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Wave R&B is a staple subgenre of the multifaceted SUMWHR. This Watts-grown songwriter, producer, engineer, and sound architect continuously intrigues his audience by pushing the envelope of his sound and bringing his listeners a fresh and melodic sound to their speakers. One to always bring forth a sonic journey in the musical ventures he embarks on, SUMWHR's latest single is no exception. "LET EM GO." indulges us in the textured grooves for which SUMWHR is monumentally known. The seemingly dark instrumentation carries glimmering counterparts, instigating an impeccable contrast to the musical foundation before us. But, sure enough, there's an enigmatic boost hurdled through the evocative vocal performance SUMWHR professes, rich with robust tenacity and further treating this song like a sonic therapy session. Applying his hypnotic croons to "LET EM GO.," SUMWHR unleashes a profound reiteration of storytelling and emotion to twist the lyrical motifs into a poetic canvas chalked full of vivid visualization. What we admire the most about this track is the wavy ambiance that SUMWHR seamlessly rides out vocally throughout the chorus of this song. Taking advantage of the bassline and each beat cut as he harmonizes and emphasizes accordingly, it's truly ear candy that we need to get more of. On top of that, "LET EM GO." is impossible to shake from your mind. It's SUMWHR's new song to refresh your playlist and let you bask in your emotions as they pour out. So again, we can thank SUMWHR for his effect on us and his graciousness in dropping yet another impactful melody for us to embrace. Welcome back to BuzzMusic, SUMWHR! Everything about "LET EM GO." has us clicking the replay button. So, as you immerse us in a passion-fueled song that sounds the utmost personal, please let us know the meaning behind this track. This record I just wanted to express that through it all, we have to learn how to let things go. Sometimes we feel stuck in situations, but at the end of the day, we must do what’s best for ourselves. How did creating "LET EM GO." help you to address the emotions professed in this song? What message do you hope your audience can take away from this song so they can do the same? The approach to every song is the story in most of our lives because things don’t go as planned. We have to know how to adjust in the course of life. I hope what is clear from this song is we don’t have it all figured out, but we do the best for our situation. Expressing yourself through your writing since youth, how did that process allow you to expand and branch out into music? When did you know it was time to seek out this venture? Music has been a driving force in my life, just from listening and absorbing the energy my parents showed when their favourite song came on. I was just drawn to the words and how they could change anyone’s mood. After a while, I just started trying to create my music and be the artist I saw on TV. Much of it was having an imagination and dreaming of creating something timeless. From the production to the songwriting, you always manage to embark on a refreshing take of your signature sound. We love that about you! Was there a moment or story that inspired the creative process for this song? Please share a glimpse into it. The process with me is to keep it simple but not basic, and what I mean by that is to find words that resonate the most. I’m sure we all have our group chats with friends, and we have these experiences we talk through it is essential to hear from people we trust the most. This song is created from all of our stories, and I truly hope I help others with this song. What is the focus for you and your artistry in 2023? My focus is always to get better and improve from the last song. The most important thing for me is to stay humble and continue to grow as a person and as an artist. Writing is the main focus as of right now, and I would like to release as much content as possible for 2023. Instagram Twitter

The Malta-based electronic duo dust off their retro synthesizers to bring you chill, relaxing vibes that are also groovy at their core. Huts on Beaches started through a shared passion for music, an obsession with old synthesizers, and a burning desire to create cathartic and rhythmic music. The duo is comprised of Karl Gauci & Keith Bunce. Huts on Beaches seamlessly alternate synth and drum machine duties, playing off of each other’s unique melodic styles to bring you house music that is as soothing as the waves that softly crash into the beaches of Malta’s coast. Huts on Beaches proclaim that one of their most cherished goals is expressing themselves through their music. Being based in Malta (by their own admission, a busy island full of life), Huts on Beaches finds solace in the calmness of the waves. By channeling the power of the ocean, Huts on Beaches aim to give listeners music that reinforces the feeling that although self-expression can be difficult, it is both freeing and rewarding to do so. Coastal Signals is the crystallization of the duo’s artistic vision. Over minimalist techno beats that much like waves ebb and flow, Huts on Beaches takes you on a journey that can only be described as six enchanting minutes of ethereal, winding musical bliss. With their second release, “Leap,” released December 1st, it’s clear that Huts on Beaches aren’t being complacent and are definitely an act to watch for the future. Life is too hectic not to take a breather once in a while. When you’re in need of something that hits the sweet spots of relaxing yet groovy, tap into Huts on Beaches' “Coastal Signals,” which will have you feeling both mellowed out and in the mood to groove. We absolutely loved “Coastal Signals,” it's weird to say that a song can be both relaxing and energizing simultaneously, but that’s how it felt! We have to ask. What was your favorite part of the creative process you went through in making “Coastal Signals?" Coastal Signals was our first attempt to finalize a track for our new project. We loved every part of making the track, but we both really loved finalizing the track at Temple Studios. This was really enjoyable as new people at the studio listened to the original idea, and new ideas started brewing. What would you say is the main driving force behind your creative process? Where do you find the inspiration for new music? Be it a new piece of hardware acquired, a day at the beach, or a global event, we think one can capture the vibe of that moment as long as one is free to express himself. We try to encapsulate the vibe and feel of certain moments into our tracks. When did both of you realize that you seriously wanted to make music? Was there any one incident where it kind of clicked for you, or has it been something you both wanted to do for a while? We always were involved and surrounded by music. Our interest in making music came about through experimentation on different instruments. Although there wasn’t a specific “light bulb idea” moment, during our time in different bands, we both realized that we really like to create and experiment with electronic music in particular. If there was one thing you wanted your fans to take away from your music, what would it be? Music is a really powerful art form that can inspire people, and we hope we can portray a sense of encouragement and motivation through our music. You just released your new single, “Leap,” What was the inspiration behind that release, and can we expect to hear more music from you soon? Since Leap was written during the worst times of the pandemic, we were unsure what to expect in the future, and this uncertainty was the main driver of the track. We’re back in the studio early next year and will be releasing more music in the first quarter of 2023. Facebook Instagram

The veteran songsters are back, bringing us some good-old LA sunshine and nostalgia with “Synesthesia” off their newly released album “25th Century." What do you get when four friends start a band and stick with it through their other professional careers? The answer is Siggy. Composed of Galen Buckwalter (Vocals), Ryan Howes (Guitars, Backup Vocals), Paul Netherton (Drums), and Deborah Buckwalter (Bass, Backup Vocals). Siggy’s blend of proto-punk rock goodness is a delightfully polished, nostalgic, and simply fun testament to what can be achieved when you have an infectious love for music and have like-minded friends who both get along swimmingly and share the same passion. Siggy’s band members enjoy working together. Having released their first studio album, Harlow’s Girl, in 1999, each member of Siggy has faithfully met up once a week to jam and rock out, providing both a temporary respite from their primary vocations and an outlet for their significantly prolific artistic tendencies. Their latest release, “25th Century,” is also the product of Siggy’s collective artistic vision, underlined by the proto-punk rock style that has become the band’s calling card. Don’t mistake a signature style for stagnation; Siggy’s guitar tones and sound have constantly shifted throughout the years, evolving as the band members have. Synesthesia, the opening single for “25th Century”, is a testament to where Siggy has come from and where they’re going. There’s never a time when Siggy isn’t having fun. When Galen spits lines like “Synesthesia! She always knew / What reality would be”, there’s a feeling of triumph, of effortless, nostalgic energy reminiscent of one of Siggy’s biggest influences, Iggy Pop. A passion project that has spanned 25 years and counting, we hope Siggy is around for far into the foreseeable future. As December rolls on and we approach the new year, why not have a blast from the past? Channel some LA sunshine and tap into Siggy’s new release, “Synesthesia,” from their freshly released album “25th Century,” available now on Spotify. We loved “Synesthesia” and “25th Century,” they definitely gave us a dose of good old-fashioned rock-punk nostalgia in all the right ways! We have to ask, what was the inspiration behind Synesthesia? Did you draw from any personal experiences you had in your personal lives or even professions? Thanks, BuzzMusic! So cool to hear that what you aptly describe as "good old-fashioned rock-punk" still hits you, beautiful young people, in the right ways. Siggy tries to stay closest to the proto-punk sounds of Velvet Underground and Television, and the Stooges and the like, music as timeless as anything rock and roll has ever produced. Raw, rhythmic, and challenging, with calculated, at times dramatic, hubris; we're hoping that's the dose we serve. The idea of inspiring Synesthesia is drawn straight from my career as a research psychologist. Part of what I do is apply theoretical neuroscience to AI. The scientist I currently have a complete mind crush for is Karl Friston, who has developed a theory that turns everything we think about how the brain works upside down. He theorizes the brain is a predictive processing machine that predicts everything that will happen so our regulatory systems can be ready for whatever shit is coming our way. Every prediction is a simple statistical guess (otherwise known as inference) based on our brain's prior guesses and how wrong they were. When you start to get your head around this, you realize that even our perceptions are predictions. A perfect example of this is everyone remembers the dress that was the social media rage a few years ago. Is it black and blue or white and gold? People freaked out about this. Synesthesia extends the freakishness of perceptual prediction to the observation that some people perceive one sense with another, like when they smell something, they perceive it as color. It's a song about this cool woman who felt her dreams in green. But it is also about my belief that we will eventually figure out how the brain does this and experience it, and other trippy states of mind ourselves. That's where the words came from; Ryan describes how the music came to be, “I’m forever on a quest to create the best punch-you-in-the-throat, barre-chord-driven song, with the Ramones, Green Day, The Undertones, and the Kinks’ classic “All Day and All of the Night” in my crosshairs. Synesthesia is our latest attempt, with two verses, three choruses, and a guitar solo served up at 132 bpm for 1 minute, 45 seconds (well, 2:05 with the meandering outro). This song starts our album and many of our shows for a reason - it reminds our listeners and us that our roots are punk, even if we occasionally meander into the realms of the melodic, the orchestral, or even the honky tonk. Give us three distorted chords, a straightforward, sturdy drive from the rhythm section, and Galen’s profound/absurd lyrics, and we can hold the stage with the best of them.” What was your vision for “25th Century,” and what would you like your fans to take away from this project? The 21st century has left folks of my ilk in a real quandary. I have never cottoned to the party line as a somewhat old punk. Institutions, like academia and government, have always been the antagonist, slowing down innovation and creativity and quashing individuality. Now we have a bunch of lunatics running around that deny much of the fundamental knowledge on which society relies. So in comparison, the institutions seem downright heroic. But fuck if I’m going to laud that which I have always found despicable. Anti-creative and anti-individualist forces have, and always will, suck. But we must have a set of first principles that we all start with. I think our best chance for human development is the scientific method; building on first principles and relying on probabilistic hypothesis testing, falsification, along with collaborative criticism is my religion. While institutions have never facilitated this process, at least they don’t deny the existence of first principles. '25th Century' reflects how f*cked up things are, being stuck between anti-factors and moribund institutions. Yet you'll hear a glimmer of hope for the collaboration, compassion, and support for the diversity of humanity that so many of you younger people value. If we don’t all start living in accord with the basic moral principle “it’s not me against you, it’s not us against them, there can be no other side,” we’re f*cked even to think there’s going to be a 25th century. You’ve been jamming and performing together for 25 years which is obviously amazing and a little shocking. How have you managed to maintain that kind of consistency? Sometimes a band is more than a band. Our music and the creative process of co-creation is as much a social process as it is a cognitive one. Initially, we were just four people writing some songs and playing at outrageous clubs, but we truly had fun doing it, so we kept it up. Now, after 25 years of doing it, the band has become a huge source of strength, support, and acceptance for each of us, I dare say. Humans are social animals. People forget that learning to live in functional groups was as important to successful human evolution as learning to escape the proverbial tiger nipping at our heels. Siggy allows us to continue to develop that part of our brains. Long-term groups have become harder to maintain in our mobile world, but our experience is that bands are a great way to make it happen. Do you have any advice for other bands out there regarding longevity? I suggest you consider more than the music and sound each person brings to the band when you are putting it together. Not that skill isn’t important, but so is each member's character, humor, and collaborative style. A band is a social experiment; it should add richness to your life, not drain it. No one should look to the band as the place to meet all their psychological needs, but it shouldn't trigger your needs either. Music is all about adding joy, positive challenge, and good old-fashioned fun to life, So put it together with the people that are going to enjoy the process, do not bring their shit to every rehearsal, will cover your back if needed and have absolutely no fear of an empty room. Looking cool as shit never hurts, either. What was your favorite part about bringing the “25th Century” project to life? The recording is one of those pinnacle experiences for Siggy. Every bit of the process, from deciding what songs we’re going to play and what we hope to express in the album to where we will get breakfast before we walk into the studio, are all things we savor. But most important for us is who we work with and where we record. We were freakishly lucky to stumble across Dave Trumfio and his Kingsize recording empire a couple of albums ago. Dave is totally our recording guru; he knows every sound-capturing and processing machine ever made. He is also a solid musician and composer, but he doesn’t force any of his opinion on our process. Instead, he is just available, chill like Buddha, when we need the wisdom of experience. Dave also sets us up with the perfect engineer; in '25th Century', we worked with Ruddy Cullers. If you were to create the perfect rock ‘n’ roll musician/engineer, it would be Ruddy, cool like Keith. So then it’s just a matter of putting down our best effort at that particular time. Every session starts with a shot of Fortaleza, and it is not forbidden to have additional shots throughout the sessions. Deborah is a one-take marvel on the bass, and Paul nails 90% first try and dances on his drums. Ryan has written all the parts he wants in his head and, in the process of putting them down, is often struck by his muse with new sounds. Everyone stays chill. The mixing with Dave at the exclusive Chateau Trumfio, secretly located where Hollywood royalty should live and work, makes it all seem real. That's the magical part for me. Another Siggy gem represents where we are at this time doing the Siggy thing. We all are digging into '25th Century.' What’s next for Siggy? Do you have any musical goals you want to achieve in the new year? The only thing I can say for sure is that we will be together almost every Friday night to do the Siggy thing. We are putting a little bit of effort into trying to get more people to be aware of the music we have put out in '25th Century,' so we'll see if the social media approach to getting people to hear and dig Siggy does any better than our past efforts to get a label. We are considering putting together a little tour for Siggy this summer. We have yet to experience the road and dive bars in the middle of nowhere, but it seems like a memory we should have. So if anyone has any ideas where we should play and speaking personality, I would give my left nut to open for The Mekons when they bring their new album to LA and for Iggy anywhere. Facebook

The Bulgaria-born, London-based songstress goes back and forth with her flame in a silky, sensual take on modern-day dating. It would be easy to assume that Izabel has always been destined for musical greatness. Having won her first singing competition at the tender age of 5, Izabel set her sights on the stage from an early age. After winning that singing competition (and earning her place in one of the most famous kid groups in her native Bulgaria), she would continue to hone her musical skills, picking up the guitar and eventually enrolling in and graduating from the Fulham branch of the British and Irish Modern Music Institute (BIMM for short). Izabel’s musical versatility is a testament to the years of work she has put in to hone her craft. Although she’s big on improvisation (she notes that many of her songs were improvised while jamming on her guitar), she’s since had the chance to work with established producers in the UK, adding a further layer of complexity to her music. “Easy to Forget” is the latest product of Izabel’s evolution as an artist. Although she notes that “Easy to Forget” differs from her usual style of music, you’d be forgiven if you couldn’t tell. Izabel’s silky smooth vocals make her sound like she’s in her element. When Izabel sings lines like “Am I so easy to forget / What about the things that you’ve been saying / Calling my line at 3 am”, you can hear the longing and trepidation in her voice, adding a further layer to the musical experience and demonstrating her ability to pack tons of emotions into her music, line by delicious line. “Easy to Forget” is a velvety smooth, sensual take on modern dating that, unlike its name, stands out and is easily memorable. If you need a new go-to for when you’re in your feels, tap in and give “Easy to Forget” a listen, available now on all major streaming platforms. We loved “Easy to Forget.” We know you said it’s a little different from your usual music, but you nailed it! We must ask, we know you switched your approach when you made it, but what inspired the change? Were you happy with how “Easy to Forget” turned out? Oh, thank you so much! I never know how to take compliments, but I’m currently learning. So, thank you. Easy to Forget has a different vibe than anything I’ve done before. As an artist whose career is just beginning, it’s important for me to experiment with new sounds while keeping the “me” element in them. I’m a naturally curious person, so this is what inspired that shift in the sound. As a creative, I tend to be very hard on myself. I was in a quandary about whether to release the track or not for a super long time, so in the end, I had to put my perfectionism aside and just let it go. Turns out - it was for the best! So you were born and raised in Bulgaria but are now based in England; what are your favorite parts about the musical scenes in both countries and how did they influence who you are as an artist? The main reason I moved to the UK was the opportunity to get away and start over. I had made Bulgaria my comfort zone, so coming here to study music was a big push out of that for me. Being away from almost everyone I love has been a big lesson in self-belief and in eliminating self-sabotage. Bulgaria has many talented artists, but the opportunities for growth and experimentation are not as common here. The London scene tends to be extremely versatile. With people from every corner of the world, it stands for diversity and appreciates what everyone brings to the table. This is something that I truly missed in my home country - being a small artist and, at the same time, feeling seen, valued, and encouraged to grow. So, you tried something new with “Easy to Forget.” Do you think you will experiment more with that kind of R&B? Is it time for a cliché yet? I never say never. I already have a couple of demos with the same vibe. No idea if they’ll make it outside the studio. I guess time will show. Do you have any goals for the new year, and can we expect to hear more new music soon? Oh, 100%. A couple of things are already in my books for 2023, one of which is a long-held dream of mine to sing for Mahalia at her Mahalia Presents event. I guess you and the readers can help me make it happen. Let’s hope for the best. What's next for you? I like to take life one step at a time. Like my music, I constantly evolve, change, and try new things. I’m most passionate about a few of my next tracks that show my new direction in music. I can’t wait for you to listen. Something tells me it’s going to be delicious! Instagram Facebook

The Swedish singer and songwriter navigate the complicated relationship between personal identity, vulnerability, and love in her new release, “All My Ghosts.” Sarah Von Reis has always been one to say what she feels. Having grown up in Gothenburg, Sweden, Von Reis started honing her musical talent early, practicing music in the local youth choir when she was twelve. Von Reis found inspiration for her music in the melodic language of Swedish jazz, indie pop, and a burning passion and desire to tell stories. A former member of the popular group Dolly Style, Von Reis decided to take her career on the solo path to chart her own way and remain uncompromisingly true to her artistic vision. It was this artistic vision that led to “All My Ghosts.” Over elegant yet haunting instrumentals, Von Reis’s distinct, ethereal vocals take you on a musical journey. Although created with some signature nordic melancholy in mind, Von Reis’s velvety vocals instill a sense of yearning and, dare we say, hope. Von Reis notes that “All My Ghosts” was the first love song she ever wrote. It’s based on a love letter she wrote to a girl she liked. When she realized she was gay, love felt a lot scarier. Lyrics like “Strip me bare / Pray that I am enough” are an open, honest admission to the relatable vulnerability Von Reis allows herself to feel. At the same time, lines like the oft-repeated “All my ghosts are dancing / they’re dancing for ya” are an admission of Von Reis’s fear and baggage and her resolve to move past them. Von Reis is an incredibly strong storyteller, as she expertly combines polished production with instantly recognizable and powerful vocals to tell her story. Sarah Von Reis’s “All My Ghosts” is a deliciously melancholy, queer take on the messy relationship between vulnerability, love, and identity. We can’t wait to see what’s next for her. When you’re ready, tap in and stream “All My Ghosts,” available on all streaming platforms. Welcome to BuzzMusic, Sarah. We loved “All My Ghosts”! It felt like a cool re-interpretation of your classic love song; it was refreshing! We have to ask; it’s not easy for artists to express vulnerability. Is that something that comes naturally for you and your music? Thank you, what an honor, and I´m so happy you like "All My Ghosts!" Honestly, I´m a natural-born oversharer, and I wear my emotions on the outside. Being in touch with my emotions and vulnerability is one of my best qualities, but it has taken a few rounds of therapy to care for that and protect my little emo-heart, LOL. Music has been my outlet forever, and I´m so blessed to have that. Sharing it with the world feels both empowering because I own it all but also completely gut-wrenching cause it is so personal. So you’re from Gothenburg, born and raised. What is the music scene like there, and how did it influence your growth as an artist? The scene in Gothenburg is great and stems from something quite raw and underground. I spent alot of time going to "illegal parties" in the woods and empty warehouses. Growing up in Gothenburg instead of Stockholm or any other larger city allowed me to be surrounded by more of an indie scene and alot of DIY settings, which has inspired me and still does today. So “All My Ghosts” addressed what it meant to strip your feelings bare, hope you’re good enough, and confess your love to somebody. Is there anything, in particular, you wanted your fans and listeners to take away from this song? That love is scary, and that´s ok. For our generation - in one way, the concept of love is made so available to us cause it´s very commercialized in songs, movies, books, etc., but still, it´s also so inaccessible and hard to grasp at the same time. That makes it so scary and confusing, and no one KNOWS how to get or give love. You have to try and hope for the best. You used to be part of the popular group Dolly Style, but you decided to branch out and go solo. What has that meant for your evolution as an artist? I´ve realized how much creative freedom means to me. I want to feel completely true to myself, my music, and my brand this time. I´m grateful for the experience with Dolly Style, but my creativity is a huge part of me, and I can´t push that down. What’s next for Sarah Von Reis? Can we expect more music soon? On December 16th, the music video for All My Ghosts is premiering. I´m so excited! I release a second single at the beginning of next year, and my debut EP, "Melancholia High Season," is out in March! Instagram Facebook

The Latin American songwriter refuses to fall into old habits. Older and wiser, Spurs channels his experience and drive for personal growth to bring us “If I Didn’t Know Better” from his upcoming album 'Waking Up.' If you had to choose one word to describe Jaxen Spurs, resilience would probably be at the top of the list. Although he discovered his love for the guitar at the tender age of 15, his path has been anything but straightforward. After falling in love with music, Jaxen quit his day job to pursue music full-time, embarking on a 6-year journey that encompassed stretches of homelessness, nationwide hitchhiking, and exploration. Although music was always at the heart of Jaxen’s journey, towards the end of his travels, he, unfortunately, fell into cycles of addiction and alcoholism. However, inner strength and perseverance prevailed. Rather than let his vices destroy him, Jaxen (now nearly eight years sober) refocused his efforts on perfecting his craft, moving to LA to get both a degree and experience in audio. Now residing in Nashville, Jaxen is laser-focused on his music, more ready than ever to establish himself among the city’s finest. “If I didn’t know better” is Jaxen’s take on what it’s like to date within the modern hook-up culture. With lines like “If I didn’t know better / I’d just turn another cheek and keep throwing my life away” and “You fell in love with a married man / Forgive me I'm gonna exit while I can,” Jaxen shows the wisdom and maturity one can only gain by going through hard times and coming out on top. It fits an artist who refuses to let life keep him down, and we can’t wait to see how far he can go. Jaxen Spur’s “If I Didn’t Know Better” is more than just a song about hook-up culture. It’s a testament to his strength, resilience, drive, and love for music. “If I Didn’t Know Better” is available now on all major streaming platforms, and look out for Jaxen’s debut album, 'Waking Up,' to be released shortly. We loved “If I Didn’t Know Better,” your story and how you got to this point were super inspiring. We’ve gotta ask, how big a role did music play in helping you overcome some of the issues you’ve faced in the past? Thank you so much for the warm welcome and all of the support. I have a ton of history and faced a lot at a young age, so for a long time, music was the only way to express myself or connect with people. Sometimes without anyone to talk to, it felt more like a relationship I had with my guitar. It was the only place I had to be honest. You mentioned that you were initially a little nervous about releasing “If I Didn’t Know Better” because you weren’t sure if it would be accepted by many people (clearly, it was). What was your favorite part about bringing this particular song to life, and what did it mean when you saw its success? I think the only other person that saw this as a single was Jamie Tate (Producer). The song doesn’t resemble anything mainstream and is so confrontational towards a few women I’ve dated that I wasn’t sure how people would respond. To see it gain traction was incredibly liberating. Art and expression are supposed to be real.. and sometimes it feels like we have to worry more about image and “fitting in” than we do about making music. You also mentioned that you discovered the guitar when you were fifteen. How did that happen? Were you introduced to it by your friends or family, or was it something you picked up yourself? As for the rest of my life, I had a really hard time growing up. My family and I have grown to be close, but we had some dynamic issues. So when I was 15, I ended up at a halfway house, and one of my roommates played guitar. I’ve loved singing for as long as I can remember. It just didn’t click until then. So you’ve performed in venues all over the country, from LA to NYC. Is there any particular performance that stands out as your favorite? How come? My most memorable performance was at the Levitt Pavilion in Hartford, Connecticut. It was my first festival date, and took the stage with nothing but an acoustic. It was the moment I knew I could do this for real. I sold out of burnt blank CDs with the song names written in Sharpie. You’re releasing your debut album, 'Waking Up,' soon. What does it mean to you to be able to bring this project to your fans? What was your favorite part about bringing your artistic vision for this project to life? Hands down, the upcoming album is what I’ve worked toward my whole life. (Release planned for February) I was hands-on with the music and am on co-production credits on two tracks. We had so much fun putting these songs together, and we focused on being organic. “If I didn’t know better” doesn’t have any tuning or timing on any of the vocals or acoustics. It was a major personal accomplishment to release a track like all my influences did and perform my instrument in a room with studio musicians in Nashville. Instagram Facebook

Julia Perla may have just released the most relatable song of the year. Although it’s a “Quarter Life Crisis,” Perla’s frank honesty and introspection chronicle problems many of us will find relatable regardless. Julia Perla knew she would be a musician from an early age. She credits her parents for this early musical awakening; having been to her first concert at age 5 (Britney Spears, no less), her parents would also take her to see Broadway shows and many other concerts. Having been inspired to pursue a music career, Perla started taking piano lessons from a young age, which evolved into voice and cello lessons. Having thrown herself into the world of music extremely early, it should be no surprise that Perla has graced the stage from a young age. Having pursued music at Syracuse and even subsequently relocating to Nashville to study audio engineering and obtain her master's, it’s clear that Perla’s dedication to her music is real. One thing is sure; Perla is fixated on providing the best music possible for her fans. This fixation, dedication, and refreshing transparency lead to the “Quarter Life Crisis.” Over upbeat, bouncy instrumentals, Perla takes an honest, introspective look at the challenges your mid-twenties bring. Lines like “I'm looking back at my life / What was I doing” probably hit close to home for a lot of us, and when combined with lines like “I'm only halfway to 50 / Everyone's married and having babies”, at times it feels like the life Perla is living is somehow connected to ours. Julia Perla’s “Quarter Life Crisis” is a bouncy, relatable song that perfectly captures the angst of figuring some of your shit out by 25 but still having more shit to figure out. Life, in many ways, is just beginning, and we’re all just figuring it out. One thing is for sure, though, we’re rooting for her. Stream “Quarter Life Crisis” today, and keep an eye out for more music in the future. We gotta say, “Quarter Life Crisis” was ultra-relatable and hit pretty close to home for a lot of us. What was it like growing up in a household with such a profound love of music, and how did that help shape your approach to music as an artist today? It definitely influenced my writing and how I perform. I was exposed to different genres from a very young age. My parents would take me to NYC often to see Broadway shows. I listened to opera and classical music in the car with my grandpa, and my grandma always had the radio on. I started playing the cello when I was in the 4th grade. Besides this, I attended many concerts and shows. I didn’t grow up with family members working in the music business or performing, but their love for music inspired me to look for new music, listen to music, and pursue it. You did your undergrad at Syracuse and your masters in Nashville. How were the music scenes different? How do you incorporate these different types of styles into your music? For me personally, it’s not about the music for every city, but it is about the people you meet and the opportunities that are presented to you. Syracuse is where I grew up, learned my foundational music skills, and learned about the music industry. At Syracuse University, I took my first songwriting class and it was the first class where I was co-writing with other writers. I studied classical music but was exposed to all genres. While in Nashville, everyone you meet is a songwriter. Nashville made me a stronger songwriter and gave me tough skin. My style comes from exposure to many genres and subgenres. I am always looking for new music and trying to expose myself to different genres, whether it’s through streaming services, social media platforms, TV shows, and movies or attending concerts, shows, and open mics. My creative process comes down to the story and what I want to tell people. Personally, I believe music is a universal language. It truly speaks to the soul and allows the listener and performer to be transported. I hope in the future to incorporate different styles of music. You mentioned that a huge part of who you are as an artist is making music that is both relatable and emotional (we definitely noticed that on “Quarter Life Crisis”). Take us through your creative process. What did making a “Quarter Life Crisis” entail? I got the idea for the song when I was 23 years old from a friend who was turning 25, upset about her career, goals, and love life. She was very uncertain about her future. I knew I wanted the song to be catchy, upbeat, and have relatable and emotional lyrics. I wrote it down and didn’t finish the song until my 25th birthday. I had found myself also uncertain about my future during the pandemic. I remember seeing everyone I know getting engaged, married, having babies, and throwing parties. They all seemed like they were living their best life while I was working as a full-time content moderator through a temp agency. At the same time, I was finishing my master’s degree in audio engineering and temporarily moved in with my parents. I wrote about how I and others my age were feeling. It took three days to write the song, but I also was in the process of writing a couple of other songs that week. I originally made two demos for the song, and it took 1.5 years to come out. As a process, I always joke that the song was a crisis because the song almost didn’t get released. Before we got to the final released version, I had recorded the song at least nine times in three different cities and through three different productions. Finding the right person to produce this song took me a while. Once the song was produced, I went to the recording studio for the last time to record my vocals, and it all came together. You’ve been performing for more than a decade at this point. Do you have any favorite performances that especially stand out to you? Why that performance in particular? My favorite performance would have to be my senior recital at Syracuse University. I was able to perform one of my own songs. About a year prior, I had a traumatic event that took place in my life that dealt with a very close friend at the time. A lot of stuff happened after the event, and I learned that my two closest friends weren’t really my friends. I ended up going to Los Angeles for the summer thinking things would get better, and I spent a semester there. The entire time I tried ignoring everything that had happened, but things had gotten worse. I had no one by my side, even though I did the right thing, and many people were lying about me and blaming me for things that they had done. On the outside, it appeared I was doing fine, but internally I was a complete mess and had a huge writing block. When I came back to finish my last semester, I started writing songs and reflected on my past. I knew I wanted to perform one of my songs but didn’t want to perform the ones I had written. Two weeks before my jury for my recital, I was on an airplane and finally wrote a song about how I felt. I wrote the topline in 1 hour. I came home and knew immediately I was going to perform it for my recital and wrote the chords. I remember after my recital. My one friend had no idea that I wrote that song, but really liked it and asked me who wrote it. It definitely was a night I’ll never forget. What’s next for Julia Perla? Can we expect to hear new music soon? I plan on releasing a music video for “Quarter Life Crisis” and my next single! Instagram

Straight out of the City of Angels heart emerges Griffin Shiminski, an artist known as Only Okay, who has been pouring his soul into music since he first hit the scene. His unique brand of storytelling through rap, reminiscent of Eminem's style, has given him a distinct voice in an often overcrowded genre. Griffin has an ambitious 2023 planned, with twelve EPs on the docket, and "All My Life," the latest EP, is a testament to his dedication and creative prowess. The title song, "All My Life," is a poignant reflection of Shiminski's personal journey. It's a tune he penned half a decade ago, a lyrical compass that has guided him through life's trials and triumphs. The EP also delves into the intricacies of relationships, a brutally honest exploration of the past that serves as a mirror for personal growth. Griffin invites listeners into his world, showing them the scars, healing, breakups, and breakthroughs, reminding them that everyone has the power to evolve beyond their past. "All My Life" is a rap anthem that hits hard and resonates deeply. The beat, while straightforward, provides an excellent canvas for the lyrical artistry. Griffin's rapid-fire verses barely pause for air before they're followed by the silky smooth vocals of the talented Lynzi Hadden, adding a beautiful counterpoint to the staccato flow of the rap. The simplicity of the beat accentuates the emotive lyrics and passionate delivery, creating an immersive listening experience. The production of the EP is clean, too, with a piano-heavy style that lends an intimate atmosphere to the narrative. This intimate touch contrasts with Shiminski's previous works and signals an evolution in his style. The slower pace and introspective lyrical content make this collaborative work with Lynzi Hadden a standout in his discography. "All My Life" shows Griffin's growth as an artist and his ability to tell compelling stories through his music. Griffin is not one to settle for less. His ambitious plans include more music and lyric videos from the "All My Life" EP throughout May, and a performance in Detroit is on the horizon. As we look forward to another EP dropping on May 26th, we can only anticipate more exciting collaborations from Only Okay. Griffin Shiminski is a name to remember, a voice to listen to, and a talent to watch out for as he continues his remarkable musical journey. Tap in with this one today, available on all platforms. Welcome back to BuzzMusic, Only Okay! Congrats on your latest drop with “All My Life," which has a unique and emotional depth. Can you share some specific life events or experiences that directly inspired the lyrics of this song? "All My Life" is written like a breakup song; when I wrote it, the biggest breakup I went through was between me and baseball. I had played baseball my whole life and was recruited to play in college. When that didn't work out, I started writing songs, and this was among the first I had ever written. The song describes a very intimate relationship that has ended. I cannot move on until I acknowledge how much the relationship meant to me, between me and baseball. The song "All My Life" strongly juxtaposes your rap verses and Lynzi Hadden's smooth vocals. Can you discuss the creative decision behind this contrast and how it aligns with your intended message in "All My Life?" The verses are intense but not angry, and the choruses are melodic and stern. The intensity in the verse is meant to match the intensity of the relationship being described, and I wanted something that would keep the listener's attention. I remember telling Lynzi that I thought she should use Alicia Keys to influence her delivery because I thought it would fit the old-school storytelling vibe, and she nailed it. The chorus reminds me that "breaking up" was the right thing to do and that I must get it off my chest to move forward. The beat for "All My Life" is not overly complex, effectively highlighting the vocals and lyrics. Can you share more about the decision to keep the beat relatively simple and how it impacts the listener's engagement with the song's narrative? Simple is always the way to go, especially when telling a story. A beat that has too much going on can distract from the lyrics of the song, and the lyrics were what I wanted to highlight in this one. We decided to use a fast piano in the verses and longer chords in the chorus to fit the song's pace. Chuck Alkazian at Pearl Sound Studios did an amazing job putting this beat together. He set the '90s vibe we were going for on this one and allowed my lyrics to be the main focus. "All My Life" is the centrepiece of an EP that you say is very piano-heavy and more intimate than your previous works. Could you elaborate on why you chose this song to explore a slower pace and more introspective lyrical content? All My Life is a remake of a song I originally wrote and released five years ago. It has always been one of my favorites, so I wanted to revisit it with a new approach since my approach to songwriting has changed since it first came out. It's a lot slower-paced because I want people to hear what I am saying in my lyrics. I am not afraid to be personal and talk about my own experience because I hope to help somebody who might be going through something similar. I wanted to sound comfortable on this song, and the slower pace helped me do so. With "All My Life" capturing significant attention and given the ambitious series of EPs you're releasing this year, could you give us a glimpse of what your fans can expect from your future projects? How will the themes or styles explored in "All My Life" shape your musical direction in the future? This one will influence my future projects regarding how honest I will be in my songs. I will continue to speak from personal experience on my songs in the future, and each project will have at least one deep song with a piano. I have a project dropping May 26th called WARZONE that features a few new sounds for me, so you can expect some experimenting from me on future projects. Using music as an outlet has allowed me to let go and have fun, and you'll be able to hear it in these new songs. The theme of making peace with things will also be explored more in my next EPs. Chuck and I will continue working throughout the year to bring consistency to our projects. Instagram Facebook

Born and based in Toronto, Canada, Johann is a singer, songwriter, multi-instrumentalist, and producer. Utilizing drums and layered vocals as the foundations for his music, Johann skillfully blends his many talents to create spacious and rhythmic yet dreamy pop-inspired soundscapes that also feel irresistibly nostalgic. Warm, soothing, heartfelt. These are only a fraction of the words one can use to describe Johann’s music. Having already racked up thousands of views for his single “Time Killer” and the accompanying music video (released earlier this year), Johann refuses to stay complacent. Building on the momentum he built up with Time killer, Johann returns with a love letter to cinema, his upbringing, and those he holds dear with “Surrendering Sunday,” the closing track to his EP, Becoming Routine. From the instant Johann comes in on the first verse, his soft, kindly vocals instantly lend a feel of familiarity and nostalgia to your ears. As he tenderly sings of spending his Sundays with those he cares about (I’ve gotta say that I like what you are about / imma head back to your house), you get the sense that you’re listening to a friend warmly recount their Sunday afternoon. This is a theme for Johann’s music; layered, dreamy vocals that make you feel like he’s singing straight to you, paired with lyrics that tap into a reservoir of pleasant childhood memories and make you feel good. As his vocals fade and the drums and guitar take over, “Surrendering Sunday” takes you down a trip down musical memory lane in the best way possible. As the days get colder and the year draws close, why rewind and revisit some of the good old days? Check out Toronto’s own Johann and the dreamy “Surrendering Sunday” from the “Becoming Routine” EP. And watch out for the “Surrendering Sunday” music video, dropping November 25th. Welcome back to BuzzMusic, Johann! We loved the nostalgic feel of “Surrendering Sunday,” the warmth and genuineness of your lyrics and approach were something we enjoyed! We have to ask, how did you channel your childhood when you were creating this piece? Were there any particular moments you thought back to? Good to be back here, and thank you so much! It's funny; I initially wrote "Surrendering Sunday" about this girl I was seeing. When my cousin Mannie (the director of Surrendering Sunday's video) shared his take on the song with me, my perspective changed. The sense of warmth, genuineness, and child-like nostalgia you speak of is also what Mannie felt–spiritual even. So I guess throughout, and after filming this video, I drew back to fond moments of my childhood, wholesome memories surrounding my family, particularly home-cooked meals and the ease of being a kid and running around outside. When I listen to the song nowadays, I often find myself in [this] headspace, as opposed to a romantic one. So, the music video for “Surrendering Sunday” is dropping on the 25th. What was your favorite part of bringing your vision to life in the music video? To backpack off the first question, almost holistically, the family aspect of it. I guess the narrative and the scenes we shot are one thing, but for me, collaborating and bringing this video to life with family members is the most extraordinary thing here. As aforementioned, my cousin Mannie upheld his vision as the director, while our nephew Nyjah stepped in and co-starred alongside me as my younger self. My brother Joey was our reliable DOP, and my cousin Mia was our MVP as artistic director. I'm so honored to come from a family of such talent and creativity–there's nothing like it. So you mentioned that indie, alternative, and 90’s pop were super influential to “Becoming Routine” and your creative output. Do you have any musicians or bands you especially resonate with, and what music are you listening to today? I always have a steady rotation of the bands I listened to growing up, Foo Fighters, Paramore, Billy Talent, etc. But artists/bands like Jeff Buckley, Incubus, Weezer, and even Oasis are who I specifically drew from when making "Becoming Routine." These days, aside from those I mentioned already, bands like Beach House, Fleet Foxes, Radiohead, Tame Impala, and Turnstile are the ones who resonate with me. I'm excited to see (or hear) how their influence will impact my future work. What is the main message or feeling you want your fans to take away from your music? What does it mean to be able to bring the video for “Surrendering Sunday” to them? Regardless of whatever I'm speaking about in these songs, I want listeners to know that the sounds and lyrics come from a place of total honesty and, hopefully, a state of grace and thankfulness. With "Surrendering Sunday," the main message here is to remind ourselves to embrace our inner child–that and the overall sentimentality of being a family. We want those who watch the video to feel like they're always welcome at our dinner table. What’s your favorite part about creating music? Take us through your creative process. Not to subvert the question in any way, but all parts of the creative process are my favorite! I genuinely love everything from writing (either alone or with others) to time in the studio! Even the whole music video thing is just as fun and essential. To summarize how things routinely go, song ideas usually come to me whenever I'm doing something unrelated to music, such as driving around in my car or running various errands. And typically, it's a drum beat or a melodic idea (sometimes both simultaneously) that comes first, with lyrics making their way toward the end of the songwriting journey. However, I'm always down to change my process when writing/making new music. Starting early next year, I will be working on my first full-length album with one of my best friends, Aleks Liskauskas, as my co-writer and producer, so this will constitute some form of creative change, and I'm so stoked about it–stay tuned! Instagram Artist Website

OJ Mountain has never been one of those artists you can put in a box; the Philadelphia-based rapper and saxophonist refuse to be mundane. A classic OJ Mountain experience consists of abstract hip-hop, indie rock, jazz, and funk flavors. Of course, matching jumpsuits for him and his band don’t hurt, but his infectious energy and daring vocals are definitely at the center of live show experiences. OJ Mountain isn’t new to performing. He's already brought his talents to well-known venues such as Milkboy, Kung-Fu-Necktie, and even the historic Middle East Restaurant and Club in Boston. “Sweaters” is a continuation of the OJ Mountain experience. Alongside short and upbeat instrumentals, OJ’s crisp, precise flow and vocals turn the life story of a sweater into something of the greatest urgency, as only OJ can. By the time OJ raps the end of the hook, you realize that's somewhere along the line; you find yourself so invested in his storytelling writing. The theme for his music: the energy he puts into songs ultimately leads to a connection to the listener, which is rare these days. Check out OJ Mountain's full review and interview in his recent hit single "Sweaters" here. Instagram Website