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Known for their powerful presence and intoxicating tunes, it's no wonder why Detroit's Van Go Go has seen over 3.5 million plays on music streaming platforms. Making audience connection a staple of their mission, Van Go Go intends to drive this home with their latest single, "Avalanche." Pushing their own envelope and embodying a 60s folk-rock sound, we admire the wholehearted energy pouring from Van Go Go's "Avalanche." Our speakers are immediately filled with lush acoustic strums, intentional percussion and a warm bassline that acts as the therapeutic framework for Nathan Mackinder's raw and wistful croons to rest upon. Taking a minimalistic approach to the song's overall format truly enhances the song's tame nature and poignant messaging as we indulge in the heart of this mid-tempo ballad. Oozing with nods of classic rock and unadorned passion, there's a rich message spearheading our speakers underneath the avalanche. "Avalanche" touches each of our souls as the genuine lyrics reiterate the act of trying to do the right things when times get tough. A theme that everyone can relate to, Van Go Go emphasizes this message and unravels its authenticity through trials and tribulations that can consume you. Honing in on elements that may not always be present in a Van Go Go composition, you hear the brilliance of flutist Carrie Wiesinger grace the instrumentation in an impactful manner. Nathan MacKinder has stated, "I wanted the song to be a poignant reminder of what we all went through [during the pandemic], but also have a positive and uplifting message that we will all be alright." Comprised of Nathan Mackinder (vocals and guitar), Jason Schaller (guitar), Paxton Olney (bass) and Jonah Brockman (drums), Van Go Go dubs this song "Avalanche" with the well-known irony that a record number of people have passed away in the unsuspecting, snowy natural disaster. Leaving listeners with a thought-provoking reminder that if you're not careful, you could get buried in something equally as unwary. Welcome back to BuzzMusic, Van Go Go. We love the brilliant concept and arrangement of your latest single, "Avalanche." With inspiration from the pandemic - how long have you been sitting with this gem of a song? How does it feel to now have it released? Thank you! Yes, it feels like shedding some unwanted weight after finally releasing this song. I started on this in the early days of lockdown in 2020 and didn’t have the lyrics, so it got shelved. A year later, entering lockdown again, I drew inspiration from all that went on that year, and the songs came out in a few minutes. We performed it live “zoom style” during our online record release. The tempting approach brings in nostalgic waves of classic rock through our speakers. What was it like tapping into this place in your mind to create such an elusive record? We are all huge fans of classic rock, so tapping into this style comes naturally for the group. And with the subject being a bit heavy, It seemed like a fitting stylistic approach. I wanted to encapsulate the dark, depressing winter of the Midwest against the backdrop of the pandemic. I read that people were dying in Avalanches at record numbers that year and the metaphor seemed too obvious to pass up. I don’t think the song alienates itself from crises like earthquakes, mass shootings, or personal tragedies. The message is that if you do your best to stay on the right side of things and keep your friends and family close, you will get through it. A message like that seems fitting as a classic-style ballad we all grew up listening to. What a beautiful idea to bring Carrie Wiesinger's talents to "Avalanche." What was it like working with her to craft such a striking soundscape? Any time you get to add someone as talented as Carrie to your song, you jump at the opportunity. She is one of the masters of her instrument around, and we were honoured to have her on this track. The flute is often considered a sad-sounding instrument, but I also think it's uplifting in a primary key. It also walks that line, precisely what our song does, so It seemed like a perfect fit. Getting prepared for your next album by recording a handful of demos - what sounds can we expect to hear from you next? We are still exploring the new wave sounds with some new tracks. We even have a throwback cover that will bring our sound together and a synopsis of VGG for new listeners. Being independent artists, we aren’t pigeonholed into a particular genre. But I still think we have a focus and specific goal of what we want to present as a group. What are you most excited about in 2023? We look forward to playing some upcoming live shows in Michigan and Florida. Getting us all together in the same place simultaneously has been challenging. I treasure those moments when we perform together with an audience. And getting a 2nd album completed and promoting it will be the year's highlight. We have so many songs we are excited to meet and share. We also have a song coming out in a Netflix feature this year which we will announce around its release. It will be exciting to see how that goes and the potential new audience it will bring. Instagram Facebook

From Accra, Ghana, to Canada's capital city, Ottawa - VSN is an emerging independent artist who has been dabbling in music production since his early youth. His journey producing for aspiring artists began in 2018, and by 2019 he had assisted several local artists in launching their careers in music. Pronounced "Vision," the sound architect widened his focus and honed his singing, rapping, and songwriting skills to create a unique sound as a do-it-all artist. Serenading listeners with his latest release, VSN brings "Kennedy Rd." to the table as an ambient record fueled with undeniable flair. This ode to Toronto's staple street is chalked full of witty bars as VSN sways between smooth and quick-paced rhyme schemes, further professing lyrical motifs that make you yearn for the good life he raps. As we tune into the production, much captures our attention. Enticing hi-hats keep you captivated and in tune with the intricate production details as your attention also navigates towards the chopped and distorted vocal samples and heavyweight bass rounding out this track. VSN's charisma is irrefutable, and he has a way with words that draws your attention to the overall composition of "Kennedy Rd," along with the singular features that stand out. With "Kennedy Rd." personifying ravenous lyrics like, "Need, foreigns in the lot, and a mansion down in Prague. Throwing bangers on a yacht off the coast of Barcelona," this is a song we can see ourselves cruising down the street manifesting our dreams to, or turning up at a live show as VSN gives the audience an energetic performance. That's the key to a great track, and VSN drives it home. Listen to "Kennedy Rd." on all major streaming platforms. Welcome to BuzzMusic, VSN, and congratulations on releasing your latest single, "Kennedy Rd." We love the laid-back meets, "I'm going to get what I want," energy you put forth in this track. What's the story behind the inspiration? The story behind the inspiration is my love for the incredibly talented artist Kennedy Rd’s music, fused with my emotions of dealing with and working through difficult personal experiences I have had to go through coming up in the music scene. It also, in some way, speaks to the confidence I’ve come to build as an artist in the game along the way. What message do you hope your audience can take away from this song? I hope the message from this song is that you can make your dreams come true as long as you’re willing to work and fight for them. Primarily through the tough times because those are the moments and lessons that make you. What musical artists do you look to for inspiration when creating? Several artists come to mind, including J. Cole, Post Malone, Drake, of course, SZA, and the Weeknd. I could go on and on, but considering I listen to these artists very often, essentially daily, they, in some way, have influenced my style of music. What has been your favourite part of your journey thus far, from starting with production to becoming a solo artist? In a word: The experiences! I’m talking about the artistic and personal growth, the beautiful, fun [and most times] crazy moments in the studio with other artists, the bonds formed, the ability to perform in front of my incredible fans, the ability to experiment to find my own ever-evolving sound. The list is long and growing, and has been nothing short of a fantastic experience I’m thankful for. What's next for you? A lot more coming! A lot of new BANGERS, if I’m being honest. I have some solo tracks in line to drop in the upcoming months, several crazy features and remixes with some of your favourite artists in and outside the city and a lot of video content! I will also launch my clothing line very soon called “ctrlvsn.” The clothing line's idea is to “take control of your vision” or, in essence, take control of your dreams to turn them into reality. The clothing line will feature some merch associated with my music and designs from other incredibly talented up-and-coming visual artists from all around Canada. Okay, I’ve said too much already. Long story short, stay tuned! Instagram Facebook

Constance Watkins and Jared Watkins are the two minds behind the ethereal group named Super Love. Constance Watkins, the band's lead vocalist, has been involved in music for many years, having started singing in church choirs at a young age. Her style is characterized by a powerful voice ranging from soulful and expressive to raw and edgy. Her lyrics often explore themes of self-discovery, identity, and empowerment. Constance's talents extend beyond music as an accomplished visual artist whose work often features in Super Love's music videos and album covers. Jared Watkins is a multi-instrumentalist who handles the musical arrangements and production for Super Love. Jared is a self-taught musician who has played various instruments since childhood. His experience playing in jazz ensembles and rock bands has helped him develop a unique sound that incorporates elements from various genres. Super Love’s latest release, “The Real Me,” is a captivating blend of autonomous indie style with multi-layered lyrics and cross-genre grooves. The track begins with electrifying energy, with lyrics that speak to the experience of becoming a different person in different environments. As the lights are turned low, Constance becomes the neon, stepping out from the shadow and into the spotlight. Her soul seemingly pours out as she dips into the low notes, which make for a haunting melody, sure to draw a crowd and then have them falling out of this world and into a dream. The dreamscape “The Real Me” frees the mind from the constraints of societal norms and expectations. The grooves in “The Real Me” are like a deep melodic lullaby, providing the perfect backdrop for Constance’s unique voice. The music is a fusion of wavy synths and funky bouncing melodies, with elements of other sub-genres incorporated throughout. This unique blend of sounds creates a sonic experience that is both familiar and refreshingly new. The lyrics of “The Real Me” are a testament to the power of music to transport us to another world where we can be whoever we want to be. The chorus, in particular, is a powerful call to embrace our true selves, even if it means stepping out of our comfort zones and breaking free from the expectations of others. Super Love’s creative process is as impressive as its music. The band writes and records in a brownstone townhouse in New York City, drawing inspiration from the local style of the city. Their work is a reflection of the diverse influences and experiences that they bring to their music. “The Real Me” is an exceptional piece of music that showcases Super Love’s versatility and creativity. The band’s ability to blend genres and create a sound that is uniquely their own is a testament to their talent and dedication. With their latest release, Super Love proves that they are a band to watch in the indie music scene. Fall into the world of “The Real Me” today, available on all platforms. Welcome to BuzzMusic Super Love. A tremendous congrats to the deep dive with “The Real Me,” an intensely introspective song, Can you tell us more about the inspiration behind "The Real Me"? What led you to write a song about embracing your true self? We hope this song connects with people that struggle with identity. People are exploring who they are and hopefully finding themselves. From a young age, we’re taught to conform. Conform at school, then conform at work. But we are all individuals with unique perspectives and original voices. So often, a person has two versions of themself: one during the day, another in the evening—the version that conforms and the version that they choose to be when they are on their own. We’re fascinated with this duality in people and recognize how freeing it is to choose to be the person you know you are. So in "The Real Me," we take it further. If there are two versions of a person – the daytime version, which dominates most of a persons waking hours, and the evening version that hides in the shadows – which one is the real version of a person? The Real Me focuses on the struggle of living between the two. Recognizing that the duality exists and revelling in your individuality. Your sound on “The Real Me” is truly multi-layered and sonically unique. How do you approach creating such intricate soundscapes, and what is your creative process like when writing and recording music? Musically, our songs always begin with the bass, followed by a beat. And we spend much time making the beat captivating before adding other sounds. Our bass lines follow jazz foundations, meaning that while our songs are alt-rock, we still bring the funk. For "The Real Me, "the bass follows a groove. The groove on its own creates the feeling of walking down a dark alley surrounded by shadows, emphasizing the lyrics and resonating the dark feelings of being denied who we truly are. Then we brought in the harmonics: the grungy, fuzzy synth and the angular guitar lines. And, wow! In the recording session, that grinding synth captured and intensified the mood. The lyrics of "The Real Me" talk about stepping out of the shadow and into the light. Can you talk about a time in your life when you had to make a difficult decision to embrace your true self and how it impacted your life and music? Our paths in University started very differently from the real rides we’ve taken. Jared was PreMed, all set to be a Biomedical Engineer, while Constance was in Finance. There was a turning point for each of us as we chose to be artists. Telling family about the change was beyond hard. Many condemned the choice, telling us that we were ruining our lives. But neither of us could deny who we are. And our lives are very different from what they would’ve been. The life of an artist can be challenging, but for us, it is much more beautiful. We can explore what makes us human and pour all that experience and emotion into our music. The Real Me" has a powerful message of self-discovery and authenticity. Can you share a story or experience illustrating the importance of embracing your true self and how that message is reflected in your music? It’s easy to follow the flow. But in doing that, you'll never stand out. It’s your personality and your uniqueness that will move you forward. There was a time when I saw my uniqueness as a flaw, something to repress. The more I conformed, the more I became part of the masses. This created a monotony that left feelings flat; happiness was never all-consuming because part of me was being denied. It’s liberating to embrace who you are. To drop the shackles of who you’re told to be. This is such a strong reality for both of us that this message is embedded into many of our songs in one way or another. What are your goals for the future of Super Love, both in terms of your music and your career as a band? Are there any particular milestones or achievements you're striving towards, and what steps are you taking to get there? Our biggest goal is always to connect with our listeners. We want to make music that we love, with the hopes that others will also be elevated by it. From a more technical standpoint, there is so much on our horizon. We’re optimistic about the future of Super Love! Our second album is in the works, set to be released later this year. And we’ve been keeping our eyes open for opportunities to collaborate. We love how much success we’ve seen as an indie band, and we’re always looking for ways to grow. Currently, we’re exploring labels that would be a good fit. Instagram Facebook

Crashing in from Philadelphia is the psychedelic alternative-pop band Plant Sounds with their new homage to past sounds, a 10-track album entitled 'Party On // Hari Om.' The Philly-based 6-piece comprises Joshua Bright on vocals/guitar, guitarist Levan Danilov, Luke Blasko on Bass, drummer Wesley Paul, and Eric Cifone on percussion. Their unique, raw, and organic psychedelic sounds paired with a modern production twist are something to notice. More recently, Plant Sounds wanted to delve into old-timey, the 60s/70s sounds, but with their familiar adventures production in a new album, 'Party On // Hari Om.' The dynamic record was created alongside Plant Sounds' new classically trained multi-instrumentalist & producer, Giuseppe Di Cristino. The new album starts with the dreamy and ethereal introductory track, "Black Sea of Trees," opening with the smoothest synths that float into a chilling alternative instrumental. As Bright beings to share his warm and melodic vocals, he brings this overall lighthearted and passionate feel perfectly supported by the fluid instrumentals. In addition, a few unique breakdowns and transitions help us better understand Plant Sounds' versatile stylings. Moving onto the album's second and title track, "Party On // Hari Om," this bright and exciting tune peels open with a celebratory vibe that prepares us for happy hour. Plant Sounds has a special way of painting distinct images and scenes through their sound and tone, especially in this beachy and tropical hit. We appreciate this track's warm brass and organic instrumentals; Plant Sounds only took two songs to showcase such different sounds and styles. Landing on the third track, "She Don't (Bunny Boiler)," this playful and energetic track turns up the alternative rock energy with punchy electric guitars, a thumping brass section, the sleekest percussion, and Bright's charming vocals. It's quite the heavy-hitter, and we love the sense of urgency and drive that Plant Sounds brings to the table. We also adore the mysterious and sensual tone; it creates a truly invigorating and alluring listening experience. Reaching the album's fifth song and halfway point, "Bye Bye Birdy," Plant Sounds takes us back to swinging 60s tunes with this Beatles-esque piece. That said, there's a tropical and dreamy modern twist with hazy background synths, but the simplistic nature and nostalgic instrumentals bring comforting sounds of the past. It's a poised mid-tempo tune that uses a sweet bird to symbolize someone special and wishes for them to return to the nest with their hazel eyes and glimmering smile. Onto the album's second half, with track number six, "Hawaii 66," Plant Sounds blast off into a heavy, yet dreamy alternative instrumental backed with a mystical psychedelic undertone. The band brings us into Hawaii's beautiful and lush lands in 1966 with a gleaming contemporary spin through zappy synths and twinkling keys. The rhythmic background vocals give this song a wholesome feel, similar to the experience shared on the big island. The seventh track, "Banned In America (feat. Harlan Silverman)," jumps up the energy, which bursts through our speakers with big mid-tempo drums, tight guitars, a groovy bassline, and Bright's charismatic vocals. This song is so catchy and anthemic; it invites all listeners to sing along to Bright's chant-worthy lyrics on the hook about being banned in America and living life on the wild side. We adore this toe-tapping tune; it's the perfect playful summer vibe to spice up your days. Onto the eighth track, "The Bright House," Plant Sounds slow things down with their smooth and psychedelic alternative sounds that gracefully float through our speakers. Bright takes on more of a feel-good and inspirational tone with this track, singing of being a can of dreams and hoping he'll reach presidential status if people can see who he truly is. The swaying instrumentals chill the spine with lush sounds that carry us to the outro on a melodic cloud. Turning up the grit is the ninth track, "1990-99," opening with a heavy downtempo instrumental that hits us with punchy folk-rock and a dash of mysterious alternative. It's worth noting that Bright's vocals ring similar to those of Matt Shultz, oozing with emotion, airy tones, and overall gripping nature. This song is no exception; it's fascinating how the band's sound evolves throughout it—starting with a heavy foot-stomper leading into a glimmering alternative and eventually scratchy old-school hip-hop. Onto the album's tenth and final track, "Happily Ever After (feat. Ang Bocca)," Plant Sounds spin us into an ethereal and psychedelic web with serene guitars and Bright's gentle vocals. We love adding classical elements like a soothing string section and Ang Bocca's heavenly, delicate vocals that float down from above. We also appreciate the many unique transitions, like a tropical guitar solo and a choir-esque vocal ensemble that serenades us into happily ever after. We encourage you to drift into the versatile psychedelic stylings of Philly-based 6-piece Plant Sounds with their stunning sophomore album, 'Party On // Hari Om,' now available on all digital streaming platforms. Welcome to BuzzMusic, Plant Sounds. We admire the versatile and dynamic listening experience you've brought to your new album, 'Party On // Hari Om.' When did you begin creating the project, and how long did that process take? Joshua Bright (Vocals/Producer): We started tracking in April of 2021, and it took exactly 10 months to finish up at our home studios in LA & Philadelphia. Why did you want to delve into past 60s/70s sounds with your new album, 'Party On // Hari Om'? What inspired this creative approach? Luke (Bass): We are huge fans of psychedelic rock and wanted to bring a sort of revival to the Genre. We strive to make music that WE want to listen to ourselves! Levan Danilov (Guitars): That’s the birth of Plant Sounds because of the love of Syd Barrett, Pink Floyd, Lou Reed, Velvet Underground, Joe Meek, Beach Boys, The Doors, Bossa Nova and Steve Cropper’s riffs etc. Wesley Paul (Drums): John Densmore of The Doors is a favourite drummer of mine. He makes his small kit sound like a huge explosion with intense and perfect rolls. It's truly unbelievable! I love that time in music. So this was a no-brainer for me. Eric Cifone (Percussion): I feel it was natural for us to harness that 60's 70's vibe since we all have alot of influences from that time. A big influence for me was Lee Scratch Perry and the dub/reggae mood. I appreciate the space and atmosphere they create and try incorporating that into my playing. Joshua Bright: I always wanted to be Brian Wilson. How did you build and create the songs for 'Party On // Hari Om?' What does your studio process look like? Joshua Bright: Each song usually starts with Levan playing a chord progression on guitar, where I start freestyling vocals from the top of my head.. we usually have a new song within minutes of sitting down together to write. That’s how we wrote the first album, and that’s how we got 7 out of 10 songs on “PO//HO” - Then we lay down scratch tracks and built from there. It’s an entirely organic process. Giuseppe DiCristino (synths/producer): I remember deciding to participate in the project. Levan was strumming on his acoustic, and Joshua was improving Vox so profoundly that I magically floated to my piano and started playing the melody for “Black Sea of Trees. This same process happened the next day for “Bye Bye Birdy.” 'Party on // Hari Om' started on a synth bass loop I made, then Levan jumped on with the chord progression and then Joshua blew my mind with the lyrics he improved immediately after. Luke: Having our own studios makes putting these songs together like a party with your brothers. Wesley Paul: Joshua & Levan start with their guitar parts, vocal melodies, and structure. Then we go over drums & percussion with myself and Eric. We experiment with many beats, sounds, and instruments until it fits our liking. Did you face any personal or physical obstacles when creating the album 'Party On // Hari Om?' What was the most challenging part for you? Joshua Bright: My most challenging part was living bicoastal and dealing with a long-distance relationship throughout those writing sessions. I used those initial sessions with Levan & Giuseppe to let my emotions run free.. that’s the beauty of our writing style. I never know what I will say, but I always mean it. Levan: The nightlife opened in 2021 after staying in every day in 2020. Going out and being around people was tempting, especially for me. Wesley Paul: Having two studios, one on each coast, has its challenges. Sometimes the flow can be interrupted a bit, but it's nothing we can't handle. All of us were determined to make this album, so we did! Giuseppe DiCristino: Working in three studios to record an album might sound fun... But, our Love for the music and perseverance worked it all out. What do you want your audience to experience when listening to 'Party On // Hari Om?' Do you hope they find songs and themes they can relate to? Giuseppe DiCristino: I’d like the audience to feel out of body/mind and experience something spiritual and fun. Levan: For them to experience bliss. Many people have told us that it sounds like it’s healing. I don’t think it was intentional, but that’s the vibe. We work on feeling great and having that experience with people, which comes alive in the music. Wesley Paul: We want everyone to enjoy the Peace and feel the Love Luke: I want the listener to experience what we were experiencing when writing each song, whether it be joy, pain, sorrow, loss, or melancholy nostalgia. Eric: A total shared experience of love and energy is what I have faith that anyone who listens to our records or comes to a Plant Sounds show will feel. Joshua: LOVE & PASSION Instagram

Jimmy Swagg has been a force in the rock music scene, known for his theatrical performances and unapologetic message of freedom and truth. He has played in legendary clubs such as The Whisky A Go-Go, The Viper Room, and State Social House, establishing himself as an all-out passion of fire. Swagg's music unites people with Spanish and English songs that bring exciting energy to rock. His performances have been described as artistically captivating, leaving a lasting impression on audiences. Swagg's recent success in 2022, including his first 100K music video and growing fanbase across social media, shows that he is poised to make his mark on the music industry. Jimmy Swagg's newest release, “Anymore,” is an unapologetic anthem of independence and self-empowerment. The track showcases Swagg's ability to merge classic rock elements with modern twists, creating a unique and compelling sound. The song starts with an ethereal synth that leads right into a mean baseline that sounds like it means business. Swagg's voice is raspy and rough, adding an edge to the lyrics, which hit you right out the gate with lines like “I don’t need your introduction, I don’t fuck with you no more, I don’t need your arm around me, I don’t need it anymore” which set up the no bullshit perimeter for miles, with a “no bullshitters welcome” sign posted at every gate” The catchy guitar work gives a touch of Wild West vibes mixed with a badass Harley Davidson coolness that builds right into the chorus which chants "anymore, no more, no more.” The verses are delivered with conviction and intensity, with Swagg's frustration towards the person in question raw and direct. He speaks of cutting ties with someone who has betrayed him, not needing the fake shit anymore, which we all want to scream occasionally. The song's middle section sees Swagg unleashing his fury, with lyrics like "you're so selfish, yeah I said it, where were you when I needed most?" showcasing his no-holds-barred approach to songwriting. “Anymore” is a prime example of Swagg's ability to merge rock music with theatrical elements. The song is artistically captivating, with the production elevating the track's energy and adding to its overall impact. The track's message of self-reliance and empowerment will resonate with listeners, and its catchy hook and memorable riffs will stick in their minds long after the song has ended. Swagg's recent success, including his 100K music video, growing fanbase, and underground buzz, is well-deserved. "I Don't Need" is a testament to his talent and passion for rock music. As he sings in the chorus, "if you think that it's about you, turn around, and I'll be there," it's clear that Jimmy Swagg is here to stay. Welcome back to BuzzMusic, Jimmy Swag. Big congrats and letting go of the bullshit through your latest drop, “Anymore” The mood on this one captures the emotions of moving on from a toxic relationship. Can you tell us more about what inspired you to write such a personal and vulnerable song? I wrote this song in the fall of 2020 when I felt frustrated over the state of the world, California, and Los Angeles. I was surrounded by people that weren’t truly my friends or that had my best interest in their hearts. I wanted to move and move forward, so I began to work on this song. It’s my way of cleansing myself of all that energy. I believe we all go through challenging times several times in our lives, and I always get inspired by thinking of others and how I am connected to everything and everyone. The lyrics of "Anymore" seem to convey a sense of anger and frustration towards a former partner. Was writing this song cathartic, and did it help you process those emotions? This was inspired by several people in my life at the time. I allowed myself to feel all those emotions, creating a movie in my head. That’s usually how I write songs…I’ll feel it, envision it, and then let the music speak to me. When I sing it, it is very cathartic because the feelings are real! I hope that others can find relief in this song too. In "Anymore," the lyrics focus on a specific toxic relationship. Do you find it challenging to write lyrics that are so personal, and how do you strike a balance between honesty and privacy in your music? I find it very easy because I follow a creed of truth in my life that I also follow as an artist and songwriter. What I write always stems from something real within me. I don’t place rules when it comes to music or art. I don’t think about privacy or any restrictions. I’ve learned to deliver my message wisely regarding my social media and personal life. For a long while, I wasn’t posting anything g too personal because I was hurt and angry, hence this song. I am so thankful that I am having fun in my music and my entire life! So yeah! I love showing my fun! The repetition of the phrase "no more" underscores a message of moving on and letting go. How do you handle difficult endings, and did you draw on any personal experiences while writing the song? Difficult endings look very different to me now. I see those moments as beautiful opportunities to begin anew. And letting go is a BIG part of my life and what I have been practicing daily. I am learning to relax in life, to allow, to feel, and to share this message with others. I am passionate about serving others through what I do and I love sharing the lessons and wisdom I’ve gained through the pursuit of my dreams and goals. This song is very personal to me because I can see each person that I was inspired by throughout the song. I don’t kiss and tell. Your music often blends rock, metal, and other genres. Are there any musical influences or styles you'd like to incorporate into your future music? I am a rocker; that energy will always come through my music! I am working on a lot of exciting music right now that I am challenging myself on. I love thumping bass, I love funk, I love catchy melodies, and I love shredding guitars! I’m excited to bring all of these musical desires to life this year. Instagram Twitter

This valentines day release titled "NTM (Night Till Morning)" captivates us with fresh hypnotic hip/hop and r&b sounds. Unsurprisingly, the song evolves around love and pleasures; with J Cardy in this collaboration, the song has become a modern classic that displays the duo's musical powers. The song's 808s will have you swinging to its beat. As the lyrics kick in, you notice the chemistry between the two artists. The song's chorus, "You ain't gotta leave tonight, you can stay from night till morning," paints a wild picture of a love-filled night that's hard to part from. The second verse starts with King Gamble reflecting on how he and his love interest started as friends. Then, Gamble takes the song to the next level with hot and provocative lyrics. He mentions wanting to explore his partner's body, which sends chills down his spine. As the bridge of the song flows, the tempo slows down, and the music takes a turn. J Cardy then takes the mic with just as provocative lyrics as King Gambles. He talks about wanting to beat that “thang” until his partner falls asleep, emphasizing that he knows he's wrong for her. His lyrics are confident and filled with a sense of longing. The last hook bringing both artists' chemistry together, reiterates that they don't want their partners to leave. The bond between the two is electrifying, and as the song fades out, you can't help but wish it had gone on for a little longer. The subtle art of seduction appears all throughout this compelling record "NTM." This masterpiece will leave you craving more, from the smooth R&B sonics to the provocative and seductive lyrics. It's the perfect Valentine's Day gift for someone important in your life or a record to listen to on a relaxed Sunday afternoon. Find the complete article and interview with King Gamble's latest release here. King Gamble Instagram J. Cardy Instagram

Brie Stoner is a multi-talented musician with a unique sound that draws on various influences. Born in the United States but raised in Spain, Stoner's background is a blend of cultures and languages, inspiring her music and giving her a distinctive creative voice. Her new album, Me Veo, is set to be released later this year, and her latest single, "Loved Me Like A Weapon," offers a taste of what's to come. The song is a haunting meditation on the pain and heartbreak of leaving a toxic relationship. Over a dreamy, atmospheric soundscape, Stoner sings of the struggle to escape gaslighting and emotional manipulation, a struggle that will be familiar to many listeners. Her lyrics are poignant and honest, capturing the anguish and confusion of trying to leave someone who has hurt you deeply. But the music video for "Loved Me Like A Weapon" really brings the song to life. Co-directed by Logan Zilmer, the video is a stunning visual exploration of the themes in the song. Stoner stars as a hired assassin trying to escape the control of her handlers. She's trapped in a nightmare world that feels like something from a French New Wave film, full of twisted images and surreal landscapes. As the video progresses, we see Stoner struggling to find her way out of this world, to escape the people trying to control her, all while dealing with the anguish of the all-too-familiar feminine experience of being silenced or targeted as a problem. The tension and suspense build throughout the video, culminating in a dramatic finale that leaves the viewer reeling. She uses every trick in the book to deceive and outsmart her handlers, but in the end, she's left bleeding out on the shower floor, shattered by life itself. It's a powerful, emotional image that perfectly captures the song's themes. Some of the most eye-catching moments of "Loved Me Like A Weapon" are its use of imagery, the many shifts in character dimensions with the outfits to match, and the bloody end sequence that appears towards the end. The mirrors not only create a visually stunning effect but also serve as a powerful metaphor for the way in which women are often forced to confront distorted reflections of themselves in a society that seeks to control and define them. "Loved Me Like A Weapon" is a fantastic track that showcases Brie Stoner's unique blend of influences and creative talents. The music video is a work of art in its own right, full of stunning imagery and emotional depth. It's clear that Stoner is a true master of her craft, and we can't wait to hear what she has in store for us on Me Veo. Check this one out asap out on all major platforms. Welcome to BuzzMusic Brie Stoner. Cheers to letting it all out on “Loved Me Like A Weapon" What inspired the story and visuals in the "Loved Me Like A Weapon" music video, and how do they relate to the message of the song? I wrote this song to recover from a very toxic relationship in which I was perpetually gaslit. It was a hall of bendy mirrors, of disposable polaroids in which the responsibility of the damage being done was perpetually escaped and eluded…no matter how much I kept trying to contort myself to make it work. So I knew I wanted to play with multiple reflections in the visuals, which Logan Zillmer (co-director) and I wove in throughout the performance shots of the music video. LMLAW is part of my upcoming album Me Veo (which means “I see myself” in Spanish), so this felt like an important thread. But the song isn’t just about my personal experience of romantic gaslighting; it is also about the institutional gaslighting and the ways we internalize those messages that cause us to mistrust our own instincts and rely on external validation to create our sense of worth or self…and I especially wanted to highlight that in the feminine experience and the ongoing weaponization of female bodies, and the culturally internalized silencing and ongoing conditioning to “take the bribe” and settle for allowing our bodily agency and autonomy to be subjected to government policies or religious claims. So that’s where the storyline came in for the music video in wanting to portray a hired assassin who gets fed up with being “loved like a weapon”…and decides to try to break free and escape, only to wind up being mortally wounded…and leaving the viewer wondering if she’s become the victim of her life, or whether she survives and transcends that identity. You’re quoted saying, "much of the feminine experience has been trained to question and devalue our own inherent instincts and truth" in regards to the lyrics of "Loved Me Like A Weapon." Can you speak more about how this theme appears in your music and how you hope to empower listeners through your songs? I begin the song with a line in Spanish, “Trata con mi vida…que yo no puedo,” which translates as “deal with/take ownership of my life…because I can’t.” This is where the song began for me, with the defeated and deflated loss of my will and agency. And I think there are millions of ways that we’re trained to hand over our power…some are tiny things like the ways we are conditioned to say “Sorry, but…” when offering our opinion or “I’m sorry” just when we’re trying to get by someone. It escalates into the collective cultural norms and patriarchal religious ideology that creates the negative anthropology keeping half the world feeling like we need to live in disguise to survive. On so many levels, I think too heal, we have to shatter the mirrors and rebuild our own reflection from within…so, for me, empowerment isn’t found in the tired duality of creating victim/perpetrator and “who is in the right/who is in the wrong” binary but in the reckoning of a personal and collective transformation… it's being able to hold a both/and responsibility: to have a grounded clarity in the truth of our experience but with the freedom to not stay stuck in a story of victimhood or blame. For me, the best critique of the shit that happens in our lives is the creation of the better. So by the time I get to the song's end, I flip the opening lines into a dare in the reclamation of my own agency. “Trata con mi vida que yo no puedo????” I don’t think so. That girl died, and it seems I’m rising instead. How did your experience of living in different countries and cultures influence your bilingual songwriting style, which is apparent in "Loved Me Like A Weapon" and other songs on your upcoming album? I’ve never had one clear national identity. Spanish was my first language, even though I wasn’t born in Spain…my family moved there when I was 8mos old…so I didn’t know any different. I remember my mom would make cassette tapes to send to my grandparents, and I used to break down in tears because she’d ask me to speak English. I would scream frustrated, “PERO ESTOY HABLANDO EN INGLES” (I speak English) and sincerely couldn’t tell I wasn’t. So I think growing up bilingual and learning some French has always been a gift…I sound different when speaking another language, but my personalities differ. I’m way more confident and sassy in Spanish than in English. And I don’t know anyone who doesn’t feel how French brings all the energy sensually to your lips when you speak, so it’s a sexy language. So…because of that, I think this album was a real homecoming for me…in accepting on so many levels that I”m more than one thing, and moreover, I’m glad to have multiple ways to express all that “moreness.” One of my favourite quotes is by Dorothee Soelle, “All the best women I know refuse the either/or.” And that is part of the freedom I’ve found on this record. I’m Spanish and American, spiritual and sensually fleshy, academic and artistic. Speaking in other languages lets that come through for me. In "Loved Me Like A Weapon," you reference the concept of being "bribed into silence" or "targeted as a problem." How have you navigated these challenges in your life and career, and what advice would you offer to others facing similar obstacles? I think it's far easier to spot the external bribes, silencing and targeting…but far harder to spot the ways we have internalized that self-attack, which I believe is a far more insidious problem. For me, it is a daily practice to re-wire how I speak to myself and view the natural challenges of being creative….am I playing the same damn tape loop of domination internally by trying to have power OVER my art, my body, my relationships or the unknown? Or can I shift into a more ecological/communal way of relating to myself…and offer myself a more loving presence that can play with the possibility to co-create something new in my life? I think Eve Ensler said somewhere that the more we plug into ourselves and our own bodies, the less available we are to domination…and I think that’s the work however you identify and whatever force you’re being “hijacked” by…whether it's a toxic lover or belief or institution. The more you are present and in relationship to self and others (and the planet), the less you participate in the systems that perpetuate harm to life’s flourishing (yours and the whole). Your upcoming album, 'Me Veo,' is said to explore themes of sensuality, connection, and transformation across continents and states of mind. How does "Loved Me Like A Weapon" fit into the larger narrative of the album, and what can fans expect from the overall sound and style of the record? Me Veo' is a journey of discovering a deeper non-contingent worth than anyone's mirror or identity could offer me. I was inspired by the poem by Rainer Maria Rilke, “I am too alone in the world, and yet not alone enough.” For me, “Loved Me Like a Weapon” is the song about shattering those external identifications and validation points (even the lofty spiritual or mystical ones) and giving birth to myself as my own mirror for my whole body and my whole life. The rest of the record for me was like a remembering (a becoming membered to ) the fullness of who I am as someone who is always unfolding…so I sometimes sing about experiences of sex and love in one song that harkens to a style like Mazzy Star and then arch in a whole raging rock and roll critique against the industrialization of art in the next that feels more like a pissed off Lana del Rey singing a Serge Gainsbourg tune with Crazy Horse as the band. It belongs on this record because I finally belong entirely to myself. As Rilke says… “I want to be with those who know secret things or else alone…. I want to unfold. I don’t want to stay folded anywhere, because where I am folded, there I am a lie.” Instagram Facebook

Lyricist and vocalist Anna Goldsmith have one main goal when it comes to developing her music and personal brand: to uplift her audience through messages that create hope and confidence and inspire kindness. Starting her musical career at the brilliant age of 10, Anna Goldsmith built her foundation via music theatre and continued to shape her artistry at 15. The first song that the world heard from Goldsmith was titled "Shine," followed by the release of "Follower." Anna Goldsmith has released her third original single, "Miracle," which matches similar energy and tone to her previous singles. Anna's music brings back some vibrant elements similar to the early 00's alternative pop/punk scene, but with a distinct contemporary shift. A compelling and immersive experience is provided to listeners with the release of "Miracle." Sharp vocal tones and crisp instrumental electrics fill the air, and Goldsmith takes listeners through a spectrum of emotions with her impassioned realizations. Do you ever find yourself and your true authenticity shadowed by what others may think? Anna Goldsmith takes us down the thought line of finding your authentic self amidst the nuanced world. One thing is for sure, Anna can tap into her sense of shared humanity and find inspiration in witnessing others live their truths: "Then I see what others do, and it makes me believe in miracles." Tons of beautiful images and messages are strategically embedded into "Miracle," Anna does a phenomenal job at helping one understand the inner critic and how it can be abolished with specific influences, like people. Even further, Anna stimulates listeners to think about how they can seek out miracles all around them, too. It is safe to say that "Miracle" offered a touching lyrical experience while maintaining a raw-natured alternative/punk sound. Sit back, close your eyes, and prepare for a pop-punk "Miracle" alongside artist Anna Goldsmith. Welcome to BuzzMusic, Anna Goldsmith, and congratulations on your latest single, "Miracle." We can only imagine the excitement surrounding your third single release. Was there a particular reason "Miracle" was third in the release line? Thank you so much for having me; I am excited about our interview. I wish there were a meaningful answer to this, but "Miracle" was the third song I had ready to record! All of your singles have beautiful messages intertwined in the lyricism. Can you elaborate on the themes you cover in your music, why you choose such themes, and how "Miracle" fit into your sound vision? The overall message I want to convey to people everywhere is that they are great just as they are and don't need to change to fit in. When I was younger, I struggled with being bullied and lacking the confidence to be bold. I want everyone to know that it is good to be the real you, and you are amazing! "Miracle" is about finding your true self without putting others down and being confident in who you are. If you were to record "Miracle" again with another artist, who would you choose to collaborate with? Wow, this is a fun question! I would collaborate with Debbie Harry from Blondie on "Miracle!" She and her music inspire me! How do you motivate yourself to make music, especially when creating becomes more challenging? On those days, I start by eating a snack, then I think about why I'm there and what I'm trying to do, and next, I brainstorm a list of all the possible ideas I could have, and then the creativity starts to flow. Something on my list will strike a chord with me! in What do you look or listen for in other artists when listening to a song? Do you embed this element into your own music? I look for a strong sound with drums and guitar and a raspy-sounding voice. I embed the drums and guitar into my music. I love it! Instagram Twitter

Auti's latest song, "Greed," is a thought-provoking and introspective track that showcases her impressive skills as a musician, singer, and songwriter. The lyrics are carefully crafted to convey a powerful message about the destructive force of greed in the world, which is a topic that Auti is deeply passionate about. The song opens with the lines, "I've been looking around for some level ground, think I finally found the source of the world's pain." This sets the tone for the rest of the track, as Auti dives into the issue of greed and how it has contributed to many of the world's problems. She vividly depicts people trading "gold for gold" and leaving nothing but "growing corpses" in their wake. Despite the heavy subject matter, Auti's vocals are uplifting and hopeful. She sings with a clear and powerful voice, infusing each line with emotion and conviction. The chorus is particularly catchy, with Auti repeating the phrase "your world runs on greed" in a haunting and unforgettable way. She sings with a firey and emotional intensity, infusing the lyrics with a sense of urgency and passion. Auti's voice is powerful and expressive, conveying the deep-seated emotions and frustrations inherent in the song's message. The song's verses are as strong as the chorus, with Auti showcasing her ability to write unfiltered and raw lyrics. She talks about how people often play the victim while never taking responsibility for their actions and how pursuing fame and success can lead to a shallow and meaningless existence. As the song progresses, the beat becomes more complex, with additional layers of percussion and electronic elements. The mix of different sounds creates an exciting and dynamic texture that keeps the listener engaged and adds depth to the music. One of the standout features of the beat is its ability to complement the lyrics and vocal delivery. The beat's intensity builds along with the emotion of Auti's lyrics, and the electric elements help amplify the urgency and power of her message. The beat perfectly supports the song's overall theme, which is a commentary on the destructive nature of greed and its negative impact on society. "Greed" is a powerful and thought-provoking song that will resonate with listeners. Auti's talent as a songwriter and musician shines through in every line, and her passion for mental health awareness and suicide prevention is evident in the way she uses her music to make a difference in the world. With her impressive viral success and growing fanbase, Auti is an artist to watch in the coming years. Don't miss this one available on all major platforms. Welcome back to BuzzMusic, Auti! An explosive congrats on the massive drop with “Greed” How did you come up with the concept for "Greed," and what was your inspiration for the lyrics? “Greed” was written from a place of frustration. I was talking with my dad, and we somehow got on the topic of wealth and power in this world and how it’s used. We concluded the conversation with one word - greed. Many of the lyrics are inspired by the transparent wrong you see being fed right in front of you from the roots of wealth and power that comes from that wealth. Are there any specific musicians or artists who have influenced your sound, and can we hear any of those influences in "Greed?” In my everyday artistry, I take a lot of inspiration from Ariana Grande regarding my vocals and vocal production, and some songs. Songwriting flows how it flows for me, so I do my own thing in that aspect. “Greed” has a very different sound, and I haven’t been able to put it into a category as far as genre or inspiration. Your social media presence has played a large role in your career. How do you use platforms like TikTok and Instagram to promote your music, including "Greed"? Nowadays, it’s hard for social media not to play some sort of role in a music career, as unfortunate as that can be at times, haha. Staying consistent in sharing the message and being authentic has been the best for promoting whatever I’ve done. At the end of the day, though, I feel like social media is just one big guessing game for everyone. You've mentioned that mental health awareness and suicide prevention are important issues for you. How does "Greed" tie into those causes, and how do you hope your music can help raise awareness for them? When I talk about the extremely rich and privileged of the world using their money and power to change lives, I’m aware of how that can go just as bad down the road as good as it did when it first happened. So, I’m not talking about giving multiple random people a million dollars but taking little steps that can’t go bad—for example, connecting with a mental health organization and paying for a month of therapy for a couple of people, as there are a few individuals out there that make what a year's worth of therapy for 100 people would be in just one hour—or supporting a specific cause that ties into mental health awareness and suicide prevention because nobody is exempt from the topic of mental health. Everyone has it and deals with it how they do. I’ve written songs addressing mental health from personal experience and have connected with people personally through my music - I’m hoping this song can reach the people who can make a difference even bigger. Looking ahead, what are some of your long-term goals for your music career and mental health advocacy work, and how do you hope to make a lasting impact on your fans and the broader community through your music and activism, including with songs like "Greed?” I’m pretty reserved, so talking about any topics I write about in songs would almost be uncomfortable. Of course, addressing mental health isn’t, but a song like “Greed” can be. In a sense, it’s a callout song without really calling out, so with songs like this, I want to get people to think. Listen to what I’m saying and… think. Regarding songs based on mental health, I want listeners to feel I’ve been through what I’m singing about. I wrote those lyrics because I felt them. When I think about my career and where I want to be, I think 99% of artists would place themselves on an arena-sized stage performing worldwide. I’m the same, I want my music to be heard, my message to be heard - that you’re not alone. With these hopes and dreams, I plan to go wherever God has planned for me. Instagram Facebook

D.O.M of DnD, the Canadian rapper who hails from the vibrant city of Calgary, Alberta, has been making waves in the music industry for the past eight years with his impeccable skills in rapping. Influenced by some of the greatest rap artists of our time, such as Eminem, King Iso, Lupe Fiasco, and Royce da 5'9", D.O.M has successfully integrated their styles into his own music, resulting in an exceptional sound that captures the essence of the golden era of hip hop. D.O.M first found his passion for rap music in middle school in 2015, when he began covering Eminem's songs. However, he soon realized he needed to create his own music to make a name for himself in the rap scene. In 2018, he released his first project, "Just Delete This," which showed his potential but did not quite meet the expectations of his audience. Undeterred by the setback, D.O.M. used the pandemic as an opportunity to improve his craft. He participated in Cyphers on the subreddit "r/makinghiphop" and other song contests through Discord, which allowed him to hone his skills and showcase his talent. Through consistent contributions, D.O.M gained recognition and began working with prominent artists such as Joell Ortiz of Slaughterhouse, Kurupt, and Krizz Kaliko, and joined forces with the Reddit Rap Supergroup known as Splinter Faction. "The Simpleton's EP 2: Jewelz Blu-Galoo," D.O.M's latest project, is a testament to his dedication to his craft. The EP is a carefully curated collection of tracks that showcases his witty and provocative lyrics. The beats are boom-bap and drill-inspired, which perfectly complements his rap style, resulting in a mesmerizing listening experience that is both nostalgic and fresh. One standout track from the EP is "DTW/DTL” for "Downtown Winnipeg/Downtown Los Angeles” and features fellow rapper Krizz Kaliko. D.O.M's raw and unapologetic lyrics, the unique style of Krizz Kaliko, and the production mastery of Wyshmaster perfectly complement the song's theme with its hard-hitting drums, sinister synths, and pulsing bassline. The production creates a sense of tension and unease that perfectly complements the rawness of D.O.M's lyrics and Krizz Kaliko's unique flow. The first and second verses of "DTW/DTL” showcase D.O.M’s witty lyrical skills, with lines like "Being paranoid makes a man smarter, Being petty makes a man smarter," adding to the song's quirkiness. The incorporation of Australian references, such as "This Melbourne not for beef to be squashed," adds a unique touch to the track, setting it apart from the sea of typical rap songs. Krizz Kaliko's hook adds to the song's overall appeal, with his catchy and memorable lines of "Hold it, I'm reloading, King of the world miss quoted I'm a monster," staying in the listener's head long after the track has ended. The chorus, coupled with D.O.M of DnD's clever verses, creates a harmonious blend that will leave a lasting impression. Welcome back to BuzzMusic D.O.M of DnD. Congratulations on your latest drop, "DTW/DTL” with such a unique set of bars and rhyme schemes; we’d love to know what inspired the quirky and creative lyrics in "DTW/DTL"? Were there any specific experiences or influences that shaped the writing process? First of all, thanks for having me on again. I appreciate the opportunity. As for how DTW/DTL, the song was mainly inspired by a popular ASMR channel I follow who goes by the moniker "Dude That's Wholesome," aka "Dude That's Lewd," whom I wanted to emulate by flipping the acronyms they go by, into my own iterations, namely "Dude That's Loved," and "Dude That's Winning." As a result, I centred all the verses around being a dude loved by the masses and winning the respect of his compatriots regardless of how they feel. What inspired you to write "DTW/DTL?" Can you talk a little bit about the creative process behind the song? I got inspired by Dude That's Wholesome because of her ability to be consistent with her content and constant collaboration with other people in her field. Because I've noticed a good portion of people complimenting me for similar aspects, primarily that of being consistent and constantly posting content, I thought I could use the comparison to DTW and sample her work to hammer that point home. In addition, this track serves as one of the lead singles for my Valentine's Day project, "The Simpleton's LP 2: Jewelz Blu-Galoo," where I sample and base songs around adult performers' and ASMRtists' catalogues as a way of indicating how I can relate to them, so this one fit in smoothly by centring it around now because I've become consistent with working on my music, that I've become more and more respected by people. As for making the song itself, I put on Dude That's Wholesome's audio in the background while the beat was playing so I could focus on my verse and, thus, decided that ASMR was a good sample to flip. The production of "DTW/DTL" is unique and stands out. How did you work with Wyshmaster to create the distinct sound and vibe of the song? And how does the sound incorporate the sonic tones you’ve built throughout your career? Regarding the production side, I contacted Wyshmaster because he was making a beat pack in partnership with Krizz Kaliko for American Thanksgiving. I got my hands on it and decided that it would work for the project it was intended for, as it could change up the pace of the project to finish on a strong note. With respect to the rest of my catalogue, it's a departure from most of my sounds, as it's a harder, orchestral trap as opposed to the more Griselda-y or Central Cee-type sounds that I specialize in. The second verse of "DTW/DTL" contains several clever word plays and references. Which lines or moments in the song are you particularly proud of, and why? "Being Paranoid makes a man smarter, being petty makes a man smarter" is a line that I think would resonate with people. I've learnt that I failed to succeed at my goals whenever I took people's word when they stated I was overthinking my decisions or my rationale was petty. Thus, to succeed at executing my plans, I had to ignore this rhetoric and keep in mind that not overthinking means you may fail to think long-term about how to act, and not being petty can turn you into a pushover. As a result, this line summarizes the entirety of a) how I've functioned as an artist with the experiences I've had, and b) also depicts the primary point as to how someone can be successful. How does "DTW/DTL" fit into the larger theme or concept of your upcoming album/project? And what do you have planned for the future? As I've stated before, DTW/DTL fits into Simpleton's LP 2 by supporting the ASMR side of the project, where I sample Dude That's Wholesome's audio and flipping it on its head to emphasize how I parallel their work ethic and also become a successful and respected person. My plans for the future are to do feature verses for other artists I have close connections to, namely for previous collaborators. Speaking of which, I will be part of my rap group, the Splinter Faction's next EP, "Sepia Tones," released on March 3rd. This EP is mainly Jazzy and Chill in timbre, and I appear on two songs on that EP. Instagram Twitter