and take it to the next level, by getting in a strategy session with Nicole Tiovanni, Pierre Balian & Loody boy from Taylor Gang, to being in studio with Pierre/Loody recording a whole EP & planning for 2020. Talk to us about your single “Palm Trees”. What was the vision you had for this record? While writing this record, I always had the vision to shoot a music video. So that helped the process of writing it & making it come so naturally & I also wanted to give people a really dope summer/celebration song that is different & timeless. What was your favorite element in the production of the video to “Palm Trees”? What was it about this element that you favored? My favorites probably the evening scene with the malibu sunset in front of the pool & The all-white scene inside the Picasso Of Malibu. Because of just how it looks & connects on camera & never thought that my music would get to a point like this from being in such a small town. What were some of the challenges you had to overcome making “Palm Trees”? I guess just writing the verses & making it a relatable/dreamy/luxury upbeat song for everybody to enjoy. & once it was finished I knew I had made something special. How would you describe the songwriting approach to “Palm Trees”? The approach was to just make an upbeat, summer/celebration record, that could be played anytime. And the more I got into it, the more naturally the lyrics came to me. What’s next for you from an artistic standpoint in 2020, Tie Bond? I got a new single + video coming, followed by an EP. & my debut album which will be released later in the year. I'm going to start doing more shows in my city & surrounding areas & take my career to the next level. instagram.com/tiebond/ twitter.com/Tie_bond8 #BuzzMusic

Toronto, Canada - the city that has brought us the monstrous artists such as Drake, The Weeknd and now we are graced with the presence of Michelle Mondesir. The R&B artist is making waves with her self produced and mixed music, which is very tasty to the ears! “Sunday Sun” eases in with light percussion, then the powerful synth lead and vocals come in and you’re already basking in the glow of the track. Her voice is extremely soft and the vocal performance is absolutely flawless. I wish I could say I could compare her vocals to someone, but I can’t. They feel unique and familiar at the same time, which is all any artist could really ask for. “Hoping the sun keeps shining” Michelle expresses. “Nothings going to hold you back”, this is a song of hope and love. The song clocks at 3:39 and it feels right. This music is easy listening and you can show anyone in your life, any moment and impress them. There’s no guess here, Michelle Mondesir can have it all. Be sure to keep on the lookout for more new music and listen to “Sunday Sun” every day of the week. Listen to "Sunday Sun" by Michelle Mondesir here. “Sunday Sun” is your 17th release of 2019. Was this part of your “Music Monday” efforts? Actually it wasn’t, Music Mondays ran from February 2019 - July 2019 where I released 15 tracks. But of course, the creativity never stops lol and I wanted to keep sharing what I was working on so, I released “Give Me All Your Lovin’” on November 1st and my latest release “Sunday Sun” this past Monday,  Dec 9th. Why is it important for you to be self-produced? Have you had too many negative experiences working with other producers? Haha, I wouldn’t exactly say it’s important to be self-produced as I’m definitely always open to collaboration. I haven’t had the opportunity to work with many other producers as yet. I actually just love producing. I started partially out of necessity and it turned into a huge passion. I enjoy being able to conceptualize a song from beginning to end. I have a load of unreleased instrumental music because I’m always in my studio messing around with the sound design and "nerding out" with new production tools and toys. Toronto has given us such amazing artists, do you draw any influence from the Toronto R&B scene? Yes! I love so many Toronto artists.  I grab inspiration from everywhere and Toronto artists are definitely a part of that. I grew up listening to major acts like Deborah Cox, Divine Brown, Melanie Fiona, K-OS, Jully Black and more recently Daniel Caesar, Alessia Cara, and Jessie Reyez.  And newer up and coming artists like Anders, Nav, Charlotte Day Wilson all have their own sound. If you could collaborate with any artist, who would it be and why? That is probably the hardest question you could ask me because there are so many! I’ve been a long-time admirer of Erykah Badu, her vibe and creativity are inspiring. I’d love to have the opportunity to work with Canadian legend David Foster because of his beautiful songwriting and arranging. As far as newer artists, I’m really enjoying the creativity and talent of H.E.R. As far as producers, I’d be honored to work with Timbaland and Boi-1da one day because they’re dope at what they do and have their own unique and unmistakable sound. And I’d also love to write songs for talented up and coming singers. Any final words for your fans? Any new music coming out? I want to start by thanking you guys at BuzzMusic for taking the time to cover my music, it truly means a lot to me that you're digging it. Also, thank you so very much, everyone, who’s taken a moment to listen to my music especially my 2019 works as there is nothing more important to me, aside from the ability to create, than sharing those creations. I’m currently working on music for an LP I’ll be released in 2020 as well as many more solo shows and shows with my Alt-Rock band Madame Psychosis. Happy holiday season! instagram.com/michiemondesir/ #BuzzMusic