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Sparking feelings of nostalgia and wonder in his fans, the singer-songwriter and producer David Diaz returns to express his woes with a rhythmic single, "Pay To Be Happy." Through each release, David Diaz takes listeners on a sonic journey into his world and experiences. Inspired by his studies in philosophy while also passionate about supporting mental health, Diaz continuously fuels his music with relevant and relatable messages to form a deeper connection. Expanding on his recent emotional single, "Pay To Be Happy," David Diaz takes his audience into introspection through his relatable and heavy lyricism, asking questions of his ways and why he can't seem to move from certain emotional stages. While the r&b/pop instrumentals take a more upbeat path, the track truly makes for a unique experience. "Pay To Be Happy" opens with glimmering synths that expel a relatively upbeat and lively sonic atmosphere. That being said, when David Diaz makes his vocal experience, he tells a saddening story of his pain and wonders why he tends to stay down and out. The shimmering r&b instrumentals and sonics give us heavy similarities to The Weeknd's "Blinding Lights." The accompanying kicks share an incredibly upbeat and energetic feel that keeps the exhilarating sonics afloat. While David Diaz belts his vocals and continues his heartfelt story of wishing to pay to be happy, the song reaches the outro and gives us all the sonic and lyrical satisfaction we've been craving. Allow David Diaz's recent single "Pay To Be Happy" to heighten your emotion as you form a deeper connection with his relatable and honest lyricism. Hello David Diaz and welcome back to BuzzMusic, it's great to chat with you again, this time surrounding your latest emotional single, "Pay To Be Happy." Was there a moment that pushed you to express your emotions through the creation of this song? Hey! Thank you so much for having me back!! My last single, "Only I Get Sad," was what pushed me to be 100% honest in my lyrics. After I wrote it I knew that I wanted to continue writing songs where I can openly express my emotions, but before "Only I Get Sad" existed, I wasn't willing to go into such explicit detail about my life experiences. I deliberately wrote it in a way that anyone could relate to it, also while staying true to my feelings without being too descriptive. That made writing "Pay To Be Happy" slightly more challenging because it's specific to me and my struggles. I was in new territory. We're intrigued by the uplifting and energetic sonic tones within "Pay To Be Happy" that contrast your saddened lyricism. What inspired you to take this unique route? It's so cool that people are noticing that! It's something that I had to take my time and figure out. Essentially, what inspired me was my passion for discussing philosophical concepts and taboo social topics. You know, sometimes life just sucks, but I've noticed that so many people sideline the bad stuff because it's too hard to face. So I thought it'd be better to make the message of the song easier to absorb by having the production contrast with the lyrics. How did you write your lyricism for "Pay To Be Happy" to allow your listeners to relate and form a connection with you and the song's theme? When I write a song, I only have two goals; to express my feelings and to create a genuine connection between me and my audience, whether it's at a live show or through streaming my music. Growing up, I had very complex emotions. It was rare if I'd find an artist who could communicate a message that I'd relate to. I wasn't worried at all about my listeners not being able to connect with "Pay To Be Happy" because the concept of happiness is something that everyone innately relates to and experiences. I always take a moment from writing or recording to step back and say to myself, "Okay, HOW will people connect to this? Did I write this to look cool or because it MATTERS?" The last thing I want to do is be inauthentic with myself or my fans. You can smell fakeness and inauthenticity from a mile away. We've noticed a running theme throughout your music, being that you tend to touch on rather vulnerable and reflective concepts. What does vulnerability mean to you, and is it easy for you to open up when songwriting? That's something I'm quite proud of. To me, vulnerability is synonymous with strength. I used to think that if I made my struggles known, that would somehow make me weak or look like I needed attention. Because of that, over several years, I internalized my pain, and never spoke up about it. I acted like everything was perfect when, in reality, I was falling apart day by day. Eventually, I got the support I needed and took the time to mentally and emotionally mature. Now, I'm in a healthier place where being vulnerable and open about my struggles has become second nature both in life and in my music. What would you like new listeners to know about you and the music that you create? Wow. That's a hard question. Haha! I don't want to say, " Follow me and listen to my music," because, honestly, I'm not for everyone, and neither is my music. Most people will say I'm crazy for saying that, but it's true. Some people don't feel comfortable exploring unfamiliar concepts or truths or acknowledging the ugly side of the human experience. My music and I are not for them. I've found that my fans, and my listeners, all have unique stories and come from diverse backgrounds, but the main thing that connects us is our humanity. The failures, the ups, the downs, the pain, the joy; all the things that make us beautifully flawed. There is no separation between me and my music. It's an extension of who I am. When you listen to my music, in a way...you're getting to know me. Instagram Facebook

Making waves with his 80s-inspired sound and introspective lyrics is David Diaz, broadening his discography even further with a new lonely-wanderer single, "Is Anybody There?." David Diaz is known to effortlessly evoke sensations and thoughts of nostalgia with each piece, and his nearly-one-million streams would agree. Often compared to acts like Sam Smith, Diaz's Julia Michaels and Sasha Alex Sloan-influenced tunes never fail to shy away from exploring 80s film and culture with a dash of philosophy. Taking listeners into yet another mystical sonic journey is David Diaz's recent hit, "Is Anybody There?." This introspective and emotional piece comes packed with rich and glimmering production to enhance the entire listening experience. In this tune, we experience another vulnerable and deeply relatable piece from David Diaz that's literally music to the ears. Entering the planes of "Is Anybody There?" the song softly opens with spacious synths that lift the foreground while sparkling keys come raining down alongside expansive background pads. The 80s synthpop drums start kicking through our speakers to pave the way for David Diaz's heartfelt and animated performance, singing an ode to the confused, the lonely, and those who can't trust others. This song is incredibly lush; it chills the bone with this harmonious ambiance that radiates pure emotion and vulnerability. The song's soothing sonics, paired with David Diaz's heartfelt and emotional performance, make for one of the most honest sonic experiences we've graced this year. We're sure any listener will appreciate Diaz's ability to make the audience feel welcomed, seen, and heard. Travel into the sonic and lyrical depths of David Diaz's latest single, "Is Anybody There?" now available on all digital streaming platforms. Welcome back to BuzzMusic, David Diaz. We're pleased to feature your latest emotion-evoking single, "Is Anybody There?." What inspired your introspective and honest lyrics in this piece? Hi! Thank you so much for having me again. Initially, the main inspiration was when I was sitting down at a restaurant one day. I think it was a place called Miller's Ale House that I frequent here in Orlando, and I remember I was ordering, and it was taking forever. I got so anxious and indecisive that I even noticed it. I became highly self-aware and felt like everyone was waiting on me to make the most difficult decision of my life. I felt so much pressure, and I'd never felt that way before, and I was like, okay, this is a problem. I need to write about it. So, I wrote the song in a way where no one would think that it was about me sitting at a restaurant feeling anxious about deciding what to get on a fucking menu. Honestly, being indecisive has been a massive problem for most of my life. I have a tough time choosing between things, whether they're big or small. And, you know, it's something I need to learn to grow out of and get over. That situation encouraged me to reflect and be like, okay, this is something I need to change. How did you want the sonics and production in "Is Anybody There?" to make listeners feel? What sort of experience did you aim to give them? My main focus was the sonic experience of the fans while listening and for them to visualize the emotions the sounds stimulated. I wanted the song to have a very spacey ambient sound, evoking feelings of loneliness, confusion, and longing, which initially inspired the track. Especially with those synths at the beginning and the reverb on my vocal that creates a sense of depth. I'm also obsessed with the production of the intro. My producer, Nightwave, did such a fantastic job. He killed it. Once I wrote and recorded the vocals, it all just synced. Did you face any personal or emotional challenges when buckling down and creating such a vulnerable song as "Is Anybody There?" Yeah, honestly, making this song was a very reflective experience, and a lot of personal growth and realization came out of it. Even though the song's concept was born from something as silly as my indecisiveness with menus, it showed me how I truly need to learn to trust myself more and stop relying so much on other people to make my decisions. It's amusing now because it's not something that has completely taken over my life, but I don't want to wait until it gets to that point, you know? Eventually, I want to develop a healthy sense of confidence in my choices and learn to be okay when or if I make choices that result in undesired outcomes. I'm working on it. Writing this song also made me think about my fundamental view of life and how it has no inherent meaning. A thing has meaning because we decide it does, not because it's inherently meaningful. So, in a way, remembering that was a crucial step in realizing how much control I have over everything in my life and that my fear of choosing is something I can overcome. It's funny, though. People judge me harshly for this view of life, but I don't care. I'm too busy eating burritos to give even half a fuck. Like, sorry! I'm just out here taking responsibility for myself and my actions! We're lucky to say that we've been able to watch you evolve as an artist, and quite impressively. What are you doing to propel your career forward and further develop your craft? Thank you! That's so sweet. And honestly, I love getting interviewed by you guys. It's so much fun to be able to do this. But, yeah, I'm just always finding ways to do something differently. Staying in the same place isn't a healthy way to do things, even if something's working for you. There's no growth in that. There's always a different perspective. There's always another way to come at something, which I consistently push myself to do. There isn't a single aspect of ourselves that can't be grown, developed, or nurtured. I also try to be self-aware and have people around me who will hold me accountable and want me to grow. I don't have time for jealousy, pettiness, or drama. I'm here to win, and I'm here to see everyone around me win; failure is part of the process, but it's all about how you decide to react. It's challenging in the music industry, where people only care about what they can gain from someone. To an extent, I understand it, but, you know, when it comes to growth and success, I prioritize genuine relationships with upstanding people. That's the real deal. Those are the people that I want to keep around me, to help me become the absolute best version of myself that I can be. I'm working on it every single day. What's next for you? Besides needing a long-ass vacation, I have a lot planned! There are a bunch of songs I'm finishing up as we speak, and I'm so excited for everyone to hear them finally. The sound will be somewhat similar to what I'm doing now, but I'm experimenting with different things! I'm trying not to get stuck in a specific genre because I'm not too fond of labels. They're so fucking restrictive. I just want to make music, godammit! Subject-wise, my new stuff will go into more personal territory. I reveal some things about me and my life that many people don't know. It's more vulnerable and honest than anything else I've put out. I'm really looking forward to everything coming down the line. Instagram Facebook

London’s own Magazine Gap returns to BuzzMusic with their highly anticipated sophomore album, 'What’s That About?' A project that displays the trio’s growth through a collection of songs recorded over the years, Magazine Gap has said that they don’t believe in ‘throwaway tracks’ in order to complete a body of work. Each track provided with 'What’s That About?' tells its own stories through different sounds and genre blends, taking us through an unexpected journey that’s rich in energy, versatility, and sophisticated storytelling. Magazine Gap spent years crafting and tweaking 'What’s That About?' and it’s safe to say that the end product was everything we thought it would be and more. Opening the album with the fresh and uplifting intro track “Possibilities,” what strikes our attention is the groovy instrumentation right from the start. Giving us a contemporary pop taste through Alex Ho’s playful piano chords, James Keen’s funky electric guitar, and drummer Brian McCook’s smooth and steady rhythm. Once James Keen’s radiant vocals chime in, he starts off the project by delivering lyrics full of curiosity, optimism, and keeping an open mind when adversity arises. A fresh and catchy tune that starts off the album with an array of “Possibilities” to where the next track might lead us to. James Keen’s funky and nostalgic electric guitar opens up the next energetic track “Superficial,” not to mention the incredible and whole-sounding instrumentals that Magazine Gap provides. The underlying and thrilling piano chord progressions by Alex Ho really emphasize the track’s soaring melodies. Changing up in tempo around the hook where Brian McCook hits on all the right beats and provides exhilarating rhythm with each transition. James Keen sings about pure love, without being sugar-coated and surface-level. Coming so far and wanting to start fresh with someone, “Superficial” highlights love in all forms and the desire to form a deeper connection. Through the third track “For The Ride,” Magazine Gap impressively provides more of an expansive sound through a mid-tempo merge of R&B and hip-hop. Serving us nostalgia through Brian McCook’s drum patterns and Alex Ho’s fluttery piano, the track serves as a vibrant love song through James Keen’s lyrics of keeping his word of sticking by someone through thick and thin. The added electric guitar is highlighted around the bridge and takes the song to another bright and timeless level that rains down with sublime instrumentals. A track is full of compassion, honesty, and the three beating hearts that are Magazine Gap, we’re already hooked on the album. Moving into a more soulful piece with the title track “What’s That About?”, Magazine Gap’s instrumentals just keep getting better and better. Alex Ho’s simple yet brilliant piano takes the forefront of the introduction and pulls us in with these short and sweet melodies. A track with a universal message, especially in these unprecedented times that leave us following our intuition. With lyrics about being led in the wrong direction and sensing that there’s something wrong, Magazine Gap brings in an incredibly soulful and powerful atmosphere through striking instrumentals and lyrics that represent true visionaries. Opening the next track, “Kings, Queens & Jokers” with beautiful country-pop instrumentals and an introspective and melancholic feel through heartfelt melodies. Yet reaching the chorus, the energy is heightened to the maximum when James Keen vocalizes another universal message of playing the cards you were dealt with, as we all have a stash of “Kings, Queens & Jokers.” What keeps our hearts set on this track is Alex Ho’s mesmerizing piano and Brian McCook’s drum patterns full of life and power. Indeed a touching song lets you realize your own worth and allows you to march to the beat of your own drum. We can really feel Magazine Gap’s hearts being poured into the captivating ballad that is “In Two Minds”. Starting off with a crashing downbeat into Alex Ho’s heartfelt chord progressions, James Keen’s short plucked electric guitar and Brian McCook’s exceptional precision on the drums. James Keen’s vocals stand out with a soulful touch. He really displays his broad vocal range and effortlessly makes us feel something in our hearts. A down-tempo track that highlights a passionate relationship that once was, and that leaves behind the memories of their time together. Bringing the energy back with the next song “Ran For Cover,” from the jump, we can hear this unique blend of genres through sparkling instrumentals. Including brass elements to add vibrance to the song, Magazine Gap took a different route by incorporating more of an acoustic-pop sound yet with a groovy reggae-like bounce. This track speaks on courage and finding the strength within yourself to choose a fight instead of flight. Reminding us that if we really believe in something or feel a certain way, we should put a voice to our inner power and stand strong on our own two feet. The next song, “Dancing In Quicksand,” with a jazzy approach through the trio’s instrumentals, establishes that groovy mid-tempo beat. Yet quickly moving into an alt-rock sound at the hook, met with anthemic vocals and striking rock instrumentals. An interesting storyline stands out on this track, a sort of Magazine Gap inner monologue where they worried about taking their music to places outside the UK. All to realize that the most popular musical cities in the USA love and want to hear more from Magazine Gap. It was genuinely refreshing to hear a band’s point of view when planning to expand their brand. Funk never felt so good with the next track “Snakes & Ladders,” wasting no time and opening with Alex Ho’s upbeat piano playing and Brian McCook’s steady underlying percussion, giving us prime funky melodies through their brilliant instrumental arrangements and James Keen’s fiery vocals. He sings passionately about how life is simply a game of chance, and how sometimes we get thrown into a different path and get hit with unexpected changes. A powerful song about persistence and moving forward, yet dealing with challenges head-on once you slide on down the snake’s belly. Magazine Gap really thrives through upbeat and modern funk, especially with the next energetic track “Body Language.” Kicking off with James Keen’s groovy electric guitar and Brian McCook’s interesting take on percussion. Gives us a dynamic back and forth between James Keen’s vocals and Alex Ho’s piano, almost conversing in the universal language of music. Magazine Gap forgets all woes with this track, giving us a song to let loose and dance the night away to. It’d be nice to hear this track in a party or day club setting, as the vibes are inviting and warm like no other. The nostalgia is real with the next song “Calling Card,” right from the intro we’re taken into a time machine through James Keen’s invigorating electric guitar, Alex Ho’s jazzy piano melodies and Brian McCook’s limitless and upbeat rhythm on the drums. Lyrically speaking, this track can really resonate with anyone who listens. Surrounding the theme of being confused in a relationship and not knowing what to do, say, or think at that moment. Knowing that the long line of confused lovers accompanies us, Magazine Gap assures us that we’re not alone in this battle. Ending off the album with the outro track “Jericho,” Magazine Gap takes an energetic approach to folk-rock music through this textured piece. With everything from violin strings, complex drum patterns, jazzy keys, rounded acoustic guitar, unexpected saxophone, and James Keen’s vocals, we can hear why Magazine Gap chose this well-tooled track to end the album off. A unique lyrical take with this song, surrounding ancient laws and rituals yet in a modern-day sense. Letting us know that when lows are low, it’s natural and incredibly reasonable to be cynical when searching for the truth. An excellent way to end off the 'What’s That About?' album, Magazine Gap, has created 12 tracks of greatness for all to appreciate and relate to. Be sure to listen to 'What's That About' here. Welcome back to BuzzMusic, Magazine Gap! We truly weren’t expecting this unique and diverse sound that you provided with all 12 tracks on “What’s That About?”. Could you expand on what pulled the band into this different and experimental route? Thank you very much – that’s a cool comment, and much appreciated.  To your good question, whilst all three of us have very different musical experiences and tastes, with some notable overlaps, we all share a desire to create music that is rich, varied, and continually evolving, to not repeat ourselves or sound like anyone else.  This album is an extension of a journey we’ve been on for a while, so is borne out of the experience with the first album (and indeed the solo album I made with Cookie before that), wanting to raise the bar even higher.  Every song had to offer something we’ve not done before and/or a sound that was new. Seeing as 9 out of 12 tracks on 'What’s That About?' were created long before the album’s release, how did Magazine Gap arrange the collection of songs to create one fluid body of work? We actually never set out to make an album as such, but rather keep writing, recording and releasing music, whether as singles or EPs.  Whilst each set of tracks was embarking on something new, we were always keenly aware of the ‘thread’ of what runs through the Magazine Gap sound such that you could never put together any of our songs from any album in a playlist and think it’s someone else.  Our music is a journey, but the players are the same, so there’s clear consistency – the songs are all produced by Cookie as well, so it’s as much his captaincy of this that makes it sound so seamless when we put all 12 songs together.  If anything, it surprised us how wonderfully well they worked together since they weren’t designed to necessarily be combined, but it’s very exciting for people to hear this whole album from start to finish and experience that richness. We’ve heard that Magazine Gap wanted “What’s That About?” to spark and satisfy curiosity, that being said what tracks do you think emphasize this statement the most? Hard to pick favorites as such, since they are all a labor of love, but will try to answer that specific question!  Definitely the first track “Possibilities” because it’s a very contemporary, funk-pop song and we felt it was the standard-bearer for the album.  Certainly “Dancing In Quicksand” because it tells something of our story when we started out and has a cool but unexpected vibe.  The title track, “What’s That About?”, stands out because it’s like nothing else we’d ever heard and felt like a real result of the three of us putting in ideas that let to something unexpected but very exciting.  Probably “Calling Card” because it’s incredibly complex and challenging to write and perform, but all the more rewarding for it.  And finally “Jericho” because the lyrics are very thought-provoking and we wanted to emphasize that however much you like the music, we put as much effort into crafting lyrics that say something interesting and different as well as fitting the melody so effortlessly that there is a danger you almost let them wash over you without stopping to dig a little deeper! It’s been said that Magazine Gap wanted to bring in a completely different sound with “What’s That About”? How did the three of you manage to steer away from any sound you’ve done before and bring in something completely new? Another really good question!  To clarify, and to be consistent with the answer to your second question, it’s not a completely different sound but rather an evolution of ideas with different soundscapes in order not to repeat ourselves.  But it still sounds like us.  It’s not though the last album was a, say, rock album, and this one is an R&B or reggae album for instance.  Our music has always blended different genres. After the first album, the way we came to write together is to start by jamming through ideas.  Maybe it’s a beat that Cookie has been thinking about, maybe it’s a melodic idea that Alex has been working up, or maybe it’s a riff that I’ve been playing around with.  But it has to be the three of us in a room throwing in ideas.  With our debut album, “Light & Shade”, I would bring a song to the band and we’d then put a Magazine Gap flavor to it – only 3 songs on this new album were like that and they were actually written before we started the new project.  Most of them were deliberately written when we were all in the same room so it had to be something that not one of us could have come up with on our own. In terms of what becomes songs, mostly it’s just spontaneous from playing together and something surprising emerges.  Sometimes Cookie just starts playing a particular groove, then Alex bounced off that with something very funky, often leaving me wondering where I can find a place to come it, but eventually, I do and then we do more of a call-and-answer.  Critically, we all have to be thinking that it’s something different and surprising. The key is also to record ourselves doing this so you can just enjoy the flow of where the music takes you without overthinking it or worrying about remembering it, then listen back sometime later and pick out what stands out.  I was walking down the street one day with my phone on shuffle and one rehearsal track randomly came up that I barely remembered but immediately realized had something special – I played it to the guys at the next writing sessions and we started writing what became “For The Ride” off the back of it. Once the lockdown is over, we can’t wait to get back into more of this and once again push ourselves and see what comes next.  It’ll surprise and delight us first, then after all the typical time and effort poured into crafting a 3+ min song from that, our audience.  But that’s for another day.  For now, we’re thrilled to showcase what we’ve been beavering away for over these last six years! instagram.com/magazinegap facebook.com/MagazineGap

Welcome to BuzzMusic, Magazine Gap! We are absolutely in love with the latest single "Superficial". What was the songwriting and production process for it like? Thanks so much! We typically write and record a set of three-song at any one time, which each set having distinctions and similarities between them.  We wrote ”Superficial” like we write many songs - firstly, recording ourselves jamming in rehearsals, then listening back and picking out cool standout ideas which we develop more specifically before putting a structure around a song. We then layer with additional keyboard and guitar ideas, then I spend a long time singing the track over and over to produce endless lyrics before cutting back to the best lines and shaping them to give the song meaning and cohesion. We aren't people who "wrote this in 15 mins"...  Your sound is something that feels both familiar and unique at the same time, it's quite wonderful! Do you have any influences that inspire your sound? What about those influences inspire you? That is exactly what we've been aiming for, so really appreciate your comment!  We want something that feels recognizable to some extent (we're not avant-garde!), but certainly within our own distinctive sound. Our influences run deep and differ considerably between the three of us, which is why the combination probably feels so unusual. I'm a singer-songwriter that loves folk-pop, soft-rock, funk, and blues, whereas Alex is a jazz-pop pianist who loves fusion, and Cookie is an R&B drummer and producer who loves hip-hop and soul.  But there are no hard lines, and we crossover more than we might otherwise think - for instance, we're all into Stevie Wonder, Prince, Michael Jackson, Herbie Hancock, John Mayer, etc. Wow, it's fantastic to hear you have toured all over! From the UK to the U.S.A. to the Far East, are there any highlights or interesting stories that you would be able to share with us? Our first-ever show as Magazine Gap was at The Mint in Los Angeles. The reason is that I had been booked to play there off the back of my solo album, which Cookie produced and Alex had joined in subsequently to support the shows around that.  With Alex, Cookie and myself playing together a new sound began to emerge that was far more than just singer/songwriter with a backing band, but an exciting new combined sound that had its own identity. We had therefore formed the band by the time of the West Hollywood show, so it was an opportunity to go to LA to record songs for our debut album (the day before we were in Capitol Studios recording on the other side of the partition to John Mayer), and that show began our first tour (which included New Orleans and Houston). The reaction from the audience that night is one we’ll never forget and gave us all the encouragement we needed. I even wrote a song about that night and other dates on the first two US tours called “Dancing In Quicksand” which is on the new album. Other highlights for us were getting a similar reaction in Chicago as Hong Kong, New York as Tokyo, Glasgow as Singapore, Montreux as Los Angeles. Hong Kong was interesting in that we flew in on the night of an escalating hurricane (the worst storm in 13 years), so all transport was cancelled once we caught the train to the center and so had to walk in the extreme wind and rain with all our gear to the hotel! We filmed a music video around town the next day ("Slipstream" which is one of our most popular songs), and you can see all the fallen trees and debris in the background!  Tokyo was such a lovely gig, one of our favorites, but the first and only time we played in our socks! Glasgow was hilarious because it turned out to be Halloween and the Scots take it as seriously as the Americans, so we were performing in a room full of Skeletons and Sesame Street characters; great atmosphere though!   The Montreux Jazz Festival was the main highlight - the day before (and after actually) it poured with rain, but we had a beautiful Friday night slot on the main stage overlooking Lake Geneva, with the sun setting through the first few numbers, and comfortingly the crowd quickly filled up to its capacity 2,000 people as more and more people stuck around to hear out our set. Everything came together for that concert! It's an exciting feeling to be putting out something like an album, it's definitely a lot of hard work. What was the recording process for it the album like? Was there anything "experimental" happening in the studio when looking for new sounds? Absolutely.  So, this album is actually a collection of songs written and recorded over a number of years.  Therefore it really represents a journey for us as songs developed over time, and each time we went into the studio we would look to do something different.  On some songs, there are brass duos and string quartets added to a lush production, on top of acoustic instruments, whereas on others it was stripped back to just the core band with a lot of space. With the last songs to be recorded, including "Superficial", we decided to go all-electric and electronic, with Alex using keyboards and samples (whereas as a classically trained concert pianist, we are used to him tinkling the ivories on a Steinway or Bosendorfer!) and Cookie using his Roland electronic drums and sampling pad, which for us was definitely experimental.  What hasn't changed is that everything is played live, so have never lost the authenticity of the musicianship and inflections of performance. What can we expect to see from Magazine Gap throughout 2020? We've just filmed our final music video for the new album (which is called "What's That About?"), so that will be coming out ahead of the album in the coming months.  We will also be playing live again, which is one of our favorite things to do. It's going to be great when people hear all 12 songs as a collection, to see the whole picture of how we've crafted all the songs and how they fit together beautifully. Read our review of "Superficial" here. youtube.com/magazinegap facebook.com/MagazineGap instagram.com/magazinegap

Magazine Gap is a critically acclaimed Alternative Pop-Soul band from London. The band since forming has since toured across Europe, the UK, and the U.S.A. The band recently released their latest single "Superficial" and we are absolutely in love with it. Right away the highlights are the extremely tight rhythm section and that ever so unique enchanting voice. Magazine Gap did not hold back on their abilities for a single moment for this record, it's groovy, funky, upbeat, relaxed, and puts you into an almost zen-like state. The vocal melodies and tone are very reminiscent of classic Red Hot Chili Peppers tunes but bring their own unique modern sound. Something about James' vocals really makes the song feel special. The guitar parts are expertly crafted to only shine while there is a vocal break before transforming back into a wah sound during the rest of the song while the key parts precisely follow the drums creating a flowing push-and-pull experience. "Superficial" is one of those tunes that you instantly feel compelled to from its slight sense of nostalgia but also has a modern flair to it that makes it shine. We are looking forward to the new album "What's That About?". Read our interview with Magazine Gap here. instagram.com/magazinegap facebook.com/MagazineGap

Welcome, Stephan Nance! Your recent single "Why Snow White" has debuted and features articulate piano stylings alongside your intensely tenacious vocal sound. How did you intend for your listeners to particularly feel when listening to this track? How is it that you personally feel while listening to this track, especially now that it has been released? I wanted this song to be emotionally ambiguous and sort of hypnotic, like a lullaby but a little bit sinister. I think the dark side comes through in the bridge ("You know deep down you don't belong here"), but if not, it should be clear from the eerie synth outro that swells slightly as the last notes of the song fade away. When I listen to it, I feel happy with the mix and excited for other people to hear it! Are you able to walk our readers through the ultimate storyline of "Why Snow White", and why you felt compelled to write this distinctive song? I actually wrote the song when I was supposed to be learning a cover for a show. I was procrastinating and watching the birds outside my window. White-throated Sparrows are one of my favorites, and I thought it'd be nice to work them into a song. On one level, the song is about several boreal bird species that show up in Oregon in the winter and how out of place their white features appear in the Willamette Valley where it rarely snows. On another level, it's a reflection on whiteness, living on colonized land, and the phenomenon of white flight — white people moving out of urban areas where people of color live and into the suburbs. The visuals for the lyric video explore this second meaning. As an artist who has already toured across many countries, and seen a vast array of audiences, where would you say your favorite location is to travel and perform? Do you feel that the audience at your shows is pretty much consistent all across, or do you feel contrasting energies from the people in the crowd depending on the location you're in? It's a close tie between Japan and Russia. I can't pick a city in Japan, but in Russia, it's Kaliningrad. The shows are really heartwarming and the audience is so engaged and enthusiastic. By the end of the night, my face hurts from smiling so much. I also love playing Sofar Sounds shows no matter where they are. The energy can definitely vary, but I feel like it's actually gotten more consistent in the past year or so. I started looking at my performances more critically, and I think they've gotten a lot stronger and more engaging. Your second album, "Look at the Harlequins!" is set to release in the near future! Are there any specific themes that you were wanting to unfold with this specific album of yours? Birds! The album references 21 species of birds. Birds lend each song a strong sense of place. The Glaucous-winged Gulls and Sooty Grouse in "Grey & Green" characterize Vancouver, BC. Then in “Reverse Nature Shock (家の家)," a song about coming back to the US after touring Japan, we have hashibuto and hashiboso garasu (Large-billed and Carrion Crows). One track, "Pompeii," is birdless, but the location is pretty obvious there. It's a migratory album. What can we expect to see from you throughout 2020? Well, I just made the difficult decision to postpone my fourth Japan tour till 2021, which is a huge bummer. I have bad asthma, and my lung collapsed when I was a kid, so I'm not taking any chances. The bright side is that I'm going to use the extra time to record my third album, Sparkbird. Mathias Kunzli (Regina Spektor, Lauryn Hill, Moby) just started tracking drums this week! I'm also working with him on a single that will come out in November. And I'm putting together a piano and vocals EP, hopefully, I can release it this fall as well. Read our full review of "Why Snow White," here. instagram.com/stephannance twitter.com/HelloStephan facebook.com/stephannance

Who is Stephan Nance, and why would you want to listen to Stephan's music? Well, Stephan Nance brings forth a sound that is eloquent in many ways and expresses utmost sincerity. Giving listen to one of Stephan Nance's songs, and you'll quickly come to realize the opulent piano soundings, mixed with a climactic vocal performance. Piano-pop is the genre style that Stephan Nance resides in, bringing a severe twist to the original pop scene we're familiar with. Stephan Nance creates and records in Portland, Oregon where they collectively mesh many thoughts and themes together to create the very product of what it is Stephan offers to listeners. Already travelling across Europe, the United States, as well as Japan, Stephan Nance rapidly grows their artistic imagination and skills with an incredible amount of experience thus far. Stephan Nance has been consistently releasing music, and with the completion of recent music, we see Stephan releasing a string of singles in the future. The prominent piano stylings offered in Stephan Nance's recent release, "Why Snow White", bring a melodramatic sense to their song. Following the intrinsic piano-pop theme that Stephan Nance is known to adhere to, "Why Snow White" is a vivid expression where Stephan takes us on a full and exasperating journey. We feel full of breath with Stephan Nance. It's easy to conclude that Stephan Nance is here to create music with a certain kind of curative property, whether that be feelings of calamity or even feelings of bliss. We're appreciative of the sounding Stephan manifests, and we feel that their aura is glistening with purpose. All in all, "Why Snow White" is full of vibrancy, and listeners receive a luscious ballad from Stephan Nance. We're ultimately inspired by the collective combinations that Stephan brings to light, and we're anticipating similar depths and introspection in their future music to come. Give a listen to "Why Snow White" by Stephan Nance, here. instagram.com/stephannance twitter.com/HelloStephan facebook.com/stephannance

Detroit, Michigan, has long been a breeding ground for exceptional musicians, and Larry Sager is no exception. Hailing from a family with abundant musical talent, Sager was constantly exposed to quality music. After passing a rigorous test administered by a renowned Detroit music company, he would embark on his musical journey at the tender age of five, and the rest, as they say, is history! Although Sager would receive classical training for many years, the allure of blues and rock ‘n’ roll captured his heart and imagination. He would later learn and add the guitar and electric bass to his artistic repertoire, all before the age of fifteen. That wouldn’t be enough for Sager, though. Determined to perfect his craft, he would venture to California as a young musician, playing concert venues, coffee houses, bars, and any other stages he could, practicing his skills and giving electric performances. “At the Rock ‘n’ Roll” is one of Sager and ESQ’s latest offerings. A flawlessly executed offering of rock, “At the Rock ‘n’ Roll” is filled with the energy that makes it infectious. As Sager commands you to “have fun, everyone / have a good time, to rock ‘n’ roll,” it’s so easy to get lost in the music and move. It’s a testament to Sager and ESQ’s considerable skills as musicians, but most importantly, their ability to make you feel good through music. Larry Sager’s “At the Rock ‘n’ Roll” embodies his willingness to explore and push boundaries while remaining true to himself and his roots and sound. So whenever you’re ready, tap in and stream “At the Rock ‘n’ Roll,” available now on all major streaming platforms. Welcome to BuzzMusic, Larry Sager! We loved “At the Rock ‘N’ Roll,” we had to ask, what inspired this song? Perhaps sorry to say, the lyrical inspiration for this song was an untrustworthy business partner of mine. My interest in our business was diminishing as I wanted to devote more time to my music. He was resentful, let's say - as our business dealings were quite successful - and he wanted my devotion to remain solely to the business. It was eventually good riddance to our partnership, and hello, MUSIC. So you mentioned that you come from a very musically oriented family! How has your family influenced who you are as a musician, and how big did they play in deciding which specific direction you wanted to take your music in? My mother was a classically trained violinist and pianist. She played in an amateur orchestra when I was a kid. I attended the concerts regularly for years, but I enjoyed attending the rehearsals more than the actual (sometimes boring) concert itself. Perhaps - a more educational and behind-the-scenes look at preparing for a performance. And, similar to her own parents - she had me start piano lessons when I was 5 - with a renowned music school in the Detroit area. Though only 5 years old, the school required me to pass a "musical aptitude" test before taking me on as a student. I passed the test. What is your favorite musical memory? My favorite musical memory or memories would have to be when I was an "observer" in various recording studios while David Foster was recording and mixing the Tubes in San Francisco and Chicago in Los Angeles. I observed his expertise, attention to detail, approach to making great music, and excellent recordings. It remains a mainstay of my striving to produce music without compromising my own vision of the final production. How would you describe your music to someone who hasn’t heard it before? My music is mainstream rock 'n' roll or, as a friend put it, "old school rock 'n' roll," - but I do consciously add a touch of Detroit/Motown R&B and jazz to make it slightly different than what you've heard before but at the same time very familiar. Hopefully - it's what you have heard and loved a million times - but at the same time - there's something different going on! What’s next for Larry Sager? Can we expect to hear more new music soon? A little different than our last two releases - our next song is without a guitar solo called "Can't Be Satisfied." It features the wonderful backing vocals added by Sylvia Massy (who mixed it as well) and vocalist Shalee - along with what we hope people find is an entertaining music video as well. We promise a slew of new music will continue through the next months and into the next year —Rock 'n' Roll. Instagram Facebook

In the tropical space of Hawaii, a Pop Duo, Jordan, and Erika created "HOFFEY," and out came an electrifying blend of melody and rhythms that made the very structure of their music. The duo met studying music in Australia, and that same meeting would lead to an exciting musical collab and also a fairytale love story. After a brief hiatus in 2021, they are back with a terrific upbeat yet mellow record called "Sick In Love." HOFFEY goes global and teams up with Kelland from Canada to create the latest release, "Sick In Love" This collaboration started in a Hollywood studio and continued in Oahu as Kelland was on vacation HOFFEY joined in his paradise. The energy and flow from different minds and unique experiences infused together produced "Sick In Love," which stands out in the pop and electronic scene. This electric record and dance anthem take us captive with a retro feel and amazing elements to compliment the vocals. Jordan's vocals are soft and smooth as they create an escape from reality as soon as you hear the record. "Sick in Love," with its elements of dance-pop and subtle R&B influences, is a summer hit that captures the spirit of both HOFFEY and Kelland. Their continued evolution within the electronic genre, infused with the vibrant energy of summer and the tranquillity of the beach, heralds an exciting future for both HOFFEY and Kelland. Get your groove on with "Sick In Love" by Kelland and HOFFEY and their latest review and interview here. HOFFEY Instagram Kelland Instagram

A Crystal Clear Moment is back with a captivating new record, "We Come Around (Pray For Serenity)," bringing us into a new chapter with singer Emmy Apetrea. Emmy's voice brings a soulful and emotional resonance that is forever undeniable. This project is so well produced with melodies that elevate the sound to a mature level. The arrangement is well-blended with electronic sounds, synths, and live instruments. This captivating track shows the group's growth as they expand their sonics. Tobbe Fall's electric guitar and grand piano work complement Emmy's vocals, creating a dynamic interplay that enhances the listening experience. But, of course, the universe has a way of making these perfect alignments, and Rickard Abrahamsson finding Emmy at Benny Andersson's studio was indeed A Crystal Clear Moment. The combined forces of Tobbe Fall's electric guitar and grand piano intertwine with Emmy's vocals, creating this fantastic dance-pop song that feels like summer is just around the corner. Read the review and interview on A Crytal Clear Moment and their latest record, "We Come Around (Pray For Serenity)," here. Instagram Artist Website