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Lyndon Laveaux has made a name for himself as the ominous Rapper who croons over his unshaken cadence with a Sinister drawl. Songs like "Moonlight," and "Delicious" garnished him with a captivated following after the young budding Floridian gave his fans his all-over provocative descriptions of how he'd rip up his competition in more ways than one; and his most recent sonic escapades don't fall far from that same description. His latest lyrical stabbings on "Earn the Title" aim to clear that he's been reigning over the dominions of East-coast Rap for a long time, and he's not leaving his shadowy thrones of the underground just yet. Lyndon Laveaux has the inert ability to transport us into sonic environments festering with menacing characteristics, sinister-sounding atmospheres, and devastating shot-gun verbiage over every bend and turns that he chaperones us on. It's a staple in his aesthetic, and it's a classification that settles in comfortably over this provocative knee-buckling mix. Opening with the sinister harmonics that render implicative of our worst nightmares, Laveaux dissolves from beneath the obscurations of his production with a super-imposed grin. We don't know it yet, but he's about to muster up some of the most instigative spit-fire verbosities we've heard from him until now. His cantankerous attitude develops over a slow-simmering backdrop that intensifies with the same cadence as the Miami-bred rhymester's blustering brags. The beat here is toned down, almost muted for the first few moments while Laveaux divulges his monologue-like compulsions with a foreboding tone. But then, the filters are ripped off, and the East-coaster's true Emcee form takes flight over the buoyancy of his self-proclamations. Every audible hook and texture you would imagine from a Horror movie soundtrack is found here; screeching pads, scintillating and ominous drones, and ghost-like reverb. And it all lands healthy amongst the threatening demeanor that Laveaux renders so vividly on this thematic cut. It's a flagship approach of blazoning over one pivotal message: He's earned his notorious title, he's had it for a while, and he's here to represent the 3.0.5. till he dies. What were some of the emotions you had to extract in order to get the profound and aggressive take that you feature on, "Earn the Title," and is this something you channel into often? Well, this song this was a way for me to plant my flag in a sense, it was a chance to show the foundation that Dooley (my hip hop OG /Big Brother) and Ruben Raymond (Big Brother/Member of The Track Burnaz) had established for me, alongside Ray Mitchell and Joshua Hockey (my current engineer and my first one), I had the chance with this record to show what I've been able to do because of these beautiful individuals who pushed me from the beginning to be my best self, as an artist and more importantly as a human being. I wanted to push my pen to the max with this song, I wanted to make the pillars in my life proud, I wanted to show them that I wasn't a waste of their time. What pushed the aggression with this record is my passion, I love the craft of being an MC, and each time I step in the booth is a chance to elevate myself as an artist, I can only hope I did that with this song, I wanted to prove that hard work pays off especially when you apply that energy to your craft. Where did the conception of this song first arrive? Were you in the midst of a creative splurge, or was this a track that sort of landed on your lap naturally after a while? Well, there's this video game that my little brothers and I were really into as a kid, it was The Legacy of Kain Series, I was always intrigued by the Vampyre King Kain, so I wanted to make a song that felt like I was establishing something, it was inspired by Kain in the sense that he in the series did the most to hold on to his power, although I wouldn't set up a betrayal the way he did in the video game, in his own way he did his best to establish for his family, my decisions such as a putting out a record such as this was to show that I and mine are here to stay and through our craft, you gonna have to respect us. Ruben Raymond of The Track Burnaz was the core for this beat, he heard my idea for making this song that spoke to our royalty and he rode that wave to create perfection then JB another member of TB mixed the record and added immense flavor to it which produced the song you hear. What keeps me pushing myself as an artist is the incredible creatives I keep in my corner. How did you go about developing the ominous and slow-simmering curation of energy behind this track, and what inspired that strategy in the first place? I gave this game a few candy tracks in the sense of giving you "hit party records" but this time around I wanted to establish that I'm an MC in the real sense and I challenge myself each time I step in the booth. If you could say a few words to your listeners that would stand as the prologue to this track's experience, what would you say, and why? Push yourself, even when it feels like folks don't believe in you, and trust the people in life who you know in your soul want the best for you, I remember when my brother Ruben said a couple of years ago that "I can't wait to see you in 5 years" at the time due to insecurity I said to myself "I'm dope now, tf he talking about" but now I see the brilliance that is my big bro, he knew I could go farther and he was right cause truly there's more for me to do as a creative, but I can see what Rube saw, he believed in me and saw where I can and will continue to grow into. Trust your soul and prove yourself right with every step you take, your instinct is connected to the Source of all life, trust that. What can we expect to see next from you? Solo music videos/singles, my album Earn The Title coming soon, The Princess of Swaggfia (my creative clique) Rocki will be releasing new music soon, Collab's with The First Lady Swaggfia Disanti (coming soon), of course, I'm working with one of my favorite artist/human/brother being Young Tez, and of course my family Ray Mitchell, The Track Burnaz, Nathan Bankston, The Wiley Rogue, Silver Screens, we got more to do and trust we dropping nothing but quality. Have an EP, a few projects just know Dooley coming with that heat, no weak links in my circle. instagram.com/lyndonlaveauxofficial

The prolific German philosopher Friedrich Nietzsche once said, "All I need is a sheet of paper and something to write with, and then I can turn the world upside down." This is the ethos that Lyndon Laveaux—the Miami-born Emcee—obtains his creative personality from; how his words have extraordinary power. With a career jam-packed with features and collaborations, the budding artist finds inspiration from his mentors as they encourage the new-age prospect to simmer in the creative intuitions that call to him from the ominous depths of his cryptic subconscious, and to always aim for the jugular. This year, the intoxicating Emcee shines a light into the vast darkness of his Hip-Hop reflecting profound musical depths, and out "Moonlight," a gem that shimmers with the supporting verses of Young Tez. "Moonlight," lands with a minimalistic production that serves to give this cut enough space to swell and simmer over Lyndon's ambiguous whispering voices. The leading hook featured here is confessed to us through a mantra-like chant that cleverly explicates with detail how he handles sensuality, and the propensity with which his tongue moves: found in lines like, "eat your cat all night, call your boy Bruce Wayne," or "tongue game on serious, Eddie Murphy delirious, she calls her friend bi-curious." When Young Tez handles the mic for his verse, he leads on with a more impertinent, and standoff-like flow. His vindications are much in the same vein as his predecessor's. Still, it excels in providing fascinating diversity and dynamics to the whole production, while the scattering sixteenth-note steadies the measure over a crisp hi-hat. This cut's notoriety comes from the ingenious Dade County-raised lyricist's wordplay and how slick they land; always presenting audacious and shocking, while remaining adhesive amidst its promiscuously smooth lines and devilish cantors. Hey Lyndon and Tez, it's great sitting down with you both here at BuzzMusic. What were your main inspirations behind this track's provocative nature, and some of its dark textures featured over your vocals, Young Tez? Young Tez: I just fed off of my bro Lyndon vibe. He took'em to the boom boom room and I just kept that same energy. What's been the best part about working with  Lyndon Laveaux, and why did you think he would be the perfect backup for you over Moonlight? Young Tez: Honestly I give all the credit to Lyndon for this track. I wanted to work with Lyndon because that's the bro period. He's solid, period. I sent him a beat I got from my Colombian connect (producer) Cuz Zaid & told him to let's create. He sent me a finished song with a verse open for me & that was a wrap. Funny how I sent him a song to feature on and he took the whole song lol, but that's bro so it's all good. How are you fueling your creative intuitions day by day? Lyndon: Well my peers help immensely, for example, Tez's recent solo records/music video has been amazing, and when I see an MC of his calibre delivering at the rate he is, it motivates me, it's inspiring to have someone so talented see me as his peer/family in this game. He is also a phenomenal director, cinematographer, and director, truly a jack of all trades and master of all of them. Folks like Dooley Sheen, YUNGCHASE215, Fsb Rico, Prince Yosef, Keem, The Track Burnaz (Ruben Raymond has been inspiring me since we were kids), Disanti (who's been in the trenches with me since college), Ray Mitchell. Silver Screens, Nathan, Abigail, Nathan Bankston, Curfew, Johnny Leggz, Trpl Z, Realzz, Rybe, Faith, Rocki, Rob Markman, Robin Taylor, Frego The Punk Rock God, Aspene (who is a superb musician who just went on tour with The Jonas Brothers prior to the pandemic) those mentioned are those intimately close to my circle and those who are 6 degrees from it, but all of them motivate me in their own way, each of them is severely gifted in their craft, they also continue to grow. In addition, I love seeing vets such as Jay Z, Jadakiss, Eminem, and many more who still rap, like it's their first album, that gives me, chills that just for the sake of loving the craft, they still put in the work when these elites truly have nothing to prove. It's a reminder that you never stop learning and elevating. What goes on in the world also is a reminder to just make sure every breath counts, I don't intend to waste not one. If you could list two distinguishing milestones you've been aiming to surpass this year in your musical career, what would they be? Lyndon: Trusting myself as an artist in decision-making. From the beats I use to the cadence/rhyme signature of the song, to the artists I curate on records, also if Disanti and I could reach 100K on Ay Papi on Spotify by the end of the year that would be magnificent, we are currently over 60K, so all of you keep streaming!!! What has been keeping you both inspired throughout 2020? Lyndon: Well again I gotta say my peers, the world, seeing the injustices of the world, the pandemic, those inescapable moments remind me, you can't take this journey we call life for granted. I personally have buried more than my share of people including my little brother David and my older brother Evints, those two stick with me like a tattoo, my mother although very much thankful God is alive has been a factor in my motivation, I get my hustle, my grind, all my best qualities from my mother. The growing pains of 2020 helped me reevaluate what's important to me, take notice of the man I want to be, and yearn for a certain quality of life/individuals in my circle if you ain't about growth, then truly I don't want you around, we are saying no to energy vampires and yes to elevation. The members of Not Another Theatre Company, my theatre group put together by the talented Lacy Blake-Vetter are full of creative geniuses, I'm blessed to be in their graces. instagram.com/lyndonlaveauxofficial instagram.com/therealyoungtez

Coming to us from Dade County, Florida, Lyndon Laveaux brings us his fresh release "Delicious." Considering himself a lifelong student in the School of Music, Lyndon is creating ear-catching beats and stirring thought-provoking lyrics. Lyndon began his artistic path through spoken word poetry and through the encouragement of his mentors Lyndon dove into the Hip-hop industry. Lyndon delivers his verses in a sleek and stylish presentation of free-flowing lines. His lyrical composition is methodically strung together to generate a hypnotizing mystique over the listener. There is a fast sequence of chiming notes that darkly dance throughout the track. A dirty pulsating beat fills the background space which creates an exotic aura to the track. Speaking of exotic, Lyndon has crafted a set of steamy, explicit lyrics depicting a wild, sex-infused visit to a gentleman's club. "Delicious" features the rapping of Yungchase215, he explodes onto the track similar to the explosions seen in the back rooms of these clubs. His rhymes unleash another level of hot and sticky aura that paint an erotic picture for the listener. Lyndon's repetition of five simple words resonates throughout the song and becomes a familiar touchstone for the listener who will have you lip-syncing along with Lydon's deliver of: "What is it? exquisite, delicious." Get on this fresh track today and listen to "Delicious" now. Discover "Delicious" here. Hello Lyndon and welcome back to BuzzMusic. Congratulations on your latest release "Delicious." Can you tell us a bit about the song and how it came about? Well, I have to give a special shout-out to the producer of this record Silver Screens. He hit me up one day on IG and asked if I wanted to collab, he was always a creative I admired, so for him to approach me about collabing felt like an honor. So as I was going through his beats, and I came upon the beat that would eventually become Delicious. I think there's a marriage that happens between an MC and a beat when the stars line up properly, I heard that beat and something about it resonated with me. It was visceral, dark, and sexy. My preference in songwriting is having the beat come first and have it tell me what to write about. That lead to me writing about being in a strip club, the incredibly talented dancers who keep us entertained. Then you add the talents of JB from The Track Burnaz who mixed the record, he took the song to new heights. It takes a village to make a song, and JB is for sure one of the chiefs in my circle. He consistently elevates my records. Truly grateful for those in my circle, they bring the best out of me. "Delicious" paints a lyrical picture through your verses. What does the songwriting process entail for you? Well, as mentioned before I prefer when the beat comes first. Now granted I can write the song first and have brilliant members in my circle such as Ruben Raymond of The Track Burnaz make a phenomenal beat off my lyrics, but I prefer when the beat comes first. The beat informs me what the song is gonna be, and what my cadence/rhyme signature is gonna be. To me songwriting is like a puzzle, the beat is gonna be what it's gonna be in the sense the bpm (beats per minute) is gonna be set in a certain way, transitions are what they are but then you as the artist add your instrument to the piece. You bring your puzzle pieces and complete the picture as an MC. Rakim has been once known to say that when he was younger he would hear Jazz and would see a picture being painted in his mind's eye, he felt if musicians could paint with instrumentals, he should be able to do so with lyrics, I'm from that school of thought. Yungchase215 brings an aggressive prowess to the track. How did the collaboration come about? Well once I figured out what the song was gonna be, I knew I had to have Chase on it. He is such a talent, I wholeheartedly believe in him as an artist. I knew he would bring an immaculate flavor to this record. He delivered and then some. I'm excited to see where his journey takes him, anything that's in my power to aid him on his path will be done. He was a fantastic addition to this record. In what ways do you want to influence a listener with your music? To me if I make you feel anything, then I have done my job as an artist, none of us are one-dimensional as an individual, so you'll never get just one school of thought from me. This song brought the ratchet out of me, but another record may bring the conscious part of me, but one thing's for sure is you're gonna get an honest version of yourself with each song I do. I just want to give the most authentic version of myself with each record, God willing I live my truth and my listener resonates because a piece of me reminds them of a piece of themself. What's next? Well, I've got some great collabs with some incredible artists such as Disanti, Ray Mitchell, The Track Burnaz, Young Tez, Nathan Bankston, and of course Silver Screens. I will be shooting some visuals as well, in addition, I'll be in background executively producing records for talents such as Dooley Sheen and The Wiley Rogue. I'm appreciative to be in a position to create during these uncertain times doing so has kept me sane and grateful to the team that I have around to keep me seeing the light at the end of the tunnel. instagram.com/yndonlaveauxofficial twitter.com/lyndonlavea #BUZZMUSIC

Miami-bred rapper/producer Lyndon Laveaux returns with his catchy single “Ay Papi” Ft. DISANTI. After a lifelong journey finding his forte as a rapper, Lyndon Laveaux began writing poetry to channel his negative emotions. After meeting a close friend and artist DISANTI who influenced him to split his poetry with his incredibly articulate and gripping flow. Lyndon Laveaux’s groovy single “Ay Papi” Ft. DISANTI captures DISANTI’s beautiful Spanish-influenced vocals and Lyndon Laveaux’s intoxicating flow and rhythm. The upbeat track serves an exciting vibe, effortlessly getting us out of our quarantine rut. “Ay Papi” Ft. DISANTI kicks off with stunning piano melodies and DISANTI’s sultry and intriguing voice as she speaks fluent Spanish awaiting the track's initial downbeat. “Ay Papi” Ft. DISANTI incorporates blissful production, taking us on vacation to a hot island, filling our minds with imagery of energetic nightlife and hot summer days. As we’re met with the first verse, DISANTI goes off with the flow we didn’t expect from such a soothing voice. Her ability to rap perfectly meets up with Lyndon Laveaux’s, and the two of them together create a hard-hitting yet highly danceable tune. Once Lyndon Laveaux’s verse arises, he blends Spanish and English lyrics creating an even more versatile and dynamic track. His flow perfectly rounds out the song and serves us something we didn’t know we needed. It’s without a doubt that “Ay Papi” Ft. DISANTI is a force of a song, and we’re looking forward to Lyndon Laveaux and Disanti’s next collaboration. Check out "Ay Papi" here. instagram.com/yndonlaveauxofficial twitter.com/lyndonlaveaux

R&B/Soul artist Sierra Jamerson is spreading good vibes with her grooving track “Blood in the Water.” Her soulful songs portray themes of self-love, body image, the environment, spirituality, heartbreak, passion, and equality. Drawing inspiration from R&B/Soul icons like Lauryn Hill, Alicia Keys, and Erykah Badu, her vocals soar overtop her powerful underlying instrumentation and has been described as “A Fresh sound in Canadian music”. Her hit “Blood In The Water” serves as a fully developed sound with Sierra Jamerson’s angelic vocals and is supported by jazzy instrumentation. She takes empowering lyrics of self-love and independence and showers her audience with words they need to hear. The soulful track begins with Sierra Jamerson’s luminous vocals and subtle keyboard notes, letting her voice be the main attraction. Until the impassioned chorus, Sierra Jamerson’s vocals are met with sublime R&B instrumentation that swells the track’s sensation. “Blood in the Water’ also features phenomenal imagery with compelling lyrics like “There was blood in the water and the current pulled me under, you abandoned me when I needed you the most.” With soothing drum patterns, captivating keyboard melodies and subtle electric guitar, all while Sierra Jamerson’s astounding vocal abilities transition from soft to powerful as the track flows on, “Blood in the Water” is most definitely a song to add to your library. Listen to "Blood in the Water' on Spotify and read our interview with Sierra Jamerson here. facebook.com/sierrajamersonmusic instagram.com/sierrajamerson twitter.com/sierrajamerson

Hello Sierra Jamerson! Welcome to BUZZMUSIC! Your sound is incredibly authentic and we love your powerful lyrics and vocals! Could you share what inspired the soulful track “Blood In The Water”? Thanks so much for chatting with me, and for your kind compliments! "Blood in the Water" was born after a breakup, which is a little obvious I suppose. I was in a very vulnerable space before it occurred and the breakup sent me over the edge. I'm a highly sensitive person; I don't think I bounce back from feelings of loss or rejection as easily as others do. I started to have this reoccurring dream where I was drowning in a violent storm on the ocean, and I was bleeding into the water like I had been shot. Suddenly sharks would start to pick up on my scent and circle me in the water. In my dream, I went from feeling frantic and scared trying to save myself, too tired and weak and wanting to stop fighting. When I went under, everything was slow motion and quiet, and I would feel almost...peaceful? I had this dream for months. I believe it was my mind trying to express how chaotic and painful my emotions were in processing that experience, and when I went under it was almost like I was surrendering. It was like the death of that Sierra and that life, making room for rebirth. The process of recording was the same. When the album was born, I was reborn. “Blood In The Water” provides exceptional instrumentation perfectly supporting your vocals. How did you want the track's instrumentation to feel for first-time listeners? I had just finished university when I started recording. In my first degree, I studied Jazz and Contemporary Vocal Performance, and the musicians on the album were my school cohort. So, I chose musicians I knew I could trust to deliver my vision. I wanted the instrumentation to blend jazz harmony and RnB composition -upright bass, Rhodes keys, clean jazz guitar until the vamp. But I also grew up touring with my family's traditional gospel band and I've fronted a few punk rock bands.  I wanted space musically to have that rock edge and drive at the end, to put a little grit on my voice and the guitar. The most important part for me was the harmonies. There are like 5 or 6 layers of harmonies, and I think my harmonic voice was really crafted by singing with that "family sound" since I was like in 6th grade! Other kids were playing soccer while I was picking out parts with my aunties and uncles and cousins. I left the group when I went to university, but it trained my ear toward that complex, layered, emotive gospel sound. Along with the superb instrumentation, your clear vocals portray incredibly detailed imagery. What helps maximize your creative process in order to effectively get your lyrics across? I love words. I'm a voracious reader, I write poetry, I love public speaking, I write songs, and I used to write short stories and magazine articles. Right now  I'm finishing up my second degree in developmental psychology and I'm writing a paper to be published in an academic journal (a dream come true!). I am driven by three things: the need to make music, the need to communicate, and the need to serve others in their healing journey. I just open myself up and channel whatever message the Universe needs me to share. You’ve mentioned that you're currently writing and recording your second EP that's said to be your most confessional work yet! Why do you think it’s important for artists to be vulnerable when writing and creating their music? Each artist's mileage may vary, but I need to be authentically me. For a lot of my life, I wasn't allowed to take up space or have my own voice or thoughts or even own my body and image. I lived through a lot of trauma and music helped me integrate and process it. There's a whole field of study about this - music therapy. Some artists might be more focused on making music that's commercially viable, and that's an art in itself and totally valid. Other artists might be very avant-garde and only want to connect with a small niche, which is also totally valid. I respect it all. My music follows the arrow of whatever brings the most healing for myself and others. I've learned that my gift is to offer myself up as a mirror for others to witness the wounds in themselves. I'm an empath. If I weren't able to allow myself to be seen, I wouldn't be able to help others see themselves. Listen to "Blood In The Water" here. facebook.com/sierrajamersonmusic instagram.com/sierrajamerson twitter.com/sierrajamerson

Up and coming artist LEX is from Long Island, NY, where she was introduced to the sound of punk rock. LEX states, ‘It’s very easy to feel alone in this world. Just know that is never the case. Don’t take the easy way out. We are strong and it is always okay to be different.’ Music is her escape from the cruel world that carries on around her. Using music to help her cope with pain, anxiety, and heartache, LEX hopes that someday it can help her listeners just as much as it helps her. “RENEGADE,” is the latest entry into LEX’s music catalog as she expresses a narrative of sorrow through the melancholic hues that linger in her vocal performance. Being forward is a strong suit of LEX as she charismatically sways her lyrics in a manner that acts as a direct letter to the culprit of her demise. Through the dark pop essence that is captured in the enigmatic timbres she disburses within the single, we hear a flattering contrast between the lulling tenors in her voice and the resonated bass line accompanied by fizzy synths that surge through this musical arrangement. LEX undeniably has a charm to the way she cries out a cathartic stream of cognizant insights as we’re witness to the emotional rupture laced throughout “RENEGADE.” Being a breakup anthem that doesn’t take on the signature traits of crumbling relationship tenors, we adore the approach that was taken in order to fashion an environment that is so independent of her autonomous persona that we’re living for this new outlook presented. As a phoenix rising from the ashes, we know that her fan base everywhere feels empowered as they feast upon the prevailing characteristics that continue to push LEX to a newfound height. Welcome to BuzzMusic, LEX, and congratulations on the release of “RENEGADE.” We love the entire theme and how it was executed! Being your first release of 2021, what encouraged you to make this your debut into the year? Does this release shape the sound of what’s to come? Music was the only tool I found comforting. I turned my sound into therapy sessions. It was the only way I could release my energy. I decided for the year 2021 I was going to try something different. I'm always writing down my feelings and emotions so, I decided to create 25 singles and drop a song every Friday. I wanted people to engage and to understand that they aren’t alone. Every week I would be there for them. During the time I wrote “RENEGADE,” I was going through a heartbreak that I have never felt. Losing someone that you thought you could trust is the worst kind of pain. “RENEGADE” is just the beginning of Lex. Could you please share the creative process that brought forth such direct lyrics in this vivid soundscape? Like all my songs, My heart is what creates the song. Every song I create is a freestyled version and at the end, I tighten it up to make it a complete song. What does “RENEGADE,” say about you as an artist and individual? What is the message that you’re sending out to your fan base through this song? “RENEGADE,” says a lot about me as an artist because it shows that I write what I feel. The message I want to get out is that even though you may be going through the worst times in life, someone is always going to be there for you. It’s very easy to feel alone in this world. Life may seem like the hardest thing to overcome but everything happens for a reason. Life is about lessons. It is not meant to bring you down. How do your musical inspirations of Fall Out Boy, Brand New, Taking Back Sunday, and Boys Like Girls amplify your sound? My musical inspirations are “Fall Out Boy, “Brand New”, “Taking Back Sunday” and “Boys Like Girls”. They showed me that it was okay to be different. It was okay to feel whatever the fuck you wanted. What's next for you? I don’t know what is next for me. The life we live is unpredictable, but I hope someday I can be the voice for you. I hope that I can be the person that changes my outlook of life. Instagram Twitter

As an Alt/Rock band from the West End of Glasgow, how do you feel the current music scene you reside in attributes to the growth and success of your sound? We’ve found that Glasgow is sort of the epicentre for our music scene in this country, it’s where all the alternative, independent, underground artists seem to congregate. We’re originally from the Perthshire area, and once you go further north you tend to stray into the traditional, folk, Celtic music scene. We base our performances in Glasgow because it’s where we can most easily find other artists to work with, be that performing or recording music. Particularly in the alternative music scene, it’s quite a close-knit community, and it’s a real hot spot for progressive, inclusive, and often fairly experimental acts. This is especially true in the West End, which hosts a comparatively young, academic, and diverse demographic. Performing in an environment in which we are often the most conventional, most predictable artists on the bill, inevitably encourages us to be less cautious with our approach to writing and the way we present ourselves on stage. We’re made to attempt things we wouldn’t ordinarily attempt or risk seeming boring. Let's get into some of your past work as a band. The release of your 16-track debut album 'Pop Psych' happened in 2018, and the self-released and produced album took over two years to construct! Can you walk our readers through the obstacles that came along with creating an album all by yourselves? Writing and releasing a full 16-track album was never much of a conscious decision for us, we had performed shows regularly for a couple of years prior to our first time working in the studio, and we had found little success as a live act. We figured that the lack of an accessible back catalogue was to blame, so we hastily made two EPs compiling the songs we had written thus far. By that point, we were nearly halfway towards an album, so we just committed to the remainder of our songs. Probably the main obstacle we came up against, besides the lack of money and resources, is discovering that writing for the stage and writing for the studio are two very different things. We found that the power and dynamic variation of our live performances wasn’t translating correctly into the studio, so in many ways, we had to re-write our material to be easier on the ear. This usually meant adopting a more mature approach – getting rid of loud, cymbal-laden instrumental sections, scrapping excesses of distortion, and generally limiting the use of volume to communicate dynamically. Instead, we had to learn how to create arrangements that varied between minimalism and maximalism. Typically an artist signed to a label, and therefore with some financial support, might have a dedicated producer on hand to perform that translation from stage to studio, but we’re ultimately thankful that we had to learn that lesson ourselves. Marc Thow, who recorded the album for us, did a fantastic job as a producer, and he certainly created the best possible versions of the songs we had written. But ultimately, he was limited by our own inability to write for the studio. The lack of money also limited the hardware available to us. I’m sure if we had access to a glockenspiel, a celeste, or a full brass band, we would have found a way to incorporate that into our music. Instead, most of the arrangements in the record had to be produced using guitars and effects pedals, which in itself led us to more innovation than we may otherwise have considered. What would the band say is its ultimate culture? What kind of themes and/or messages is the band inclined to portray through the released music? Do you guys find it easier to use your music as a platform for specific issues, or is the goal of Nuclear Club to impart more of a lighter, less politically-driven atmosphere onto listeners? We try to be inclusive, we’re not writing music for anyone specifically, and we’re not promoting any particular kind of ideology, although, of course, we do all have our own strong personal beliefs. But most of the music we write is deliberately introspective, we would much rather sing about things that are personal because that’s more universal. We’re more inclined to write music about people who are close to us, and about the minutia of our lives, because that’s who we’re writing the music for, and it’s the only way we’re able to write music that’s emotive. That’s very important to us; writing music that’s emotional and expressive is at the heart of our culture as a band. Our favorite bands are typically sad, wistful, and nostalgic, and often found success later in life. That lack of urgency, the importance of making music for ourselves and for the people we know, and being comfortable to move on our own trajectory, is what keeps us going. The other thing is, we’re probably too small as independent artists to have a significant platform from which to speak about specific issues. Perhaps if our audience continues to grow, we might one day feel compelled to use our music as a platform for activism. But for now, we tend to reflect on significant issues through the lens of how they affect us personally, rather than in general, objective terms. We've heard that Nuclear Club is in current works to release the band's second album, featuring producer Robin Evans! How has the construction and vision of this album contrasted from 'Pop Psych'? Did the band go into the creative aspect of the second album with lessons in mind from your previous one? Absolutely, in fact, the two main obstacles we faced when making our first album were the two most significant changes we made when approaching our second. Everything we wrote for this album was done with the studio in mind, and we had very little regard for how it would sound in a live setting because we didn’t anticipate live performances as our focus while we made the album. As a result, the arrangements of these songs are much mellower than our first album. Our parts are simpler, the energy is less frenetic, and there’s a much greater emphasis on atmosphere and texture. Where we may previously have tried to make a section sound ‘big’ by amping up the volume, throwing in some crash cymbals, and going heavy with the distortion, we’ve instead started adding new instruments to the mix, and piling layers upon layers of different tones. One example would be how frequently these songs feature drones/pedal notes, using either guitar effects or a harmonium. And that brings us to the second most significant change in our recording process – for this album, we have had access to a much greater range of instruments, and keyed instruments of all kinds have had a huge introduction. We’ve used a harmonium, a baby grand piano, and an authentic floppy disk-operated synthesizer from the 1980s. Using new instruments like these is not a result of any greater financial backing than we had with our previous album, but Rob (who recorded the album) has accrued a medley of weird and wonderful contraptions over the years that he is delighted for musicians like us to play within his studio. As a result, Rob has also had greater power as a producer than would have been possible for us in the past, and his input on the music has been akin to that of us as songwriters. Apart from your second album being in the works, where is Nuclear Club planning on going next with the overall sound? Can listeners expect to receive a similar and consistent sound with Nuclear Club, or should listeners prepare for any drastic changes? We’re trying to reach as wide and varied an audience as possible, and inevitably as part of that, we’ll try to get better at writing pop songs, and not just glum alternative music for the small indie following that we’ve accumulated so far. That’s exciting to us because really all the most widely-known artists that we admire have reached success through their aptitude for blending pop sensibilities with the innovation and expression that comes with alternative music. Hopefully, the lessons we’ve learned from these two albums will put us in the best position to make that possible, and along with that comes sheer practice – we have another two years of gaining confidence and ability as musicians. We don’t expect any dramatic changes, as our guiding musical influences remain rooted firmly in alternative, rock, and grunge. But we will perhaps work towards a glossier, more maximal production, with a widened entourage of resources and collaborators at our disposal. The plan is very much to continue towards a bigger, more self-assured sound, that reaches new listeners of all kinds. facebook.com/thenuclearclub instagram.com/thenuclearclub twitter.com/thenuclearclub

Hailing from Perth, Scotland, 5-piece alt-rock band Nuclear Club releases their latest soulful album 'Culturecope.' Consisting of David Curran, Ross Fraser, Marc Hill, Mark Marshall, and Adam Streets, Nuclear Club has made their way around Scotland whether by performing or radio airplay, this 5-piece is ready to take you on a journey full of heart. Opening the 'Culturecope' album with the intro track “It Is I, It Is Time, It Is Right,” Nuclear Club starts off the album with a bright and radiant atmosphere with what sounds to be a folk-approach through dreamy mandolin picking, faint electric guitar and background claps acting as the main beat thus far. Once the uplifting and melodic vocals make their way to the forefront, the rest of the instrumentation begins to expand wider into a crashing and exhilarating downbeat. This track brings a very self-assured tone to the album and starts it off with a feeling of unity. Taking more of an upbeat alt-rock turn with the second track “Sniper Amen.” what strikes our attention is the beautiful vocal harmonies coming from Nuclear Club and how they bring such hi-fi atmospheres through their alt-rock sound. The instrumentation in this track from soulful acoustic to transcendent electric guitar picking brings such a wide variety of invigorating sounds that lay over the track's incredibly danceable drum patterns. “Sniper Amen” brings energy to the maximum while providing us with impeccable alternative-rock instrumentals. Speaking of danceable drum patterns, the third track “Brother, Lend Me Soul” begins with just that. Moving into a more emotional tone with this track, Nuclear Club provides such deep and meaningful lyrics about sticking by someone’s side and yet still feeling alone. The highlight has to be Nuclear Club’s stimulating chorus with serene falsetto vocals and hard-hitting drums with the melodic piano that sends “Brother, Lend Me Soul” straight to our souls. Giving us a more melodic approach to the album, Nuclear Club’s next track “Reach For Me” again provides us with blissful harmonies that soar overtop heartfelt instrumentals while giving us a message of longing for someone through heartfelt lyrics like; “Our world is short one dream, I’ve deleted scenes so you can reach for me.” What we’ve noticed so far is that Nuclear Club brings in similar detailed and passionate atmospheres like Coldplay and City and Colour, especially with “Reach For Me” which gives us a peek into the 5 beating hearts that surround Nuclear Club. So far we’ve been incredibly impressed by the variety of instrumentals and sounds that Nuclear Club provides. Especially with the celestial intro to the next track “Rage, I Can’t See For Blood.” Opening with 20 seconds of heaven through an array of strings and moving into sublime alt-rock sounds by gradually shifting from major to minor, giving us a whole sense of raw emotion. With lyrics that sing of love and anger, and how rage can live within us and be triggered to where you’re incoherent, Nuclear Club ties in full emotion with this song. Taking a down-tempo turn to “Culturecope” with the next song “I’m Asleep, Really I Am,” Nuclear Club takes us on a heartfelt ride through passionate lyrics and beautifully soft instrumentals. The track serves almost as an interlude as it’s shorter in length but sums up the atmosphere of the entire album, which is taking your inner demons and finding a way to express your pain and turn it into wisdom. Starting the next track “Land, Not Landlocked” with instrumentals that serve as a breath of fresh air through mesmerizing mandolin and electric guitar moving into the first verse. While swiftly growing into a whole sound with textured drum patterns, Nuclear Club strikes us again with conceptual lyrics like; “Cast your lines to the folding waves, demons already ashore” letting us find opportunity and hope once we reach out for it instead of letting our inner demons shut us down. Once again serving our faith to hold on to. Bringing back the variety of transcendent strings with the 8th track “At One,” while starting off with lyrics of standing strong and empowered, ready for anything to be thrown at you (which is clearly what we should expect nowadays). Growing into a strong chorus that crashes at each syllable. With few morning sounds that create depth and space within the song's atmosphere, Nuclear Club takes the last couple minutes of the song to end off with an incredible alt-rock instrumental that only emphasizes the message of standing strong. Taking the vibes back down to a mellow atmosphere with the next track “Condemned” this song takes a very introspective path. Opening with saddened instrumentals that crash into a beautiful downbeat of rounded and compelling melodies. Take note of the lyrical message where Nuclear Club sings about how we grow with loved ones only to one day let them go, while the band asks the universe, are we “Condemned”? Was this all punishment? This track definitely takes a special place in our hearts. Moving on to the title track “Culturecope” we’re intrigued right off the bat with soft electric guitar picking again moving from major to minor all to provide a dynamic and heartfelt piece. With another hard-hitting chorus that pulls in every inch of our attention, Nuclear Club stands clear with a message of finding peace when everything breaks to pieces and moving forward with the knowledge you were given from past experiences. Ending off with another textured instrumental, we’re nothing but impressed by Nuclear Club’s talent and creativity. Reaching the end of the “Culturecope” album with the outro track “Backstrokes”, Nuclear Club finds a peaceful way to end off. Bringing a more acoustic feel to this song with serene acoustic guitar and captivating piano, we’re left with nothing but a musical escape. With a beautiful love song about feeling distant towards someone and struggling with space between, we can relate heavily with this song as distance seems to be a common theme nowadays. It’s clear that Nuclear Club has taken us on a dynamic ride from high to low, as they exude raw emotions and find a way to express themselves, the album “Culturecope” allows us to find freedom when there seems to be none. Fall in love with 'Culturecope' below. facebook.com/thenuclearclub instagram.com/thenuclearclub twitter.com/thenuclearclub

We're loving your latest single "All You Want". What was the production process for the song like? How did the song go from the first demo to what it is now? Hey, buzz music, I’m really excited you’re loving my latest single “All You Want”! The production process for the song was a little unique. I had written an original version on my acoustic guitar at home. I then worked out a rough demo idea on logic and sent it over to my producer as a potential song idea I would love to finish and share. We both agreed that we really loved the chorus. The whole 808 acoustic vibe was something refreshing and new.  He then finished building out the track with better sounds while I focused on playing live and writing new material. After the track was done we went into his studio and tracked vocals and wrote the last little things to finish it up! After that took about 3 months of both of us to send the text of tweaks, & edits we had for the song! After 3 months we both had something we felt was done! It definitely wasn’t perfect but was a step in the right direction! Your music has a very modern but unique sound to it, what inspired you to sound the way that you do? Do you have any idols that you look up to? So I try to keep my music as simple as I can, so I can really lean into discovering what my sound is as I grow along this journey! I’m very influenced by Jon Bellion, Chelsea Cutler, and Ryan Tedder. The three artists not only are great writers but also produce great songs. We heard that you had originally not wanted to release this song, what had changed your mind to put this out there? Were you expecting the song to come to what it is now? I originally didn’t want to release this song because it was so far in the past. I felt like an idiot bringing this song back, considering I had newer songs I was excited about, but as I sat back and reflected on this song I realized that this song was no longer for me. I realized that as I go out and play live I find this song connecting with people. With that, I decided to share it because it was defiantly related to people. It's always great to hear people become inspired by things around them, what does your typical writing process look like? Do you find yourself starting with a melody first and then a lyric? So my inspiration is based on things that directly affect me or that I’m affected by. My writing process starts with a voice memo vent. Growing up I quickly realized that the best place for me to release and let go was to either write it out, play some music, or talk it out. The majority of my songs start there, I would either have emotion and pick up the guitar and find some music around that emotion. Or go back and listen to a Voice Memos rant of mine to collect my thoughts on it, or I’d go back to my journal and read something I had written down for myself. Listen to "All You Want" here. jeromeobholz.com facebook.com/Jeromobholz instagram.com/jeromeobholz