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In the heart of Los Angeles, behind the closed doors of late-night studio sessions and creative chaos, Maëva Karen is crafting something much bigger than music; she’s building a world. One that pulses with sensuality, strength, and unfiltered emotion. A place where freedom isn’t just a concept, it’s a rhythm. And for the rising pop/R&B artist with over 130K followers already tuning in, that rhythm is starting to shake the ground. Maëva is the kind of artist who doesn’t just want to make songs; she wants to make you feel something. Born with a multicultural perspective and fueled by a background in visual and creative arts, her music blends the raw edges of R&B with the polish of pop and the heartbeat of afro-influenced production. It’s intimate and powerful, soft and sharp — and always unmistakably her. “ Everything I do is about embracing duality,” she says. “Sensuality and strength. Confidence and vulnerability. I want people to feel like they can be all of it — at once .” Inspired by the likes of Beyoncé, Summer Walker, Tinashe, and Rihanna, Maëva’s work explores themes of empowered femininity, emotional honesty, and self-discovery. But while she shares the glamorous polish of her influences, she’s not afraid to strip it down and get real. Whether she’s posting raw, behind-the-scenes moments or teasing new sounds from the studio, she’s cultivating a community that values authenticity as much as artistry. And right now, that artistry is in full bloom. With a string of releases in the pipeline and creative partnerships taking shape in the Los Angeles music scene, Maëva is quietly but powerfully stepping into her era. There’s no gimmick here. Just a woman who knows who she is and is unapologetically becoming. “ I want people to feel they can embrace all their sides, without limitations ,” she says. “ My message is about embodying freedom of expression, whether through music, style, or attitude. ” You're building such a rich visual and sonic world — what does "artistic freedom" mean to you right now, and how are you bringing that to life? Artistic freedom, to me, means the ability to create without limits to express the full range of who I am as a woman, an artist, and a storyteller. Right now, it’s about daring to show up exactly as I am: sensual, confident, and always evolving. I bring that to life by crafting a universe that feels immersive and magnetic through sound, visuals, and energy. Everything is intentional. I want people to step into my world and feel something they’ve never felt before. You’ve mentioned embracing duality in strength, sensuality, and vulnerability. How does that show up in the songs you’re currently working on? I think it’s all about contrast. The songs I’m working on right now are sexy, fearless, and aggressive in a beautiful way, but always with emotion behind them. I want people to feel both the heat and the heart. It’s like walking into a room and owning it, not by shouting but by radiating something unshakable. That duality makes the music magnetic: it’s powerful, it’s vibrant Your sound is shaped by pop, R&B, and Afro influences. What draws you to those styles, and how do you keep your own voice at the center? These styles speak to different parts of me. Pop gives me space to be playful and cinematic, R&B lets me pour my soul into melodies, and Afro rhythms bring this deep, joyful energy that feels like home. But above all, I make sure my voice leads the way. Every song starts with a feeling, and I let that guide everything. That’s how I stay true to myself. With a growing online community and real momentum in the studio, how are you balancing the personal and public sides of your journey? Right now, I’m fully focused on building something meaningful. I’m in the studio constantly, developing my sound and refining my vision. So to be honest, I don’t really have a personal life at the moment, and I’m okay with that. I’m in a phase where I’m giving it my all, and it’s exciting. I’m creating, connecting, and sharing, and I feel like I’m exactly where I need to be. The energy is only going up from here. What do you hope people feel the first time they step into your world — through your music, your visuals, or your message? I want them to feel powerful. I want them to hear something they’ve never heard before something that lights a fire inside. Whether it’s a solar emotion that makes you feel radiant, or a darker one that pushes you to reclaim your strength, I want my music to move people. My world is about emotions, elevation, and presence. If someone listens and suddenly feels more alive, more confident, more in control, that’s everything.

Let’s be real—most pop songs want you to feel good.  Belle McKee  wants you to feel everything. With her new EP ' CYNIC ,' the New York-born, Nashville-based singer-songwriter delivers four razor-sharp tracks that trade gloss for grit, and positivity for piercing self-awareness. Across themes of jealousy, revenge, restlessness, and raw relationship tension, Belle doesn’t shy away from the parts of herself, and all of us, that usually get labeled too much. What makes 'CYNIC' stand out isn’t just the emotional range. It’s how articulate that range becomes in Belle’s hands. Every lyric lands with intention. Every metaphor is doing its best. It’s Billie Eilish-level brooding meets Gracie Abrams-style intimacy, with just enough bite to make it hit harder than you'd expect from such a graceful delivery. The EP opens with “PASSENGER” and “FINGERPRINTS”, two revenge-tinged pop tracks that unpack what it feels like to be hurt, and then let the rage out with style. These aren’t chaotic scream-into-the-void moments. They’re methodical, lyrical, and smart. There’s power in Belle’s restraint. She knows exactly when to go soft, when to twist the knife, and when to let the chorus explode. By track 3, “TOURIST,” the tone shifts. Suddenly, it’s not about the other person. It’s about you. Fear of commitment, the haunting idea that maybe you’re not built for roots, the quiet panic of seeing your life take shape before you’re ready, it’s all here, delicately disguised in soft vocals and devastating one-liners. And then there's “NERVE,” the final track. If the first half of the EP was about lashing out, this one feels like the emotional hangover. It’s vulnerable, questioning, and a bit sad. But it’s also fearless in its honesty. What ties 'CYNIC' together isn’t just Belle’s polished vocal delivery or smart pop production; it’s the emotional DNA running through every track. These songs don’t pretend to be perfect. They lean into the mess, the parts of ourselves we try to hide because they’re not “palatable.” Jealousy. Insecurity. Fear of settling. Emotional damage that doesn’t wrap up cleanly. And Belle says: Yep. That’s me. Let’s talk about it. Having already racked up songwriting awards, showcases, and a spot in Belmont’s elite Songwriter’s program (which she graduated from at just 19, Summa Cum Laude no less), Belle McKee is clearly not here to play games. She’s here to write the truth, whether it’s pretty or not. And in doing so, she’s giving Gen Z, and really, anyone who's ever hated themselves for feeling too deeply, a place to breathe. 'CYNIC' is a super emotionally layered project. Was there a specific moment or shift in your life that inspired this EP’s concept? I don’t think there was one specific moment that inspired the concept of this EP—it was more of just me wanting to switch up the topics that I normally sing about. Instead of approaching heartbreak in a sweet or wholesome manner, my co-writers and I focused more on the anger, resentment, and frustration that can come after the initial grief stage of wanting him back is over. “PASSENGER,” for instance, is all about hoping your ex ends up alone—the literal opposite of “wishing them the best." “Tourist” feels like such a tender but brutal reflection on fear of commitment. What’s your personal relationship with the idea of “settling down”? “TOURIST” was sort of a funny story for me to write…I’ve been in a happy, long-term relationship for over three years now, so in my day-to-day life, I really don’t relate to the fear of committing to a person. I’m very trusting. A ton of my friends wrestle with these ideas, though, and I tried to channel some of what they’ve told me about being scared to settle down with one person. This song resonates with me in a more literal sense, too, especially when it comes to leaving my small town and moving away to a city like Nashville. When I’m traveling back and forth between the two, it can sometimes feel like neither place is truly “home” anymore. I thought this was such a universal concept—one that anyone college-aged can understand and relate to. Revenge tracks like “Passenger” and “Fingerprints” hit hard without feeling petty. How do you balance emotional intensity with lyrical control? When we were writing the first two tracks of the EP, “PASSENGER” and “FINGERPRINTS,” my co-writers and I started off with just a catchy title or hook. This allowed us to decide later on in the session what sort of feeling we wanted to convey to the listener. During a writing session, especially when the song is intended to be used for my artist project, I often lean towards sarcastic or sassy lyrics. That’s who I am in real life, so there’s something really raw and honest about keeping those elements in a song. But if these ideas weren’t balanced out with more vulnerable, heartfelt lyrics, I think they could easily come off as petty. Some artists who I think pull this juxtaposition off really well are Sabrina Carpenter and Gracie Abrams, two of my biggest influences in songwriting. You’ve had an impressive journey through songwriting camps and showcases. How has all that industry experience shaped how you write for yourself versus others? Thank you! I think, above all, these experiences (especially the songwriting camps) have given me practice writing with other people. Over time, working collaboratively has taught me how important it is to ask questions. When I’m writing for myself, I just write whatever I feel. But when I’m not the artist in the writing room and am writing for someone else, it can be so helpful to ask things as simple as, “What do you want to say?” or, “Would you say that to somebody in real life?” This way, you can get on the same wavelength, share the same vision, and create something that neither person would have been able to create on their own. It’s all about finding the message and story that exists behind the song. What do you want listeners to feel, especially younger fans who might be experiencing envy, fear, or insecurity for the first time in a big way? I hope that listeners, especially younger ones, feel understood when they listen to these songs. When I’m struggling with something like envy or insecurity, which is a pretty constant thing (especially in the music industry), it’s so comforting to know that other people have felt that same way, too—that there’s not something inherently “wrong” with me for feeling that way. Shedding light on these less talked-about emotions can help more and more people feel seen in their struggles, encouraging them to be open and honest with what they’re experiencing.

It's not every day an icon drops an album. Kat Von D has always been a force to be reckoned with, whether in the tattoo or beauty world. And now, she's about to embark on a UK/EU tour in support of her sophomore album, My Side of the Mountain. The album takes her artistry to a whole new level and serves as a heartfelt ode to the misfits, romantics, and anyone who’s ever felt like an outsider. Inspired by the 1959 novel of the same name, the album digs deep into themes of resilience and personal growth. "There's a comfort in dreaming of escapism, sure. But this album isn't about that. It's about confronting the shit we don't want to face, accepting the things we can't control, and fighting for the things that matter,"  Von D wrote on Instagram. With the previously released single “ Truth in Reverse " to the electrifying Spanish ballad " Por Ti ," it's clear Kat is entering her music icon era. While her debut album, Love Made Me Do It , was a sweet taste, My Side Of The Mountain  serves the whole pie. Be sure to catch Kat Von D on tour this June, featuring Prayers and other special guests. 4/June - Madrid, Spain - Mon 5/June - Barcelona, Spain - Salamandra 7/June - Pinarella di Cervia, Italy - Rock Planet 8/June - Milan, Italy - Santeria Toscana 31 9/June - Munich, Germany - Technikum 11/June - Budapest, Hungary - A38 Ship 12/June - Warsaw, Poland - Stodola 13/June - Hradec Králové, Czech Republic - Rock For People Festival 15/June - Frankfurt, Germany - Batschkapp 16/June - Paris, France - Alhambra 17/June - London, UK - Scala 19/June - Southampton, UK - Engine Rooms 20/June - Manchester, UK - Academy 2 23/June - Utrecht, Netherlands - TivoliVredenburg 25/June - Hamburg, Germany - Gruenspan 27/June - Oslo, Norway - Tons of Rock 28/June - Gothenburg, Sweden - Liseberg Tivoli-Lila Scen Tickets are available here . Read on for our exclusive interview with Kat Von D. A warm welcome to BUZZMUSIC, Kat! It's no secret that you're a tattoo connoisseur and beauty mogul. Now that you're releasing your sophomore album, we have to ask. What keeps your creative juices flowing? There’s never a shortage of things to be inspired by, whether good or bad.  I tend to typically write about struggles — and sadly, there’s never a shortage of those, too!  You mentioned that the novel My Side of the Mountain  deeply impacted you as a child. What inspired you to name the new record after it? Why did it seem like an appropriate choice? That novel is about a boy who runs away from home to live in harmony with nature in the middle of the woods.  We recently made a huge move, leaving Los Angeles for rural Indiana. Carving out a little corner of “my side of the mountain” is not just a physical act. The album is about finding your own home in a lonely world.   What would you say is the biggest difference between your debut album, Love Made Me Do It,  and your new project, My Side Of The Mountain —whether in your sound, style, or lyrical themes? Well, I teamed up with a new set of songwriters that really helped push me both lyrically and vocally as well.   I still love and will always appreciate my first album, but this new album is a little harder hitting, making it so enjoyable to sing as well as perform live.  You’ve always been open about your personal journey, and My Side of the Mountain  feels like a raw journey through inner struggles. Is there a particular track on the album that felt especially cathartic to create? “Set Myself On Fire” probably hits home the most for me for many personal reasons.   Your song “Por Ti”  from My Side of the Mountain  is a truly stunning Spanish ballad. Are you a fan of Latin music? What inspired you to create such an immersive love song in a different language? My Latin heritage plays a big part of my creativity and always has.  I actually prefer singing in Spanish over English. My voice changes in a certain way that I can hear in my head. I’m actually looking forward to writing more songs in the near future.

Photo:Gudrun Wai-Gunnarsson If you’re not already tapped into Lockimara , now’s the time. The Toronto-based project led by Nicholas Gay just dropped a genre-blurring, emotionally layered album called A Vision Again, out now via play dead and Homie Shit Mag. Alongside the release comes a video for the title track, a visual that’s just as disorienting and hypnotic as the music itself. Built on a foundation of shoegaze haze, folky sincerity, and digital noise, A Vision Again doesn’t stick to one lane, it blows up the whole highway. One minute you’re floating in ambient synths, the next you’re hit with glitchy percussion and blown-out guitar riffs. But somehow, it all feels cohesive. That’s the magic of Lockimara: chaos in form, clarity in feeling. The title track sets the tone, featuring pitched-up vocals and jarring yet intentional production choices that never feel like a gimmick. Directed by Kai Trotz-Motayne, the video captures the same mood, fractured but focused, dreamy but grounded. It’s weird in the best way. Tracks like “Halo” and “Bible” swing from digital shoegaze to country-laced folk without warning, but the transitions never feel forced. Gay’s voice, raw, unfiltered, and occasionally soaked in autotune, acts as the glue. Whether he’s whispering into reverb or shouting over distorted drum loops, the emotion always lands. What really makes A Vision Again stick is that it’s not trying to be trendy. It’s personal. It’s reflective. It’s weird. Gay wrote this album after losing his grip on music during the pandemic and clawing his way back to the heart of it, not the industry, not the clout, just songwriting. It shows. “This album is about waking up again, creatively and emotionally. It’s me getting back to what I love without needing it to be perfect.” Started in the Montreal DIY scene and now reborn in Vancouver, Lockimara isn’t just a project, it’s a lifeline. With nods to artists like Spirit of the Beehive, Alex G, and Caroline Polachek, this record doesn’t mimic, it mutates. Acoustic guitars tangle with warped vocals. Shoegaze collides with folk. It’s not clean, but it’s intentional. A Vision Again is messy in all the right ways. And that’s what makes it one of the most interesting underground releases of 2025. “A Vision Again” feels emotionally raw and sonically chaotic in the best way. What was the headspace you were in while making this album, and how did that shape its sound? I cycled through a few different headspaces during the process of the album. I think it started with a sense of calm determination to just make anything, which was quickly pushed aside by a strong sense of ambition as I started to make and discover more and more songs that I fell in love with. From there, ambition turned to exhaustion at some later stage, when I started to understand the enormity of trying to see a 14-song album through from start to finish as a bedroom artist. That being said, I shouldn’t make it sound like I made it all on my own; I had a lot of support from friends and my family that helped make this possible. All of that is to say, however, I think that the emotional turbulence of making the album is reflected in the songs. My subconscious was trying to express different things at different points, and you can hear that in the tastes of the production and melodies of songs written in the earlier days of the album, compared to those I wrote later on. You blend so many styles — from folk and shoegaze to glitchy experimental pop. Was that a conscious choice, or did it evolve naturally while writing? I think it was a mix of conscious choice and natural evolution. I listen to an eclectic mix of genres and artists, and I think I’ve always found it hard to stick to one genre, even within a song. Within a given week, I would find myself listening to shoegaze and thinking “what would it sound like if I tried to write something like this?” and then listening to folk and finding so many ideas that I wanted to also realize. It definitely got me into a situation where I had all of these songs that I wanted to package together somehow, but I wasn’t sure if it would actually work. The only tangible glue I could discern between them was just that I had made them, which I hoped would end up being enough. You’ve talked about losing your connection to music during the pandemic. What was the moment that made you want to start creating again? I think it was in 2022, when I was hearing music that others were starting to release after their own Covid hiatuses. One example that comes to mind is listening to Boat Songs by MJ Lendermen the spring it came out and feeling totally inspired by the simultaneous genius and relatability of songs like “You are every girl to me.” I think in starting to feel inspired again I also realized the time I had lost, which turned into a sense of urgency. I actually wrote and recorded an EP after that, which I eventually overhauled into the album. None of those first songs are on the album, and I never imagined it would be so long before I actually put something out. The title track and video are both beautifully disorienting. What’s the story or emotion behind that specific song, and how did the visual concept come together? The music for A Vision Again came quickly to me. I was entering a phase of experimenting with fusing beats and electronic production with acoustic guitar and folkier rhythms. From there, both parts emerged in one evening. I don’t totally remember when the lyrics came together for me after that, but they’re some of my favorite lyrics from the album now. For me, the song really became about capturing the elusive feeling of peace that one has in moments of perceived clairvoyance. Where the future appears visible and fated. The visuals became a project of trying to capture that feeling. At the same time, I had been excited for some time about trying to collaborate with a contemporary dancer for any of my songs, and so when that came together, I started to work with a friend, Kai Trotz-Motayne, on making that into a video. Lockimara has been evolving for almost a decade now. What do you want this new era to represent — both for longtime listeners and for people just discovering your work? I think in a lot of ways I want this album to feel like a starting over. I have so much love for all the music that I made with Lockimara and the multiple interactions of the band in Montreal, but the band also started before COVID and kind of ended during COVID. So with a few years of separation, this revival of the project feels like a new project to me in many ways, on e where I’m much more focused and driven. In that vein, I want this album to be seen as the first of many more to come, as well as the initial exploration of many more sounds to be discovered.

When self-doubt creeps in, L2B doesn’t fold; he fires back with bars. Since 2014, L2B (aka Luke) has been grinding in the shadows and shining in the spotlight, stacking millions of plays across YouTube, Soundcloud, and more. From New Haven to Hollywood to Harlem, this rapper’s journey has been anything but linear, but that’s exactly what forged his razor-sharp storytelling and fearless wit. After three mixtapes and a critically acclaimed debut album, he’s now gearing up for his fifth project, The Gallery. And the new single? It’s a statement. “ DAZED ” dives into the trenches of the creative mind, the highs, the self-doubt, the moments you question if it’s even worth it. The hook doesn’t sugarcoat it. Sometimes you feel like giving up. Sometimes you wonder why you started in the first place. But the verses? They don’t just pull you back from the edge; they remind you why you fell in love with the hustle in the first place. “I like to keep one foot on the ground with my head in the clouds.. It's okay to feel both ways.” That balance is the beating heart of "DAZED." It’s not just a track, it’s an anthem for every artist, every dreamer, and every nine-to-fiver fighting to keep their spark alive. L2B doesn’t pretend to have all the answers. Instead, he delivers raw, unfiltered truth and lets the beats carry the weight of resilience. "We have to build ourselves back up sometimes. This song is my reminder that loving yourself is the best way to love everyone around you as well.” As The Gallery looms on the horizon, “DAZED” sets the tone: this isn’t just music. It’s therapy. It’s battle cries. It’s the sound of someone who’s been knocked down and still chose to hit record. “DAZED” hits deep for anyone who's felt stuck chasing a dream—what was the breaking point that inspired you to write it? I'm not sure there was a breaking point specifically. That feeling of being stuck, needing better luck, comes and goes. I've battled depression throughout my life, and I used to think that I overcame it, in my teens, but I'm not sure it ever goes away. I think it's about learning the power of changing your mindset, adapting, and seeing the positive light in things, even if it's only fantasy for now. That fantasy, or blind faith, carries me back to the possibilities of it all. I'm forever grateful to have this creative outlet because I have no clue who or where I'd be without it. Your hook captures raw vulnerability, while the verses fight back with confidence. How do you personally balance those highs and lows as an artist? It can be tough going through the highs and lows. I think most artists have that underlying feeling of what else can I do, or what else do I need to get that exposure for my work? How can I get that recognition? Is it even worth it? I recently had a song pulled from streaming because it got placed on an artificial playlist without my control. All of that work, time, and financial investment was just quickly stripped away from me, and it hurt. It's my art, and someone else just regulated it. The only way I could move on was to just continue creating more. Looking back at your journey from New Haven to Harlem, how have those cities shaped the storyteller you are today? Growing up in New Haven shaped a lot of who I am. I was the white kid from the hood, who wasn't taken seriously until he rapped. I was supported and protected because people believed in me, but I was around a lot of gangs, guns, and drugs, too. I've lost good friends in New Haven, and there's a trauma from that city that stays with me. But I'll always love it and see it as home. Living in Hollywood, California, and then Harlem, New York, really gave me independence as an adult. Hollywood showed me how dreams are made and how important networking can be. Harlem brought culture and authenticity. My wife and I had our son in Harlem, so I really learned how to be a provider and protector for my family. All of those experiences offered me a lot of creative content that I'm probably still processing and putting into my work today. You’ve built a catalog that’s both relatable and unapologetically honest. What’s been the hardest truth you’ve had to put into a song so far? I always go back to my first mixtape, there's a tribute song to a friend of mine, Maurice, we knew him as Moe Milly. He was killed in a gang beef, and that shit wasn't worth his life. That was my first real loss, I think, and I just remember crying while writing that song, because I couldn't believe it, and wished I could've done something. I listen to that song now and have no memory of creating it, really.. Like I blacked out. The stories I tell in that song are all very real memories.. The writing of it is so fluid and honest that I almost envy how well I did it now, and I'm not sure if I can capture that again. But maybe I'm not supposed to. With The Gallery on the way, what can fans expect—are we getting more introspection, or are you switching the vibe up this time? They can definitely expect more storytelling, more introspection, and more experimentation. At heart, I am and always will be a hip-hop artist. It's how I write. I'm also inspired by a lot of genres like rock, pop, afrobeats, reggaeton, house music, because you hear different melodies and formulas of how a song is made. There's so much great music out there that inspires me. Right now, I'm kind of in a mode of challenging myself to see how my writing could fit the mold of different song structures. So you may hear songs that sound totally different from the last one, even genre-wise. I'm really having fun and enjoying the ride, though, and at this point, that's what matters to me.

Some records feel like postcards. Others feel like full-on pilgrimages. With the release of “ Sweet Jesus Knows ,” the first single from Anchor & Braille ’s upcoming album NEW MEXICO, Stephen Christian has given us a preview of something much bigger than just a collection of songs, this is a love letter to place, to memory, and to the parts of ourselves we only find when we get a little lost. The former Anberlin frontman has never been a stranger to emotional depth or existential honesty. But NEW MEXICO, due July 25 via Equal Vision Records, takes that inner dialogue to new terrain. Inspired by the time Christian spent living in a small town in New Mexico after leaving Florida, the album is a sonic journey through the high desert of human thought. Fourteen tracks long, it’s as much about geography as it is about soul-searching. There’s something sacred about how it all comes together. And it starts with “Sweet Jesus Knows.” Driven by raw electric textures, haunting melodies, and lyrics that beg more questions than they answer, the track captures the adrenaline of living on the edge, the kind of high-stakes emotional territory where love, danger, and clarity all blur into one. “ We only kill when we need / We only eat what we kill ,” Christian sings, a line that sounds like it could’ve been pulled from a journal found buried in the desert. It’s survival. It’s instinct. It’s a glimpse into the chaos of living for the thrill while still desperately searching for something real to hold onto. But this isn’t nihilism. It’s a reckoning, with faith, with fear, with the thin line between meaning and mayhem. What makes “Sweet Jesus Knows” hit so hard isn’t just the lyrical grit or the pulsing production—it’s the deep tenderness woven throughout. Christian isn’t writing from above the storm. He’s in it with us. Every word feels like a prayer muttered under breath while trying to make sense of the noise. And somehow, in the middle of all that tension, there’s a kind of peace. Anchor & Braille has always been the quieter, more introspective outlet for Stephen Christian. But if NEW MEXICO is any indication, this record won’t just speak in whispers, it will howl, tremble, and shake loose something honest in everyone who listens. It’s a record meant to live with, to grow into. And “Sweet Jesus Knows” is the perfect invitation into that journey. As Christian puts it, “ I want people to explore this place and help them feel at home, no matter where they are .” That’s what this music is for. It’s not about answers. It’s about companionship in the questions. NEW MEXICO feels deeply personal. What is it about your time there that made you want to dedicate an entire album to that chapter of your life? NEW MEXICO represents one of those seasons in life where everything feels raw, like the scenery, the emotions, even the silence. I was living there during a time of deep transition, personally and spiritually. You have to remember that when I first moved there, I had just left Anberlin professionally in 2015. When you are in a band, especially for all those years, your identity is so entwined with who you are, what you are made of. It was a divorce in my life, though amicable, it was still a divorce. I was trying to figure out who I was and what I wanted to become in this new phase of life. The desert has a way of stripping you down to your essentials. That kind of solitude and stillness either drives you mad or refines you. For me, it did a bit of both. This album is my way of remembering who I was, what I lost, and what I found while wandering through that wilderness. “Sweet Jesus Knows” explores this intense mix of survival and spirituality. Where did that specific lyrical imagery come from? That song was born out of the tension between desperation and trust. When I wrote it, I was hanging on by a thread in some areas of my life—but even in that, I felt this faint undercurrent of grace. “Sweet Jesus Knows” came from nights where I was both praying and doubting, hoping and breaking. The imagery is raw because the emotions were raw. It’s the acknowledgment that even when you’re barely holding on, you’re still somehow being held. I have found that the greatest wealth in my life comes from those I surround myself with, which is why I say, 'You know I'm rich in relationships.' When the dust settles (when you are out of the limelight on a major label band traveling the world, making that kind of money), who is still there by your side? You’ve said this was the most fun you’ve ever had making a record. What made the creative process behind NEW MEXICO feel so different? For the first time in a long time, I wasn’t creating with the weight of expectation. No label pressures. No touring agenda. Just art for the sake of expression. Working with my producer Chad Carouthers in this more relaxed environment felt like rediscovering why I fell in love with music in the first place. We’d experiment, laugh, chase whatever sound felt true in the moment. It wasn’t about genre—it was about honesty. That freedom made the entire process feel like a homecoming. Some of those trumpets are me just making the noise with my mouth (which is hysterical), adding punk rock gang vocals, and I even wanted a part where I could whistle like Axl Rose. We just did what we thought was going to be the most fun and fit the ambience the best. Anchor & Braille has always been your more introspective outlet. How did this project evolve emotionally and sonically during the making of this album? Anchor & Braille has always allowed me to write from the inside out. But NEW MEXICO took that vulnerability to a new level. I wasn’t hiding behind metaphor as much. Sonically, we pushed into this blend of ambient textures, acoustic tones, and even a little southwestern grit. It felt like the music had to match the landscape of the story—dry, vast, yet oddly warm. Emotionally, I let go of needing to “resolve” every song. Some feelings just sit in the tension, and that’s okay. What do you hope someone going through their own storm hears or feels when they press play on NEW MEXICO? I hope they hear that they’re not alone. That broken isn’t the end. I didn’t write New Mexico with neat resolutions—it’s more like a journal scrawled on the side of a canyon wall. But if someone hears their own struggle in mine, if they can fully feel to it, heal to it, or just breathe for a minute—that’s everything. I want this album to be a companion in the quiet. A reminder that even in the driest deserts, perhaps they can still find a lesson in the pain, and that is beautiful all in itself. And maybe, just maybe, hope.

If truth could speak, what would it sound like? According to Carson Beyer , it would be gospel-tinged, soaked in grit, and echo through the halls of country soul. On “ The Truth ,” Beyer doesn’t just sing, he lets truth itself take the mic. And the result is raw, fearless, and impossible to tune out. Written by Beyer alongside Prescott Harter and John Haywood, and co-produced with Sol Littlefield (a 2025 ACM nominee for Electric Guitar Player of the Year), the track asks one bold question: What if the voice in your head telling you the hard things was a real person? What if Truth had a southern drawl, dirt under its nails, and no intention of going easy on you? With electric guitars that bite, gospel keys that swell, and a rhythm section built like Muscle Shoals grit, “The Truth” walks the line between country and southern rock revival. Beyer’s vocals, smooth but anchored with conviction, carry each lyric with weight. He’s not trying to entertain. He’s testifying. “I wrote ‘The Truth’ from the perspective of Truth itself — what it might say if it had a voice. These lyrics came straight from conversations I’ve had with myself. The truth’s always there. You can’t outrun it.” It’s this kind of honesty, paired with modern polish and old-soul grit, that has Beyer carving out a space of his own. A Kentucky native turned Nashville rising star, his roots are deep, but his sound is fresh, blending traditional values with fearless storytelling and genre-pushing style. You’ve said this song is written from the perspective of Truth itself. What inspired you to take that angle instead of writing from your own viewpoint? Yeah, I mean, The Truth has a voice whether we give it one or not, right? It’s always there, even when you aren’t looking for it. When we wrote this song, I was coming out of a season where I thought I could avoid it, outrun it, or maybe even try to rewrite what it was saying to me. So instead of me speaking the truth in the song, I thought, what better way to bring it to life than to write what it was speaking to me, or honestly, all of us at some point. Giving The Truth its own voice, let me step out of the way and just be the vessel for the message to be a little bigger. Musically, “The Truth” blends gospel, country, and rock. How did you build that sonic fusion, and what role did recording in Muscle Shoals play in that process? Honestly, that blend just happened naturally; that’s why we went down there in the first place. With the rich musical history of The Shoals, it has a way of pulling “The Truth” outta you. I just took these songs down there, chased what felt real and honest, and let the players do what they do. I love how you can hear the gospel and the soul in the background vocals and the B3, the country vulnerability in the lyrics, and the rock in the rhythm. You worked with some heavy hitters on this track. What was it like producing alongside Sol Littlefield and working with legends like Mark Narmore? Those guys are great. Their names speak for themselves. Sol is so well-known all over Nashville, and rightfully so. I was excited to be able to dig in with him and bring these songs to life. And not only has Mark Narmore written some country hits himself, but he also leads a church down in Muscle Shoals and has lived there most of his life; he’s like Muscle Shoals royalty. Personally hand-picking this band and this team, I was confident we’d have all the pieces we’d need to help bring that blend of sounds you mentioned together just right. Truth in music can be uncomfortable. What’s one truth you had to face personally while writing or recording this song? I think one truth is that people might not like it. I didn’t necessarily love the lyrics on paper, but I knew they were real and needed to be said. Having to sit down with yourself and revisit those long, hard conversations I’ve personally had with The Truth growing up was uncomfortable at first, but yeah, felt like freedom in the end. I hope the same for the listener. How does “The Truth” set the tone for this next chapter in your career, and what should fans expect next? The Truth definitely feels like a doorway into the next chapter of the book that is Carson Beyer's music. It’s raw, soulful, and doesn’t shy away from tough stuff. Things that mean something and carry a little weight to them, while keeping the groove at the forefront for the listener to still have fun with it.

Bob Marley wasn’t just the face of reggae. He was the heartbeat of a global revolution. Long before the world knew him as a legend, Robert Nesta Marley was a boy from Nine Mile, Jamaica, raised on rhythm, resilience, and Rastafari. With a guitar in hand and truth in his voice, Marley transformed reggae into something far bigger than a genre; it became a vehicle for political resistance, spiritual awakening, and global connection. His mission? Liberation through sound. Love through unity. Peace through protest. From the late 1960s to his untimely death in 1981, Marley released anthems that challenged oppression, celebrated Black identity, and delivered raw messages of hope to anyone willing to listen. He sang for the poor, the displaced, the overworked, and the underloved. Whether in Kingston's Trenchtown or London’s smoky studios, Marley’s energy was the same: passionate, prophetic, and profoundly human. In 2024, the world re-examined his life through the biopic Bob Marley: One Love , a cinematic retelling that peeled back the myth and reminded audiences just how radical and rare Marley truly was. This wasn’t just a man making music to vibe to; he was laying down scripture for the soul. The film sparked renewed interest in Marley’s body of work, especially among Gen Z and Millennials who had mostly known him as a “vibe” but not a vessel for social change. But Bob Marley’s legacy didn’t stop when the music paused. His children, many of whom were raised in the same hybrid worlds of art and activism, have carried that torch across generations. Ziggy Marley became a Grammy-winning artist and fierce advocate for youth education. Damian “Jr. Gong” Marley blended dancehall, hip-hop, and heavy political commentary to craft some of the most poignant modern reggae ever made. Stephen Marley took on the role of sonic architect, producing and performing with a spiritual conviction reminiscent of his father. On the entrepreneurial front, Rohan Marley co-founded Marley Coffee and later partnered on a cannabis venture,  Lion Order , merging lifestyle with legacy. Cedella Marley, Bob’s daughter, became a cultural force in her own right—author, fashion designer, and CEO of the Marley Group of Companies. Even Sharon, Julian, Ky-Mani, and others have stepped into music, philanthropy, or creative leadership roles, creating what is arguably one of the most influential multi-generational dynasties in global Black culture. Together, the Marley family didn’t just protect Bob’s legacy—they evolved it. They've built empires, funded schools, launched wellness brands, and kept the message of “One Love” alive in a world that still desperately needs it. But everything they’ve done, all of it, stems from the foundation Bob Marley laid through his albums. From the gritty, defiant energy of Catch a Fire to the revolutionary poetry of Exodus, every project was a chapter in the same gospel: wake up, stand up, and love like it matters. So whether you’re a vinyl collector, a reggae rookie, or someone who just left the movie theater wondering what to listen to next, this is your guide. These are the best Bob Marley albums of all time, and the reasons why they still echo, inspire, and ignite. The Best Bob Marley Albums Of All Time Exodus (1977) Often considered Marley's magnum opus, " Exodus " blends reggae with rock and funk, creating a sound that’s both infectious and revolutionary. With hits like “One Love,” “Jamming,” and “Three Little Birds,” this album captures the spirit of unity and resilience, making it a defining work of Bob Marley's career. Legend (1984) This greatest hits compilation serves as an excellent introduction to Marley’s music. Featuring iconic tracks like “No Woman, No Cry,” “Is This Love,” and “Buffalo Soldier,” " Legend " encapsulates his essence and legacy. It’s a must-have for both new listeners and longtime fans alike. Rastaman Vibration (1976) " Rastaman Vibration " is a powerful exploration of Marley’s beliefs and experiences. The album includes classic tracks like “Positive Vibration” and “Roots, Rock, Reggae,” showcasing his ability to blend social commentary with captivating rhythms. It’s a profound reflection on identity and spirituality. Catch a Fire (1973) Marley’s first major album, " Catch a Fire ," introduced the world to his unique sound. With standout tracks like “Stir It Up” and “Concrete Jungle,” this album laid the groundwork for reggae’s global appeal. Its raw energy and heartfelt lyrics set the stage for Marley’s future success. Burnin' (1973) Following "Catch a Fire," " Burnin '" features more politically charged songs, including “Get Up, Stand Up” and “I Shot the Sheriff.” This album captures the revolutionary spirit of the time and solidifies Marley’s position as a voice for change, blending social activism with compelling music. Uprising (1980) Released shortly before Marley’s death, " Uprising " showcases a more reflective side of the artist. The album features tracks like “Could You Be Loved” and “Redemption Song,” emphasizing themes of freedom and empowerment. It’s a poignant reminder of his lasting impact on music and culture. Natty Dread (1974) " Natty Dread " is a powerful statement on social issues, filled with evocative storytelling. Songs like “Rebel Music (3 O’Clock Roadblock)” and “No Woman, No Cry” delve into themes of struggle and resilience, highlighting Marley’s ability to capture the spirit of his time. Soul Rebels (1970) This early album, " Soul Rebels , " features a rawer sound and showcases Marley’s burgeoning talent. With tracks like “Soul Rebel” and “No Woman, No Cry,” he offers a glimpse into his growth as an artist and his commitment to social justice through music. Bob Marley’s albums are more than just collections of songs; they are reflections of his life, beliefs, and the world around him. Each album offers a unique perspective and showcases his evolution as an artist. Whether you’re revisiting his classics or discovering them for the first time, these albums are essential listening for anyone who wants to appreciate the depth and beauty of Bob Marley’s music.

Aaron Sand & Sandy Cohen at Stella Flame Gallery for Fuck Love, Better Give Me Diamonds show - June 8th, 2024 - Photographer: VITAL AGIBALOW  Aaron Sand announces that he will be attending artist Sandy Cohen’s debut of her latest collection on June 7th  in The Hamptons.  Known for her captivating and thought-provoking paintings, Israeli artist Sandy Cohen (a well-known artist with paintings in celebrity homes around the world) has made quite a name for herself in the art world, and she recently announced that she would be hosting a show at Stella Flame Gallery in Bridgehampton, NY to debut her latest collection on June 7th.  Following this announcement, in a shared post with Sandy, rock singer Aaron Sand announced that he would be attending Sandy’s show and encouraged fans to come out and show their support.  Aaron and Sandy have been good friends for a few years now, and he’s collaborated with the artist, modeling a shirt from her fashion collection and promoting it on Instagram in a collaboration post with the artist.  Aaron Sand modeling the “Fame” shirt, in campaign for Sandy Cohen’s “Fuck Love, Better Give Me Diamonds” collection. - June, 2024 - Photography: Barry Brown Aaron previously attended a show debuting another collection of hers, last summer as well; entitled “Fuck Love, Better Give Me Diamonds” and also hosted at Stella Flame Gallery.  Aaron Sand at Stella Flame Gallery for Sandy Cohen’s Fuck Love, Better Give Me Diamonds show - June 8th, 2024 - Photographer: VITAL AGIBALOW  & Diana Frank  Aaron Sand at Stella Flame Gallery for Sandy Cohen’s Fuck Love, Better Give Me Diamonds show - June 8th, 2024 - Photographer: Diana Frank  Sandy Cohen returns to the spotlight this year with the debut of her latest collection, boldly titled “Boys Wanna Get With Me, Girls Wanna Get With Me.”  The show is set to run from 5 PM to 7 PM and is expected to draw a massive crowd, another standout event from an artist known for turning heads and packing rooms.

For Canadian artist Daniel Richter , music used to be about numbers—streams, charts, and chasing industry acclaim. But after years in the spotlight fronting the Warner Music-signed pop band Eleven Past One , Daniel’s career took a dramatic and divine turn. Now, he’s walking a new path, one rooted in faith, humility, and purpose, and his newest single, “ Light That Shines ,” is a radiant testament to that journey. A Redemption Song for the Rest of Us “Light That Shines” is more than a song; it’s a spiritual checkpoint. Blending contemporary Christian pop with honest, heartfelt lyrics, Daniel opens up about the very human feeling of unworthiness in the face of God’s perfect love. The verses are raw and confessional, reflecting moments in his life when shame and guilt made him feel distant from grace. But God met him there anyway. “He didn’t care about what I’d done,” Daniel says. “He just showed me pure love and forgiveness.” That’s the heartbeat of “Light That Shines,” not a polished performance, but a genuine testimony. A reminder that God’s grace is not reserved for the perfect. It’s poured out on the broken, the weary, and those still in the middle of their mess. The chorus lifts like a prayer of surrender, claiming hope in Jesus and declaring a new purpose: to be a light that shines for Him in a world that desperately needs it. From Pop Star to Worship Leader Daniel’s transition from the secular music world to the Christian space didn’t happen overnight. After almost releasing a mainstream solo single, he felt a deep conviction to stop chasing industry approval and instead follow the calling that had been tugging at his heart for years. “God got a hold of me,” Daniel says. “I couldn’t run from this calling anymore.” That moment of surrender changed everything. Today, Daniel serves as a worship leader and music director in his hometown of Bowmanville, Ontario. He’s found a new joy in crafting songs that center Jesus—music not just meant to be heard, but to minister. His upcoming three-song EP, themed around light and transformation, continues this mission, offering fresh praise music inspired by artists like Phil Wickham, Brandon Lake, and Elevation Worship’s Chris Brown. And while “Light That Shines” carries the sonic polish of his pop background, it’s delivered with the heart of a worshipper. This song is for the ones who feel like their past disqualifies them. For the ones still wrestling with shame or walking through seasons of silence. For anyone who has ever wondered if they’re too far gone. Daniel wants you to know, you’re not. “I want people to know that God is a forgiving God. He is a loving God and just wants to have a relationship with you,” Daniel says. “No matter where you’re from, what you’ve done—He wants to be that light inside of you.” It’s a message echoed in Scripture and sung out in Daniel’s signature warm, soul-stirring tone. And as John 14:26 reminds us, Jesus left us His Holy Spirit as our advocate and guide, even when we’re unsure, unworthy, or undone. Sometimes, all you need to do is call out to Him. You’ve talked about surrendering your career path to follow God’s calling—what was the moment that made you finally say, “Okay, I’m all in”? I think there was never really one moment that made me finally switch over from mainstream to the Christian industry. It was more of a process. I think the process really began after getting married and having our firstborn child. God was really waking me up. I started making big changes in my life like cutting out drinking alcohol excessively and just really wanting to clean up my life for the sake of my marriage and children. I wanted to raise my kids to be an example, being more like Christ. After making these changes and really starting to dive deep into the Bible and spending more time with God, God really started to shift my focus musically. I began leading worship as the music director at my church two years ago. And over the past year, I really just felt like it was time to release my musical dreams and ambitions to God and just let him take over. Was it difficult to leave behind the mainstream music industry, especially after the success you had with Eleven Past One? Yes, it was. I was ready to release one of my favourite songs I had ever written, but something in me just didn’t feel right. So I started to really pray about it and ask God if He would give me some sort of sign. I was asking him to let me know if I should release this song and keep going down this path musically, or if he wanted me to not release it and just start writing music solely about Jesus. He answered my prayer relatively fast. My investor and manager called me up and explained to me that they didn’t really feel like I should go down this path, but to start fresh and go down the path that I had already been talking about, which was releasing Christian music. So that was my answer! God answered my prayer. How has your relationship with God changed since making the decision to step into Christian music full-time? My relationship with God has been made stronger ever since I made the decision to step into Christian music full-time. Now that I am here, I’ve realized that I really have to be more on guard and keep up with reading the Bible and spending time with God so that he can really use me in this new way. “Light That Shines” feels like such a personal declaration of faith. What did writing that song teach you about yourself? It has taught me that living for Jesus isn’t perfect. It’s not easy, and the Bible tells us. In‭‭ John‬ ‭16‬:‭33, Jesus says, “I have told you all this so that you may have peace in me. Here on earth, you will have many trials and sorrows. But take heart, because I have overcome the world.” God is love, and as we live out our lives choosing to live for Him, He will bring us through every storm and trial we face. We are all a work in progress. God takes us and meets us where we’re at and uses us so that we can shine the light of Jesus that we have inside of us. Now that you’ve stepped into this new chapter, what do you hope people experience when they hear your music, and this single in particular? I hope people experience Jesus. Whether it’s a simple feeling of encouragement or helping them with a life-changing experience, I hope and pray that God uses this music to touch the lives of the listeners in some way, shape, or form. With this song in particular, I hope that it encourages people to know that no one is perfect and that no matter what, we need to continue to shine our light for Jesus in this dark world.