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Los Angeles loves a good soundtrack, and Romanian hitmaker Alex Parker plus Bermudian singer-songwriter Matthew Bento just delivered one tailor-made for golden hour. Their new collab “Day Drinking” is sun-soaked indie pop with a splash of yacht rock, indie folk warmth, and retro synth sheen, the kind of track that feels like sipping a cold spritz on a rooftop, half-buzzed and weightless. Built on playful guitar riffs, groovy basslines, and a Schlager-style “la la la” post-chorus, “Day Drinkin” floats like an endless afternoon on Sunset Blvd. It’s a toast to hazy memories: patio bars that blurred into beach dives, laughter spilling louder than the music, and a connection that made the whole city fade away. For Parker and Bento, this single isn’t just about nostalgia; it’s about bottling LA’s fleeting intimacy. As Bento explains, “Day Drinkin’ is about a bittersweet mix of nostalgia, anticipation, and missing those carefree afternoons… It’s a reminder to slow down and make room for those simple moments.” The pairing feels effortless. Parker, the LA-based Romanian producer with over a billion streams, Gold and Platinum discs, and collaborations with Grammy-winning teams behind Kendrick Lamar and Hozier, brings the glossy hooks and crisp production. Bento, Bermuda-born and LA-based, balances that sheen with soulful indie-pop vocals shaped by island rhythms and folk-inspired storytelling. With sync credits across Google, Samsung, Amazon, McDonald’s, and UFC, his voice is already familiar, even if you don’t know his name yet. Together they’ve crafted something that’s both brand-ready and emotionally resonant. You can already imagine rooftop bar playlists and seltzer ads snapping it up, but it’s heartfelt enough to stick with you long after the buzz wears off. “Day Drinkin” is more than a nod to alcohol; it’s a metaphor for connection in a city that never slows down. The track feels nostalgic without being dated, playful without being shallow, and romantic without sinking into cliché. It’s modern retro done right, perfect for brunch playlists, poolside hangs, and late-night drives when you’re missing somebody you shouldn’t. With “Day Drinkin,” Alex Parker and Matthew Bento capture LA’s hazy, bittersweet charm in a three-minute escape. Carefree, sunlit, and just a little melancholic, it’s the kind of single that makes you remember not just who you were with, but exactly how you felt. And honestly? Who doesn’t love a happy hour anthem? "Day Drinkin" is such a vivid metaphor, both fun and bittersweet. Was this inspired by a specific memory, or more of a collective vibe of LA life? Alex: For me, it was more about the slight buzz, carefree energy, and youthfulness. My favourite music I make is the kind that's made for the fun of being in the studio, enjoying the process, and being surrounded by great talent and fun gear! This is how it started for me, since I picked up the keyboard I received when I was six, and this is how I try to preserve the process - a good-vibe recording! Matthew: Day Drinkin' came about naturally when you're in a sesh and get cool melodies and ideas floating around (with a little bevvy). Being from Bermuda, we have a party culture, especially day drinking on the beach, so it fits perfectly with the ambiance of LA, too! You've played festival mainstages across Europe. Matthew, you've scored major syncs for brands like Google and Heineken. How did your two completely different paths collide for this track? Alex: Our paths crossed one year ago in a random studio session. We enjoyed the process and dynamic so much that we stayed in touch, and over time, we've built a fresh catalogue of great stuff. Matthew: My boy from London, Zeeko, and I had a session with an artist that Alex was working with. We meshed really well in the session and kept in touch while Alex was moving here full-time. Since then, we have had great chemistry in the studio and have just been linking up ever since! Building up the music vault for other projects and artists in the pipeline…. The track has this retro yacht rock flavor but still feels fresh and modern. How intentional was that throwback vibe versus just following where the music took you? Alex: What started as a jam session later evolved into a particular sound-design work of art. The main melodies, guitars, and grooves were where the music took us, and then we delved into the flavors. Matthew: It was just a natural vibe. Alex picked up the guitar and started jamming to some drums I had started. Then he laid down that sweet bass; the top line came easy. Once we knew it had the potential to be a banger, we locked in and dove in deep with production and vocals, etc. Yacht rock was such a dope era too, those smooth vibes work in every party! Day drinking is often about letting go of stress and being in the moment. What does slowing down and finding joy look like for you now, outside of music? Alex: For me, it's photography, fashion, reading a good book, and working on becoming a better man. Matthew: When you're surrounded by good friends and family, with all the most righteous energy, you can really flex and chill, talk about life, or just be! I picked up golf over Covid, like a lot of people did; so I put on my Bermuda roots reggae playlist, sip a little something, and play 18 holes! Instant stress relief!  This track screams sync potential, beach bars, rooftops, brunch playlists, and even seltzer ads. Do you see yourselves leaning harder into brand collabs and lifestyle tie-ins moving forward? Alex: I strongly believe Day Drinkin' has a great HIT potential and with the right timing and right people around it, this song could become evergreen! Matthew: Yeah, I've done quite a few beverage brands, including most recently Heineken and Mahou Beer, with some other brands in the works for this song. An LA-based company would be the perfect match, especially with a campaign of that cheeky day drink, whether at a party, a business lunch, or brunch!

CREDIT: REESE VAN RIPER We caught up with New Jersey's own Reese Van Riper to dig into their explosive new release, The American Dream . Our conversation hit on everything from the song’s raw, rallying spirit and its swampy, psychedelic grit to the Hunter S. Thompson–inspired chaos fueling the sound. Reese opened up about working with longtime friend Kevin Antreassian to push the record’s intensity, and how director Mike Diebold helped bring a surreal, protest-fueled nightmare to life in the music video. We also got into the band’s relentless creative drive, the difference between crafting this project and their massive 30-song trilogy, and what fans can expect both onstage and in the wild new projects already in motion. Hey Reese, stoked to connect! “The American Dream” feels like both a rallying cry and a haunting mirror. What first sparked the idea for this song, and when did it feel like it had to be the title track for the album? I came up with the idea a few years back, I thought it would be great to use that title, poignant, Reese Van Riper The American Dream, The American Dream Reese Van Riper. As the process of writing, then later rehearsing with the band, it really became a rock and roll rallying cry but really fun. There is a lot of division in our country right now, seems the nation is hyper focused on what’s destroying us and completely ignoring what will save us. Friends and family members choosing different sides ruining relationships all while forgetting they’re fanatical over two wings on the same dang bird. A bird that’s methodically poisoning, bankrupting and exploiting them until they toss them in the can or they die. I was sick of being ignored when talking to people about it so i decided to start screaming about it. The single really blends swamp grit, psychedelia, and that raw rebellious streak you’re known for. Were there particular artists, films, or even real-life moments that fed into that sound and energy? "The American Dream" definitely has that Hunter S Thompson GONZO vibe, visual and absurd reporting to it. Musically I’d say my love for Every Time I Die really shines through in this one along with the mind of Nick Cave’s Grinderman and the gruff attitude of Tom Waits. Other inspirations- just turn on the news, whether it’s now or 20 years ago there is plenty to they push you to be angry about, plenty of boogymen to fear and ultimately quota’s to meet. You’ve teamed up with Kevin Antreassian on production. What was it like working with someone who’s got that Dillinger Escape Plan pedigree, and how did he help shape the record’s intensity? Working with Kevin was a 100% no-brainer for this album. He and I had been friends for a very long time and i have recorded with him for other friend’s albums. So knowing this was his wheelhouse, we knew he would really bring the best out of tracks like "The American Dream" & "Forever." While also doing an incredible job making the country ballads "Alcohol & Women" and "Black & Blue" shine through the mix adding a clean yet rustic finish to the album. It was easy handing the keys of the car over to Kevin and we had a great time recording at Backroom Studios. The video directed by Mike Diebold has such a surreal, almost grindhouse-meets-protest-film quality. What conversations did you have with him about bringing the “patriotic nightmare” vision to life? This kind of video is Deebs’ specialty. we briefly discussed a main idea and theme yet he came up with an idea of fat Reese sitting in a room covered in fries and cheeseburgers with like 10 TVs stacked on top of each other and each tv playing something different. Which I believe is absolutely perfect for today’s MKULTRA attention span. Instead of seeing one image, one video on the screen you see about four or five at a time. Each Screen has its own Easter eggs so the viewer can go back and see things they never saw the first time. Which was genius on his end. He’s been the 6th member of RVR for the past couple years and we hope to put out a dvd of all the shows, recording sessions and antics for this holiday season. There’s some pretty heavy imagery in the video, from poisoned food to media rage to fear. Was there a particular scene or symbol that hit you hardest when you first saw it onscreen? Yup lot of heavy imagery all truths the mass sometimes doesn’t want to see remember or admit to. from the JFK assassination to bombs dropping over Afghanistan. from ceo assasinations to alf and Ronald McDonald in a classroom teaching kids. In this country and our culture it’s all about ratings. And baby they’re booming. When Deebs (Mike Diebold) played this video for us the first time we were at a band bbq and hadn’t expected the intensity that was gonna come from it. We wound up watching the video about 5 times trying to take in all the images, commercials and seeing just how much we could get away with showing the masses. Your last massive undertaking was the 30-song trilogy Sinners, Saints & Psychopaths. How did the scale and headspace of The American Dream compare to building that kind of epic saga? Creating Sinners, Saints & Psychopaths was the most challenging, most fun and most proud I had ever been on any of our projects. Releasing 30 songs within less of a year and have them all be not only good but fit a concise story was a Herculean task. I consider it the band’s Magnum opus. writing and creating The American dream was a literal dream compared. a quick ep with 5 solid songs. With a producer we knew could not only bring our vision to reality but bring out sound to next level. It was fun to record, the song struckers were set up and we were prepared for the studio so it was an easy process. I think that translates thru the listening experience too. You’ve built a reputation as one of New Jersey’s most prolific bands with seven records and 65 songs through Mint 400 since 2019. How do you keep that creative fire burning without burning out? Reese Van Riper is my family legacy. there is no stopping or slowing down. I was raised that if I am breathing I am singing, if I am alive i am creating. Not always just relegated to music. other projects like podcasts about an addicted mouse detective named Shrouzberry , to vintage horror radio shows i host and script on radio garden state. All count as creative outlets. The trick is to never put the pencil down. if you’re getting burnt out on one creative outlet, move to another. Start drawing mice, start writing poetry, don’t just stop. It’s hard to get a tractor out of the mud after its been sitting for a few months. Fans know Reese Van Riper for the live energy. How do you see these new songs translating to the stage, especially with their mix of swamp blues, psychedelic chaos, and straight-up rock anthems? So far playing these songs live has been absolutely electric. There’s so much energy that comes out of us when we play them. Guitar twirling, head slamming, stick twirling, keyboard blaring, the bass is inside your throat. The response we’ve received from our fans at shows are whats keeping them in the set for quite some time to come. Even the country ones like alcohol and women are connecting with that 10 gallon hat, bourbon sipper at an empty bar in all of us. Beyond this album, are there other projects or directions you’re itching to explore, whether visually, sonically, or conceptually? Well beyond this album we are currently compiling a DVD of our shows at Prudential Center, White Eagle Hall and a few others venues, along with an in studio “behind the album” and a bunch of music videos we are starting to shoot for other tracks on the album like Alcohol & Women. We hope to get that out in time for the holidays. We start working on more music and touring in spring of ’26. Other projects we are dabbling with a metal project called “We Are Sick” which are the members of RVR but strictly metal and I hope to have more episodes of my podcast Maple Maurez Shrouzberry: Professional Mouse Detective out in 2026. I’m sure there’s more I’m missing but stay tuned to see. Before we wrap up, is there anything you’d like to say directly to your fans as they gear up for The American Dream era? Strap in, light some fireworks and crank it. You ARE The American Dream! Enjoy! Follow RVR here !

Alessa XO isn’t out here chasing trends; she’s building galaxies. The multilingual pop/EDM artist just dropped her latest single JUPITER, and it’s a full-blown cinematic trip through love, longing, and emotions that feel too heavy for Earth to contain. Raised in Austria and now splitting her time between Europe and New York City, Alessa XO brings global perspective into every track. And yes, she really does write every lyric herself. Add in her acting background, three academic degrees, and fluency in four languages, and you’ve got an artist who’s redefining what it means to be independent. On JUPITER, she channels the gravitational pull of passion—its beauty, its chaos, its ache—into lush soundscapes that feel both intimate and otherworldly. Written in the solitude of the pandemic, the single explores how love can orbit your every thought until you surrender to it completely. The video, filmed against the sweeping backdrops of Austria’s Wörthersee, turns that vision into a visual escape. Alessa XO has already headlined the World Bodypainting Festival with her anthem We Are One and earned recognition for haunting tracks like Neverland. But JUPITER is her most ambitious release yet—ethereal and cinematic, yet still grounded in raw human emotion. “I hope listeners feel the gravity of love in all its intensity—the beauty, the longing, the vulnerability—and are reminded of the power of connection, even when we feel distant from each other,” she shares. With acting projects in motion, brand collaborations on the horizon, and even a potential book about her life between Europe and New York, Alessa XO is clearly building more than a career. She’s building a legacy. JUPITER feels massive in scope but so personal at the same time. How do you balance cinematic storytelling with keeping it raw and real? Thank you — that balance is essential to me. I’ve always been drawn to cinematic music that transports you somewhere bigger than yourself, but I also never want to lose the raw humanity at the center of a song. With JUPITER, I leaned into this duality by writing lyrics that are deeply personal and vulnerable, while wrapping them in a larger, almost otherworldly soundscape. The production feels expansive, almost cosmic, but the emotions — longing, love, gravity pulling you toward someone — are very real and intimate. I think that’s where the magic happens: when listeners can get lost in a cinematic journey, but still feel like the story is speaking directly to their own heart. You’ve lived in Austria, London, Madrid, Italy, and New York City. How do those cultural shifts show up in your music? Do you notice little traces of each place in your sound? Absolutely — every place I’ve lived and studied in has left its mark on me, both as a person and as an artist. Austria gave me a grounding in classical beauty and a love for nature’s stillness, London opened my ears to innovation and the boldness of pop culture and live performance, and Madrid brought rhythm, warmth, and passion. At the same time, Italy infused me with a deep appreciation for art, drama, and storytelling. And then, of course, New York City — that was where I truly found my voice. Moving there at 18 for acting school was a turning point. The city’s energy, diversity, and relentless pace taught me resilience and gave me the courage to build my artistic journey completely on my own. When I listen back to my songs, I can hear little traces of all these places — a cinematic mix of cultures, emotions, and perspectives that I carry with me wherever I create. Every song you’ve released is self-written. What does complete creative control mean to you in an industry where so many artists feel pressured to hand it over? Complete creative control means that every lyric, melody, and visual starts from an authentic place within me. I write all my songs myself, so the foundation of my music will always carry my voice and my truth. At the same time, I don’t live in a bubble — I collaborate with amazing producers, creatives, and industry professionals whose opinions I deeply respect. Even though I’m not signed to a label and no one dictates my direction, I value feedback and remain open to suggestions that can elevate my work. For me, it’s about balance: protecting the soul of my vision while also recognizing that collaboration and outside perspectives often bring a song or a project to life in ways I could never achieve alone. That dynamic keeps my art honest, but also evolving. You’ve built everything independently, from headlining festivals to financing your own projects. What’s been the most challenging part of doing it on your own, and what’s been the most rewarding? The hardest part of building everything on my own has definitely been carrying all the responsibility — financing projects, producing visuals, and managing every detail without the safety net of a label. For the longest time, I was also scared of being judged for choosing a path so different from what most people back home were doing. That fear of standing out sometimes weighed on me, but ultimately, it pushed me to stay true to myself. The most rewarding part is looking at how far I’ve come. Hearing my songs played on the radio, seeing them featured online, and reading articles about my work — the same way I once followed artists I admired — is surreal. On top of that, going to auditions for film and TV, seeing my name connected to projects on IMDB, and expanding my artistry into acting again have been huge milestones. Building connections and collaborations in New York City and being able to create freely on my own terms make all the challenges worthwhile. Every step reminds me that I’ve built this career by myself, and that’s something I’m incredibly proud of. With music, acting, and even a book in the works, your vision is clearly bigger than just one lane. What do you want people to ultimately know about Alessa XO when they look back years from now? When people look back years from now, I don’t just want them to remember me as a singer, actress, or writer — I want them to see Alessa XO as a global brand and a movement. Everything I create, whether it’s a song, a role on screen, or a book, comes from the same place: a need to tell stories that resonate universally and connect people across borders. I want to be remembered as an artist who wasn’t afraid to take risks, to build everything from scratch, and to do things differently — even when it meant facing doubts or standing apart from the norm. My vision has always been bigger than one lane, and I dream that Alessa XO continues to grow into an international platform where music, film, fashion, and storytelling meet. Ultimately, I want people to say: ‘She created a world where art had no boundaries, she connected cultures, and she made us feel something that will last.

Los Angeles may be overflowing with talent, but every so often, an artist cuts through the noise with something that feels like a gut-check. That’s what Darienne Savoy does on her latest single, “ In Too Deep .” Savoy grew up in Waldorf, Maryland, and started penning songs at just nine years old, using music the way most of us use a diary. Now based in LA, her approach hasn’t changed; she still bleeds honesty into her work, but she’s sharpened it into something that feels both deeply personal and universally relatable. Her debut project, Work Of Art: Exhibit A, is built around hurt, healing, and reclaiming power after abuse. “In Too Deep” is the first piece of that story, and it doesn’t shy away from uncomfortable truths. The track lives in the tension between desire and damage. Darienne sings about wanting to open up to love while dragging the weight of past trauma. Lyrics like “Truth be told, it ain’t easy to love. Broke my own heart more times than enough” don’t sugarcoat the fear, but paired with smooth, sensual production, they land even harder. Lush harmonies pull listeners into Savoy’s inner world, where every thought echoes with longing and hesitation. Then comes the curveball: a saxophone line from Evano that slides in with warmth and intimacy, adding texture without overcrowding the space. By the time the final a cappella chorus lands, it feels less like a fade-out and more like an exhale—a reminder that the vulnerability is the point. This isn’t just a breakup song or another moody R&B slow burn. Savoy is carving out a safe haven for anyone who has wrestled with vulnerability and still chosen to show up for love anyway. That’s the power in “In Too Deep.” It doesn’t wallow; it resonates. She’s not asking you to just listen, she’s asking you to feel seen. And if you’ve ever been scared to love again, you’ll find yourself right there with her, floating in the groove and wincing at the scars. Stream “In Too Deep” now and keep up with Darienne Savoy on Instagram and TikTok. Work Of Art: Exhibit A is only getting started, and if this track is any indication, she’s not holding back. “In Too Deep” captures that push-and-pull between wanting love and fearing it because of past scars. What was the most challenging part about translating that internal conflict into music without holding back? The most challenging part was finding a balance between expressing the emotion candidly and incorporating it into the groove I envisioned for the song. I wanted to create something with “In Too Deep” that was honest and raw, but that had an upbeat tempo to it and elements of soul. I always start my writing process by just getting all of my thoughts and feelings out, almost like I’m journaling, and then circling back to give it structure and a melody. I did that with this record, and for me, trying to find a catchy/groovy chorus and hook that still felt truthful and intimate was what took some time. I went back and forth with different versions of the song, and it got to a point where I had completed everything but a chorus to tie it all together. I was backstage at a show for my job, and during intermission, the lyric “Truth be told, it ain’t easy to love” came to me. I immediately sat down and started writing it out, and by the end of intermission, I had completed the whole song. I think taking my time with this one was definitely worth it. I wanted to handle such an intimate and real emotional struggle with care, while also creating a sound that people could vibe with and groove to.  You’ve described your music as a diary, deeply personal, almost like pages you’re letting the world read. How do you balance protecting your own healing process with exposing that vulnerability to listeners? Interestingly enough, a big part of the healing process has been letting my vulnerability show and allowing myself to release it in my music! I definitely think it’s essential to have a balance between personal healing and reflection and what goes on paper at the end of it all. A lot of what I write happens after taking needed time to process everything myself, because I always want to approach it from a place where I’ve been able to begin the healing process at least, so that I feel comfortable sharing it openly and honestly. But ever since I knew what music was, music has always been a healer for me, and I’m so blessed to be able to express myself in that way/to have supporters who see me in that way and embrace it fully. It really goes hand in hand with healing, I feel.  The saxophone and vocal layering add such a distinct emotional weight to the track. What made you decide those elements were essential, and how do they represent what you were feeling while writing this song? Right when I began working on this project (back in late 2023), I knew immediately that I wanted the saxophone to be included in at least one song. It’s my favorite instrument in the world, and it evokes a nostalgic and intimate feeling in me whenever I hear it. I’m always taken back to being in my hometown (Waldorf, Maryland), sitting out on the water somewhere with my family or walking around the harbor and hearing a saxophonist playing on the streets nearby. While working track by track with my amazing producer, Noriko Olling, we both decided it felt best to add saxophone to “In Too Deep.” It brings out the intimacy and vulnerability that I wanted to express most in the record, while giving it that certain soul and groove that felt essential. The song, starting with saxophone and piano and transitioning into a more synth-based sound, to me, represented the push and pull we mentioned earlier, wanting to embrace love while battling that fear and anxiety.  As far as vocal layering goes, harmonies are such a prominent part of everything I create, so it felt proper and necessary to have them in this track as well. I got the idea to have the staccato sound on the layers in the chorus in hopes that it would give it the feel of a pulsing heartbeat, and with each lyric, I wanted to come up with an idea for the layers to resemble the feeling behind it in that same way. To me, vocal layering gives a song so much life, and can truly set the scene you’re wanting to create within the music. That’s what I wanted to do with this record, and what I try to do with every one of my songs, on this project and beyond.  “In Too Deep” is the first piece of your debut project, Work Of Art: Exhibit A. How does this song set the tone for the rest of the album’s journey through hurt and healing? This song is right in the middle of the project as a whole and opens the door to the vulnerability explored and the story being told through the project. Listening to the album in order, you hear a thorough storyline. The beginning dives into the hurt, while this middle section of the project is me acknowledging the effects of that hurt and craving a sense of healing, but understanding that it is anything but linear and takes time. From there, we enter the healing process, which is further explored toward the end of the record and even more so in Exhibit B. To my friends and family, I’ve been calling “In Too Deep” a glimpse into the gallery, because it sets the tone in all ways for what’s to come- sonically, visually, and emotionally. You’ve said you want your music to be a haven for listeners. What does that look like for you personally? When has music been a safe haven in your own life?   I have always said that music is a universal love language, and I’ve always wanted my music to provide people with that comfort in knowing they’re not alone in how they feel. To me, music as a safe haven is the music you turn to in the midst of the chaos in the world. To feel joy, peace, and a sweet escape, or to connect - in any case, it’s a haven for the listener when it brings about that feeling. I first got into music by listening to Michael Jackson, Alicia Keys, and more with my dad growing up. I still remember listening to “The Element Of Freedom” by Alicia and some of Michael’s greatest ballads as a 9-year-old girl, because the music was so much more than pleasing to the ear. It moved me and made me feel complete/at such peace and ease. It brought about a feeling of comfort to hear these artists tap into such vulnerability and authenticity, as seen in “Childhood” by Michael or “Wait Til You See My Smile” by Alicia. I felt connected by way of the music, and when I began making music professionally, I did so with the goal in mind to create that same feeling. In releasing my last single, “Good In The World”, the response to it showed me how much of a superpower vulnerability is. It’s what makes music timeless, and so when I think of music as a haven, I aspire to create a world where my listeners connect as their truest selves and feel safe in their most authentic light.

London-based international pop powerhouse IVY is turning up the heat with her latest single “Corvette” , a bold and unapologetic electropop anthem that cements her as one of modern pop’s most fearless rising stars. With a glossy, club-ready beat and visuals that ooze confidence and allure, “Corvette” is more than a song — it is a statement of power, style, and self-assurance, proving that IVY is here to dominate both playlists and global stages. “Corvette” feels like a powerful declaration of confidence. What inspired the energy and attitude behind this track? “Corvette” came from this place of wanting to take control. It’s sleek, unapologetic, and a little dangerous—like driving fast at night with the top down. For me, it was about stepping fully into my power, letting the flirtation and confidence take over, and not being afraid to own that energy. The video’s choreography by Claudimar Neto brings a striking visual edge. How vital was dance and movement in telling the story of this single? Movement was everything for this song. “Corvette” has this pulse that makes you want to move, so I knew the visuals had to capture that. Claudimar brought in that sharp, sensual choreography that really amplified the story. It wasn’t just about looking polished—it was about embodying the confidence and attitude of the track through every move. You’ve evolved from bby ivy into IVY. How does this new era reflect who you are as an artist now? The transition into IVY has been all about fearlessness. bby ivy was me figuring things out, almost hiding behind the “bby” in the name. Now, with IVY, it’s bold, and it's about embracing chaos, confidence, and reinvention—without apologizing for it. You’ve already performed across major international festivals and tours. How do songs like “Corvette” translate to the live stage experience? On stage, “Corvette” just hits different—it takes over the room and gives me space to really perform. I want the crowd to feel that rush, like they’re in the passenger seat of something moving fast. With Rolling Stone, Notion, and Subbaculture already spotlighting you, how do you see your momentum shaping the next chapter of your career? I see it as fuel. Having that kind of recognition so early on is validating, but it also pushes me to go bigger. The next chapter is about expanding the world of IVY—more music, my first full EP, and more shows across Europe. I feel like this is just the beginning, and I’m hungry for what’s next.

Sacramento’s own J Kent has always been about more than music. With millions of streams under his belt and a reputation as a songwriter, singer, rapper, and executive producer, his grind has been undeniable. But with his latest single “ Woosah ” featuring Ronnie , Kent delivers not just a track but a movement. From the jump, “Woosah” stands out as an anthem built on positive energy. The production is lush and hypnotic, leaning into a trance-like groove that wraps around listeners with infectious wordplay and a hook designed to live rent-free in your head. While most hip hop cuts right now are hyper-focused on flexing, Woosah cuts left, aiming instead to create joy and community connection. The record’s title says it all. “Woosah” is a cultural call to pause, breathe, and center yourself. It is more than a chant; it is a lifestyle shift. J Kent crafts it as a universal sound, something that can play at the club, at a family BBQ, or even during your late-night headphone sessions. It is versatile, catchy, and deeply resonant. What makes this release even more powerful is its meaning beyond the music. Kent ties Woosah to a real-life cause, his manager’s wife, Jacqueline Casanova, who is battling the rare spinal disease Syringomyelia. Through this campaign, the single becomes a vessel for awareness, solidarity, and action. This is artistry at its purest: creating something that slaps while also making a difference in real lives. With over 100K streams in the first 48 hours and a viral dance challenge already spreading thanks to influencer ImjustKhy, Woosah is quickly becoming a cultural firestarter. It is proof that independent artists with vision and heart can break through the noise and build legacies. For J Kent, this is not just another notch in his catalog; it is the beginning of something bigger. He is carving out his lane as an artist who blends entertainment with impact. As he puts it himself: “This is a humanity thing.” Woosah is fun, real, and here to stay. “Woosah” feels both fun and deeply purposeful. How did you balance those two elements in the creative process?  We balanced the record by doing exactly what it called for, showing what it’s like to have fun on a record as well as embodying a character in building a certain world for the community to understand and enjoy.  You have built millions of streams independently. What does this release mean for you in terms of your career evolution?  It simply means continuing to work hard. Focus on your passion and let all the blessings enter your doorstep. Definitely taking new heights and expectations with a massive record release and campaign push as well.  Can you talk about the decision to tie  Woosah  to a cause as personal as Jacqueline’s fight with Syringomyelia? The decision was very easy. This is a fun, easy-going, uplifting, and positive record with songs like this. It’s very smart and important to create a side of awareness for a much deeper meaning. Using my platform to make a difference and help others' lives is what it’s purely about. The song already sparked a viral dance. Did you anticipate this movement taking off so fast? Honestly, we didn’t know what to expect, but everything just started to fall right into place and happened so organically, definitely a blessing!  What do you want your listeners to feel or remember when they hit repeat on  Woosah ? Every time they listen to this record, I want them to remember that time when they were a kid and had no worries in the world. I want them to remember it’s okay to be themselves and put themselves completely out there. Make the world your oyster, and embrace everything that comes with it. Don't think about it too much, just Woosah, and let it be what it’s going to be!

Megan Vice doesn’t waste time writing songs that fade into the background. She builds worlds. With TIMEZONES , her newest drop produced by BOUNDXRY, she pulls us into a late-night labyrinth of grief, fury, and finality, the messy, unglamorous aftermath of cutting someone off when they’ve crossed a line they can never return from. From the jump, BOUNDXRY’s production sets the stage. The track pulses with heavy beats, shimmery synths, and a bassline that drags you into the darkness like a bad memory you can’t shake. It’s sleek, futuristic, and tense, the perfect soundtrack for rage simmering beneath the surface, the kind of track that demands your full attention whether you’re driving alone at 3 AM or replaying the words you’ll never forgive. Vice’s voice cuts through the haze like a blade. Sultry but sharpened by anger, her delivery is equal parts vulnerable confession and unapologetic dismissal. She doesn’t hide behind glossy effects; her vocals are raw, front and center, dripping with finality. Every line feels like a warning shot, every hook like a slammed door. This isn’t longing; it’s a declaration that someone no longer has access to you, physically, emotionally, or energetically. What makes TIMEZONES  hit so hard is its honesty. Plenty of breakup tracks soften the edges of heartbreak, but Vice leans into the chaos of grief and rage. It’s not a sad ballad, nor is it a revenge anthem. It’s the sound of emotional exile: someone is dead to you, and that truth burns hotter than any desire ever could. The outro, “ you’ve reached a number that is no longer in service, ” lands like a final nail in the coffin. More than just a voicemail quip, it’s a symbolic dial tone that strips the other person of any illusion of closeness. It’s ruthless, but it’s also closure, and Vice doesn’t flinch from that reality. At the end of the day, TIMEZONES  proves Megan Vice isn’t here to play it safe or fit neatly into anyone’s playlist algorithm. She’s here to tell the truth, no matter how brutal it feels. And sometimes the reallest thing you can say is goodbye.

Vancouver-based alt-pop powerhouse Emilyn is back with ' Antagonist ,' a 3-track concept EP that tackles the emotional toll of chasing dreams while wrestling with burnout, ambition, and the courage to reinvent yourself. Already known as a sought-after vocal coach, co-founder of The Project Vancity , and a viral sensation with 13 million views on a single performance video, Emilyn proves with this release that she is just as much an artist as she is a mentor. The title track “Antagonist” opens the EP with a witchy, cinematic edge. Dark synth textures and eerie harmonies set the stage for a rallying cry to embrace your shadow self. Emilyn’s vocal delivery is equal parts commanding and hypnotic, urging listeners to protect their energy and take ownership of their path unapologetically. It is an anthem for anyone who has had to draw boundaries to survive in a world that demands too much. If “Antagonist” is the EP’s spark, then “Embers” is its glowing core. A slower, soul-infused ballad, the track paints a vivid picture of creative exhaustion, balancing vulnerability with quiet resilience. Emilyn’s gospel inspired harmonies shimmer here, giving the song a sacred intimacy. It is a warning wrapped in comfort: passion is powerful, but it will burn out without rest. Closing the EP is “Side Quest”, a playful curveball that flips the narrative on struggle. With witty lyricism, layered production, and irresistible grooves, it celebrates detours and redefines what success can look like. It is a track that dares listeners to stop treating every step as a linear climb and start savoring the unexpected journeys that shape us. Across the EP, Emilyn blends alt-pop, R&B, and gospel influences into a cohesive yet experimental soundscape. Her voice is the anchor, soaring with raw power one moment and softening into tender confession the next. Lyrically, Antagonist strikes a balance between self-interrogation and empowerment, making it an essential listen for creatives navigating their battles with purpose and perseverance. With Antagonist, Emilyn does not just release an EP. She delivers a manifesto for artists and dreamers everywhere. 'Antagonist' feels like both a confession and a battle cry. What was the emotional starting point for this project? This project started during one of the hardest years of my life. On the outside, everything seemed great because I was achieving so much. But on the inside, my mental and physical health were failing me. I wrote these songs in a place of devastation and discomfort to remind myself of the power that I had within. And always, with music, I hope to pass that message on to others as well as myself. How do your experiences as a vocal coach and mentor shape the way you approach your own artistry? I always want to emulate the kind of attitude and openness to challenge that I encourage my clients to have, and that I witness them display every day. Singing and making music to me isn't just about what sounds good to others; it's about how far I can push myself as a musician and artist. Every song I've ever written and recorded has challenged me vocally. Whether it's a higher note than I've ever dared sing on any other track, or it's a tongue-twister of lyrics. Sometimes, like in "Side Quest", it's coming up with stacks and stacks of vocal harmonies, stretching my vocal range to its limit, that in the final mix would be barely noticeable to the untrained ear. But that stuff is in there for me, and for the people who notice. "Embers" tackles burnout with honesty. What personal experiences fed into that song? A lot of the work I do is relational and community-based. Anyone who works with others, especially if they're good at it, knows the pull of always wanting to do more. I was doing so much community work that I knew I wanted to be done because I truly believed in making a difference. However, I can't make a difference when I'm not taking care of myself; I found that out the hard way. Burnout is a sly beast, too; it creeps up on you ever so slowly. You start to believe that you're the only person who cares, or who can do the work. I was thinking about the image of fire and all its different forms. Fire is wonderful to sit around and keep warm, but it has to be controlled. I started thinking of my creativity in the same way. I don't want the fire to extinguish; I want it to stop burning me.  You balance genre-bending sounds throughout this EP. How intentional was that fusion? Very intentional! I don't want to exist in one genre, as many marketing gurus will tell you otherwise. I always find the most interesting art on the precipice of any categorization. I love the pop world, and there is such an art to it, but I also love jazz, R&B, soul, and more. The people I chose to work with on this project were very intentional, and every person brought a different vibe and skill set to the mix. All of the bass and drums are recorded in the studio, and those players had been playing with me for years before we made this record. I didn't just want to bring in my own flavours, I wanted to showcase what I knew they were good at. Additionally, I showcased the aspects of music that I love, which are cross-genre in nature. With Antagonist closing a chapter, where do you see your artistry heading next? The visualizations of the album are very intentional as well. The first photo, the one where I'm staring out the mirror into the audience's eyes, shows that I'm in a mode of self-reflection. Then, I gain my power in Antagonist, getting ready to jump into the waters, which to me were the challenges of my life at the time: my career, my community building, and my artistry. In Embers, I try to keep my own flame lit, with the help of Keely Leah, my co-writer, and you'll notice we're deep in that water at this point. The last photo, the one that accompanies Side Quest, is where I'm getting out of the water, a changed person. I've learned so much over the past 2 years since I wrote these songs, and I'm so excited for this next chapter. I'm not only going to be pursuing creating more music, but I'm also going to be helping others create. My dream in the future is to become a well-rounded singer, songwriter, AND producer.

New Jersey-based R&B/Soul artist Paola la Uníca is carving out a lane that feels both deeply personal and universally resonant. With her latest single “ Summer of My Life ,” she paints a portrait of being young, queer, and navigating the bittersweet in-betweens of love, grief, and growth. The song was born from a reflective moment in the park, as Paola contemplated the fleeting nature of relationships and the way people enter and exit our lives in our twenties. While friends and family remind us that “these are the best years of your life,” Paola acknowledges that these years can also feel uncertain, messy, and painful. Yet, within that tension, she finds light. “Summer of My Life” is about grounding yourself in the beauty of the present, feeling the sun on your skin, savoring freedom, and holding onto joy even when life feels heavy. Sonically, the track blends Paola’s R&B and pop-soul influences with lush production that is both mellow and head-nodding. Her voice carries shades of Amy Winehouse’s rawness with the vulnerability of Frank Ocean, weaving an emotional narrative that is impossible to ignore. The beat is sleek and modern, offering a backdrop of smooth grooves and subtle percussion that feels just as suited to late-night drives as it does to open-air summer festivals. What makes “Summer of My Life” stand out is its duality. It is a song of celebration and mourning, of reflection and release. Paola does not shy away from the grief of growing up, but she refuses to let it overshadow the joy of simply being young, alive, and in motion. That balance is what makes her artistry so compelling, the ability to hold contradictions in the same breath. Paola’s journey as a performer has already seen her grace stages across the Northeast, including four festivals this past summer, like Pride in Union, NJ, and Jersey City’s Loud Garden Festival. With a performance at Newark Arts Festival this October and more new music on the way, Paola is proving that her voice is not just heard but deeply felt. “Summer of My Life” is more than a song. It is a reminder that our emotions are valid, our youth is fleeting, and every moment is worth savoring. “Summer of My Life” was inspired by a reflection in a park. How did that setting influence the song’s mood and message? The chord progression sounds very nostalgic to me. It sounds like it’s far away, and then the drums make it more lively. This is a song where the beat was made before the lyrics. The idea of “Summer of My Life” has been a concept I’ve been ruminating on for a long time. This summer especially feels like the balance I’ve talked about in the song. Having so much fun, but then there’s something that still brings the grief up. The park is a peaceful and grounding place for me, so it just felt natural there. The park has so much going on, but every time I go to one, it still feels like I’m in my own world. It’s like I can be alone, but I’m never alone. This song is reflective, and I feel like the park is a peaceful place to reflect and relax. You speak openly about grief and joy coexisting in your twenties. Why was it important for you to capture both sides in this track? It was important to me because the world can be seen as black and white to a lot of people. I used to be very guilty of black and white thinking, but it’s not the truth. Most of the world and our experiences live in the gray area. I see grief and joy as that gray area in the way that both can be present at the same time. You don’t need to be happy all the time or be stuck in sadness. Or even feel ashamed to not feel good when you think you’re supposed to be feeling good. It’s okay to make peace with the fact that sometimes you feel multiple emotions at once. It’s human, and it’s a choice to make peace with your experiences. This is my way of doing that. Your influences range from Amy Winehouse to Bad Bunny. How do you see those inspirations shaping your sound here? My influences show up in my flow and my writing. Amy Winehouse is one of the best lyricists. Her music is poetry, and that’s the kind of music I strive to write. Bad Bunny has a bouncy flow that can transcend different vibes, and that’s seen in a lot of my music. I love the idea of writing sad or emotional songs that sound more fun. A lot of my favorite artists do that. You have performed at several festivals this year. How has the energy of live shows impacted how you connect with songs like “Summer of My Life”? Live shows build more connection to my music. With songs like Summer of My Life, it amplifies the emotion. It’s not just my song anymore; I’m sharing the energy with other people. My song Real is a great example of that. We need more songs that talk about things other than romantic love. People need to hear it to know they’re not alone. What do you hope fans feel when they play this song during their own “summer of life”? I hope fans feel peaceful, understood, and connected. This song helped ground me, so I hope people can feel more grounded after listening. Summer will pass, so you have to enjoy every moment you can.

New York’s own Hoxie Rae is cutting through the noise with her latest single, “Best of Luck.” The slow-burning, blues-tinged pop track is equal parts haunting and empowering, an anthem for anyone reclaiming their voice after being silenced. Born out of years of gaslighting, betrayal, and generational trauma, Hoxie’s music doesn’t flinch. It’s raw, unfiltered storytelling with a sharp edge, channeling influences from Ma Rainey to Amy Winehouse while carving out a lane entirely her own. “Best of Luck” is only the beginning of a bold new chapter for the rising artist, and she’s not holding back. “Best of Luck.” feels both deeply personal and universally relatable. Was there a specific moment that sparked the song, or was it more of a culmination of experiences? This song really came from a moment of heartbreak where I thought something was love, and it turned out to be manipulation. It wasn’t just one event — it was a series of realizations that built up until I couldn’t ignore them anymore. I was actually traveling back from Atlanta to New York when I realized I needed to just get in the studio and see what came out, and that’s where  Best of Luck.  was born. I was hesitant to release it because of the personal meaning behind it, but I realized that it’s a really empowering song. I ended up blasting this song when I drove from New York to Denver, and it felt cathartic. I want other people to feel that way too. You’ve spoken about turning pain into power through your music. How do you protect your energy now while still pulling from such raw places in your songwriting? I’ve learned the hard way that giving my energy away to the wrong situations can totally destroy my inner world. I try to be as mindful as I can be to honor what I’m feeling and take out a pen and paper, versus chasing things that don’t serve me. My music heals me. Sometimes I forget how powerful it is for that purpose and to keep me on the right path. Your neighbor’s post-it note telling you to “keep going” feels like a pivotal moment. What did that little note change for you in terms of your confidence as an artist? It’s funny because it was a pivotal moment, and at that point, I was only singing behind closed doors when I felt like I had no other outlet for my pain. Genuinely. My apartment was 200 square feet — it was me, my bed, and a shower. I was so worried that I would be too loud that I started to rent out karaoke rooms down the block to just get my energy out. I wasn’t even thinking about “does this sound good?” because I already would tell myself that I don’t sound good. I was conditioned to believe I couldn’t do much on my own. When I saw that note, I remember thinking, “Wait… is this actually okay? People will accept me, just as I am, maybe?” No one had any idea how dark my world was in that moment. That note saved me in more ways than one because it brought me back to myself and gave me more confidence to follow what felt good for me. Sonically, your work blends blues, pop, jazz, and soul, yet it still feels cohesive. How do you approach balancing those influences while keeping your sound authentically ‘you’? Although I am just starting to release my music, it’s really important for me to remember that creating for me has been evolutionary, and my music may sound completely different in a year from now. I try my best to focus on the emotions and message in that moment and what sounds good to me, versus thinking about the bigger picture. I have already claimed my best work is not yet made, just because I see a tiny bit of growth every time I work on my artistry. You’ve said this is the first in a series of upcoming singles. What can listeners expect from the songs still to come, and how do they fit into this new era of your artistry? Honestly, every song I’m putting out right now feels like another piece of me that I’m finally letting people see. They’re all connected, but each one goes through a different moment in this whole journey I’ve been on — learning, letting go, standing up for myself, and also just finding joy in creating and being my authentic self.