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Midwest-based singer-songwriter Matteson Gregory is one artist to keep a serious eye on. Over the past few years, Matteson has been making a name for herself within the music world and she did so with the slow release of four singles. Recently being featured on the Heart of Indie Radio, Matteson Gregory proves she’s only on the rise with her impressionable sound and she isn’t planning on slowing down anytime soon. Matteson Gregory has released her fifth single, titled “Marry Me Someday,” and we suggest you prepare yourself for a total goosebump effect. Matteson Gregory carefully and intricately delivers incredibly sweet-sounding melodies with the simple sound of her voice. That’s where the goosebump effect takes place, once her voice makes its way to your ears and massages the very auditory senses within. Sounding almost unplugged, “Marry Me Someday” hones into acoustic stylings production-wise which in turn allows the spotlight to be held on Matteson Gregory herself. “Marry Me Someday” holds an authentic and beautiful array of romantic expressions and this allows Matteson Gregory to shine a light on her heart, allowing any willing listener to peek inside and understand her in a more elaborate way. Besides the melody, the story itself encapsulates such raw charm, notably due to the realistic elements of love that Matteson Gregory advertently delivers. “Marry Me Someday” picks up on the real-life experiences that love often comes with, and she explores the depths of her own affection, loyalty, and mind. Matteson Gregory went above and beyond in her performance in “Marry Me Someday.” We felt the ball of emotions the song inevitably expelled and as a result, Matteson Gregory left one memorable mark in our music books. Explore Matteson Gregory’s heart in “Marry Me Someday,” available on digital streaming platforms. What a beautiful contribution "Marry Me Someday" made to your tracklist. What inspired the fruition of this single? How were you feeling upon its release? Aww, thanks so much! You guys are too sweet. This song came quite naturally to me. I was sitting at the piano, and I kept thinking about this phrase my boyfriend, and I always say to each other: marry me someday. So just sitting at my piano, I created this song describing all the moments we've said that phrase and that feeling of knowing who you want to be with but knowing good things take time. This is also the first song I've produced, so I am so excited about this release because it will give listeners another side to myself and my music. Your song hosted a multitude of powerful emotions. Was there a certain collection of feelings you were hoping the listeners of "Marry Me Someday" would experience upon listening to the single? I think the biggest thing I want my listeners to feel is happiness and hope. This song symbolizes personal experiences and that good things take time, in fact, the best things. Being your fifth song debut, how do you feel "Marry Me Someday" compares to your first four singles? Do you see a trend within your craft? This song is different from my other releases. While my other pieces have been more pop-driven, this one takes a step back and is more acoustic. I knew this song didn't need my other songs' pop production, and I wanted the lyrics to stand out more than the music. I will say that the one thing all my releases have had in common is my heart on my sleeve. I have never shied away from writing my life experiences, and I never will. With five singles now out, do you see yourself releasing an album any time soon? Yes, I would love to release an album. I've been going through many of my songs and trying to find the perfect mix for an album. As of right now, I am working on a Christmas song that will be out in the next month or so. Instagram Facebook

Alabama Weather is a Pop duo fronted by the husband and wife power couple; Miika and Mary. Both sharing a love for music, this special creation of a project explores the unique backgrounds that the two have in the industry. Taking Miika’s experience that flourished from the age of 6, and Mary’s on-again, off-again infatuation with music that finally brought her to a cemented decision of pursuing the arts, the couple pours heart and soul into the sounds they share with the world. Exuding such a brilliant display of versatility as they approach their modern Pop sound with a nostalgic 80s synth-pop twist, we can’t help but admire the refreshing style displayed in Alabama Weather’s latest single “Love to Hate Me.” The delicate instrumentation takes you on a gentle ride of inquisitiveness as you wait for the soundscape to expand upon your speakers. As this masterpiece provides you with exactly that, our sonic palettes are opened up for the chorus which leaves an imprint in our minds. “Love to Hate Me” beautifully portrays both Miika and Mary’s artistic talents as they redefine the norms between husband and wife duos. With this buoyant unveiling of a sound that is exclusive to them, the dynamism that they bring to life pours in themes of unity and syncopation. As they each take turns belting out saccharine croons that leave you wanting more, the versatility in the flair we get to experience shows us a direct representation of their expressions through a combination of blatant and abstract lyrical motifs. Coming full circle to moments revisited in the carefully crafted lyrics such as ‘Cause I know all you want to do is love me,’ we get taken on quite the venture in “Love to Hate Me,” as Alabama Weather flexes undeniable chemistry. We adore the vibes that you both give off in your latest single, "Love to Hate Me." Could you please share the meaning behind this song and where the inspiration was struck for it? First off, thanks for taking the time to talk to us about our music. We're super thankful to be able to share our music with others. It seems like we've seen a rise in hate and violence in our world over the last several years, and we wanted to bring attention to it. We wanted to write a fun, jammable song to express that hate and violence are not the way to resolve issues. We needed to shine a light on what happens when people get wrapped up in hatred and violence. What is it like working so closely together with your art, as well as in life? Do you think this ultimately strengthens you? We come from totally different backgrounds musically. Miika is classically trained, has been in multiple bands, and produced many projects. Mary has no experience at all. She taught herself to play guitar and sing. Miika has been the driving force in encouraging her to sing and write. So, coming from two different perspectives, we work together beautifully. It gives us two completely different views and visions when we're making music. Being in love with each other might help too! We both know what we like and dislike, allowing us to add elements of what we both want easier. It can be a little frustrating at times, though! Being married to your bandmate is a blessing. We're always together, so we can collaborate anytime. Compared to your 2020 releases, what similarities and differences did you come across when enduring the creative and release process for "Love to Hate Me?" In 2020 we started as a band, and we're looking for what we wanted our sound to be. We released a song called "Honey" later in the year that became a fan favorite. "Love to Hate me" has similar vibes to "Honey." We want to evoke an 80s synth vibe but also continue to incorporate modern pop aspects. As far as differences go, it is nothing like our first release, "Yellowhammer State." It's a raw take on how we feel our home state has held us back from our dreams. "Love to Hate me" is more upbeat and sonically more refined. We've started to figure what we want our music to sound like. What does Alabama Weather stand for as a duo? What are the main themes that you hope your fan base can take away from your music? Last year when we decided to form a band, the name Alabama Weather randomly came into our heads. We thought it sounded cool and rolled off the tongue. But it's the perfect way to describe what we represent as a duo: Unpredictability. Alabama Weather can be very unpredictable. One day it could be 90 degrees. A few days later, it could be cold and windy. One day it could be sunny and calm the next day, it could be tornado central. We know it's essential to make music that has similarities and is recognizable. But we can make different styles of songs, and we have the freedom to make what we want. We want each piece to have a positive message for our fans. There's so much hate in the world today. We feel that being in a positive light can make a difference. What's next for Alabama Weather? For now, we're going to keep making more awesome music, videos, and content for our fans. Our music video for "Love to Hate me" is coming out soon. Our long-term goal is to grow our following to a point where we can travel and tour. Instagram Facebook

The genre-bending music project, Adams Traktor, was formed by Seattle, Washington’s singer-songwriter and guitarist, JR Smith. The goal of the project was to explore and expand on the sounds that have influenced progressive modern music. Based in Los Angeles, California, Adams Traktor has worked with various well-renowned musicians, who have contributed to the voyage in their own ways. Assembling the talents of Gregory Darling on production, Manny Elias on drums, Fernando Saunders on bass, and Olda Krejcoves on lead guitar, Adams Traktor attended 2 Lions Studio to record its next hit record “Bleed.” Set for release on October 29th, the upbeat rock song revolves around the story of artists using music as a muse to make them feel alive. Incorporating the good, the bad, and the lustful aspects of music, “Bleed” is an emotional rollercoaster meant to inspire, as it blares through your speakers. A masterfully produced composition, “Bleed” induces a euphoric blend of sensations upon its listeners. The high-intensity tempo is matched with well-timed breakdowns that allow the audience to take in and analyze every last emotion bestowed. JR Smith’s lyrics are an all-telling cascade of raw and relatable feelings that beach the listeners onto an island of lust and desire. “Bleed” will leave anyone who hears it in a state of creative inspiration and self-discovery. Considering the fact that Adams Traktor has set his goals out to amplify his sound with every new song he creates, we can’t help but be riddled with excitement at the notion that “Bleed” is but a taste of what is to come. With the announcement of the full-length studio album ‘Quench,’ Adams Traktor garnered the attention of his fanbase and the entire music industry. We are looking more than forward to the release of his future projects. When it comes down to the inspiration behind "Bleed," where does it stem from? Thanks, BuzzMusic. The inspiration behind the new song "Bleed" circles around the age-old story experienced by so many artists (including myself) who have purposefully or inadvertently experienced the inspiration and magic of a muse, that someone who stimulates their creativity, inspires them and exposes them to new experiences and depths of their imagination. Pushes them. The good, bad and lovely! In my case, someone who was raw, rough around the edges, blunt, comfortable, clear-sighted, and blunt. Alongside the high emotion, this track was created to be dynamic, a bit harsh, and meant to be played very, very loud. It is a bit of an emotional rollercoaster. As an artist, how hard is it to convey your troubles and aspirations to a consumer fan base? It's always a bit of a rollercoaster when it comes to opening your soul, conveying your message, being authentic and original while at the same time trying to appeal to a large audience or fan base. I think one of my favorite examples of this tightwire an artist walks is Nirvana/Kurt Cobain. While writing dark hard-hitting punk songs, the media labeled as "Grunge" he/they simultaneously admit to creating catchy pop-rock tunes with real hooks and mass audience appeal. A tortious position to be in… share your soul, write rough punk meant to alienate and anger that in the end had mass appeal and drove them to stardom, which they abhorred. They inspired a generation but did not necessarily mean to or like the position they were put in. But as an artist, if you don't want to inspire and influence, don't put your art/music out there for the world to consume. So my approach is to simply put out what you love, be authentic, have thick skin, and hope your music inspires a few because, in reality, if you stick to your style and are true to your form, it's likely that you are not going to end up with millions of fans and find yourself on a world tour! Most importantly, please don't take it too seriously and have fun. Your fan base does not measure success. What was it like working alongside Gregory Darling, Manny Elias, Fernando Saunders, and Olda Krejcoves to propel your vision of "Bleed?" It was a dream to work alongside a group of accomplished musicians of this caliber. I was honored and grateful they even considered working on the Adams Traktor project. The creation of Bleed, and throughout this project, there has been no pride of ownership, no ego, and we strived to influence as little of the creative process as possible. The talent speaks for itself; they've earned their marks over time, and their depth and flexibility as musicians are apparent. True pros. We all understood what Bleed needed to drive the vision, so it came to fruition very naturally and just a little magically. Everyone brought something unique to the table, and Gregory, who produced the album, provided a tremendous and creative atmosphere to work in and inspired us all. I am constantly in awe of and thankful to Greg, Manny, Fernando, and Olda! Why is it so important for you to explore and expand your sound? It's important to explore and expand - that's what artists do; we are always trying to push boundaries, inspire, dig and pull from our experiences to drive innovation that results in something new. As a musician, I've had so many influences it's hard to account for them all, which is why our songs are so diverse. What inspired this drive, and are there any musical influences that you turn to for this approach? This drive to create, innovate and push out something new comes from my background in technology, which is constantly evolving, changing, and innovating. Nothing stands still or remains motionless. I often pull from my love of the Seattle sound (Mother Love Bone, Mud Honey, The Melvins, Nirvana, Pearl Jam, Pearl Jam, STP, Love Battery, etc.), hard rock (Metallica, Corn, etc.), industrial (NIN, Peter Murphy, Nitzer Ebb, etc.), EDM and that unique sound that came out of the early 80s (Smith's, Echo, Bauhaus, Femmes, The Cure, etc.) So it's entirely natural to apply these same standards to my work as an artist. What's next for Adams Traktor? With "Bleed," we've released five of the eleven tracks from our soon-to-be-released album "Quench." Stay tuned for the next single called "Let it Rain," which is more commercial with a bit of a dark side followed in the new year with a track or two that are dark, brooding, heavy on guitar, synth, and drums - that is all a bit of a turn from the previous ways. And, of course, the release of "Quench." We are always trying to expand, leveraging our experiences and the music we love, and working outside the lines a bit. It's just what we aspire to. And, well, there is a rumor that we may all jump into the studio for another go next summer… who knows. But I'll let you be the judge of that. Instagram

Hailing from Toronto and Halifax, the unconventional electronic-rock band Holy Fuck pounds through our speakers with their groovy new release, "Lost Cool (feat. Lucia Tacchetti)." The artists behind the madness are Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt "Punchy" McQuaid, who are truly plowing their way through the industry as one of the most unique bands we've featured to date. Holy Fuck strives to go against the grain and stay true to themselves, so much so that their music has been featured in Breaking Bad, Mr. Robot, Snowpiercer Chemical Hearts, Invincible, Good Girls, and Cheaters. Putting us in a stimulating trance is Holy Fuck's latest single, "Lost Cool (feat. Lucia Tacchetti)," which wowed us right off the bat. The song also features vocals from Madrid-based electro-pop artist Lucia Tacchetti to help Holy Fuck's signature and exciting sound shine in the spotlight. Diving into "Lost Cool (feat. Lucia Tacchetti)," the track takes off with tippy tappy drum breaks that later drop into a powerful bass lick that shakes our speakers to their core. As Holy Fuck's dense and hefty sonics begin to settle themselves, Tacchetti makes her mysterious and whispery vocal appearance to up the song's atmosphere while singing of losing her cool in someone's turbulent presence. The focal point of this powerhouse and funky track has to be the intriguing and alluring bass licks; however, Holy Fuck rounds out the experience about halfway through with their soul-stirring and dazzling synths that lift our spirits above the stratosphere. As they groove their way to the outro, Holy Fuck leaves us with an exhilarating blend of alternative, electronic, and funk to close the song on a stimulating note. Experience pure and exciting authenticity with Holy Fuck's latest single, "Lost Cool (feat. Lucia Tacchetti)," now available on all digital streaming platforms. We're genuinely impressed with the authentic and stimulating approach of your latest single, "Lost Cool (feat. Lucia Tacchetti)." How did the creation of this single come about? Did any experience or moment inspire this track? Matt Schulz: We started working on a few tracks, some built from phone-recorded drums and some made from synth patches/ideas. Graham Walsh: The initial seed idea that started "Lost Cool" was the synth riff. There wasn't any inspiration as far as trying to sound like a specific genre or period in time, instead just writing a catchy melody line that we could build around. Writing these little bits that become songs can start by messing around with your gear or having melody lines tumble around in your head as you're going about your day. The synth riff was fun to interact with instrumentally because it anchors everything. It's very open to layering and weaving with other abstract sounds and melodies over the top without losing the foundation holding it all together. Could you break down your band's creative process when formulating the dense and groovy sonics for "Lost Cool (feat. Lucia Tacchetti)?" How did you divide this process between the four of you? Graham Walsh: Our creative process was very much different this past year than normal. Usually, we'd flesh out songs as a band in the same room. We'll work on ideas together during soundcheck, at a rehearsal room, or in the recording studio. Because we lived in separate cities from each other and weren't able to meet up in the same space this past year, we ended up creating music online and remotely from one another. We'd record our parts independently and share our ideas over email and google drive. In this process, we lost a bit of that live, organic rawness that we feel is important to our music, but in doing this, we were able to approach the writing process in a different headspace that opened us up to new ideas. Is this your first time working with vocalist Lucia Tacchetti for "Lost Cool (feat. Lucia Tacchetti)?" What do her vocals provide that you felt the song needed? Matt Schulz: This was our first time working with Lucia. She adds a detached, dark element that we like! Graham Walsh: We sent her a whole folder of ideas to check out to see if she'd be interested in lending her voice to anything. Her parts came along after the track started taking shape. There was an earlier version with different vocals on it that were completely abstract and drenched in effects. Once Lucia got her voice on it, her voice jumped right out and became more focused. She brought the song a new life! Her whole vibe and delivery sit well in the music. How do songs like "Lost Cool (feat. Lucia Tacchetti)" represent the vibe and approach your band usually goes for? Do you typically release tracks that get the listener moving and grooving? Matt Schulz: We hope to get people moving, I think, but we also hope to get people's minds moving as well. In a way, this track is a slightly different view of our approach, perhaps hinted at by "House of Glass" from 2016's CONGRATS LP. It's not entirely physical or cerebral. It's also a bit dark and spacious at times, but "Lost Cool" utilizes more space than much of our music in general, in a mutant disco kind of way. Graham Walsh: For us, it is important to get people moving, but not necessarily grooving. What's next for you? Graham Walsh: We're booking tour dates! We had two tours booked and canceled in 2020, so we're very excited to get back out and perform live. Instagram Facebook

Jamaica-native, Clane Matthew owes it all to his musically inclined ways. Learning about his ear for music in the sixth grade, he taught himself the trumpet, piano, and the art of writing music within a two-year time frame. Although Jamaica hones in on reggae and dancehall, Clane Matthew grew up with a love for Hip-hop. Being caught in the web of flow, lyricism, and versatility by artists like Eminem, he took a liking to those speaking on society, truth, and reality. Not in it for the fame or glory, Clane Matthew is taking it upon himself to become an idol to the future generations by providing positivity, knowledge, awareness, and peace to the youth. On a mission to have his work change the lives of millions across the globe, he hopes to be a glimpse of light that brings hope to this dark world. Meshing together a similar mindset and creative drive, the ambitious team of Clane Matthew and G Action come together for the cognizant masterpiece, “Like A Diamond.” Escorting lyrical motifs of aspiration and hunger through the day-to-day lives we live out, the filmic component of this feature closely follows a select few individuals as they carry on each day on the grind to the top. We have the chance to navigate around these normalities which make us each top contenders in the fight for better times ahead. Implementing his mission statement throughout vivid soundscapes as such, we also get to feast upon the eye candy of Clane Matthew and G Action performing these notions to a fan base open to listening. Caught up in the landscapes of Jamaica, and the beauty laced within this country, what we feel when we take in each moment of “Like A Diamond” is compassion and familiarity that we can closely relate to in a poised fashion. By showcasing the grippingly raw moments that most will look to mask on social media, it brings us all to a level playing field as we tackle this world together. “Like A Diamond” gleams with something we all need a little more of in our world, and that’s truth spun into heartfelt stories. Congratulations on the release of the “Like A Diamond” music video. We admire the bright scenes which are filled with relatability throughout this piece. Were the visuals that are present always the vision you wanted to implement? Thanks for having me! Yes, the visuals were always the vision I wanted. My manager and I were talking about making the video pop and stand out, so we started looking at different types of colors and sceneries in order to push the message. The abundance of green in the video describes “wealth, “prosperity” and “renewal”. Green also represents the desire for high achievement. With that being the case, the lyrics were a perfect combination of the colors. Other things like the water and locations were representations of the rewards you’ll earn if you choose to work hard and believe in yourself. What was it like working with G Action in order to bring this message to your audience? It was great! G Action is a whole vibe by himself. His energy and spirit light up the room; and I absolutely love how he doesn’t let his lack of vision affect his personality negatively, or let it dim his energy. He’s an absolute blast to be around and I’ll definitely be working with him again! He’s VERY talented as well. I have nothing but respect for him. On set, were there any memorable moments that made filming the “Like A Diamond” music video that much more rewarding? Yes! When we were shooting the scene in the river, the director told him to splash some water for effect and he wasn’t aware that I was right next to him at the time; so he started splashing frivolously. I was getting soaked and all the people on set were dying from laughter. I was too. Also, it was kind of his first time leaving the city and coming to the countryside. It was like a whole new world to him, and I absolutely enjoyed showing him around and having him experience the beauty. What is the main message that you hope your audience can take away from this song? I want the audience to know that nothing is impossible. There will be trials, there will be errors. There will be rejections and disappointments. At times you won’t have support and you’ll feel like the universe is against you; but if you trust in the process, work hard and block out the hate, then everything will manifest in due time. What's next for you, Clane? Well, I’ll be heading back to Jamaica in January. We have more videos to shoot, including one for G Action and also for Aisha Hayles. So for the next two months, it’s promotion, production, and videos. Instagram Facebook

Soaring in from the Windy City is the power-pop/punk rock band FuzzBucket and their striking new 10-track album entitled 'Liars & Slime.' With a top-notch sound featuring driving guitars, thundering bass, and pounding drums alongside dynamic vocal portrayals, it's safe to say that FuzzBucket will be making their way into your playlists sometime soon. FuzzBucket is none other than Charlie Nesler on vox/guitar, Joe Rosenfeld on guitar/backing vox, Ben Palmisano on bass, and Teddy Thornhill on drums. Jumping into their latest record, 'Liars & Slime,' we're greeted with the 00s-esque down-and-out anthem entitled "Take Out," where FuzzBucket kickstarts the record with lively energy and a certain blasé attitude that offers hints of grunge and numbness. This song perfectly sets a powerful, emotional, and exciting tone for the record. Following this is "Acetylcholine," which is totally reminiscent of grunge acts that paved the way for talented newcomers like FuzzBucket. Pacing themselves with the next track, "Mongrel Dog," the band's fuzzy guitars, punchy drums, striking vocals, and driving bass licks truly leave us with loads of anticipation for what's to come throughout the record. Haunting our speakers with the next track, "Snowflake," this one offers a more introspective feel through Nesler's emotional lyricism accompanied by FuzzBucket's mid-tempo and soul-soothing instrumentals. Stomach ache? Scarf down some "Peptobismal" with FuzzBucket's next track. This song blazes through our speakers right off the bat and is definitely the most exciting aspect of the record thus far. Another reflective yet upbeat track hits our speakers with "Disappointment," which takes us through the trials and tribulations of feeling like you're not enough. Interestingly, FuzzBucket drenches us in a rather bright and comforting instrumental to up the song's emotion. Reaching the project's sizzling seventh track, "Under The Bus," we're instantly reminded of acts like Pearl Jam merged with the rousing instrumentation of The Tragically Hip through FuzzBucket's cathartic lyricism and their fiery arrangements. Slowing it down with "Wrong Again," this track might just be our favorite on the record. The hazy lead guitar and punchy rhythm guitar perfectly set us up for one of the most compelling and powerful listening experiences. Before we know it, FuzzBucket jumps into a heated and exhilarating surf-rock-inspired banger with "Quantify Me," that's slightly overpowered by a hefty punk rock approach. This song is like a stimulant; it'll have your mind and heart racing with each crashing drum break, crunchy guitar riff, and Nesler's carefree vocal performance. One of the most beautiful outro songs to ever grace your speakers is FuzzBucket's 10th track, "Listerine & Tea," which features a soulful acoustic guitar and Nesler's warm and gripping vocals that sing of trudging through a long winter while keeping hope for a brighter and more rejuvenating day. If there's anything we took away from this record, it's that life throws many curveballs your way, and FuzzBucket is here to remind us that everything is still in motion and we still have time to save ourselves from wasting valuable experiences being down-and-out. Move your mind and soul with FuzzBucket's latest 10-track album, 'Liars & Slime,' now available on all digital streaming platforms. Welcome to BuzzMusic FuzzBucket. A big congratulations on releasing your thorough and dynamic 10-track album, 'Liars & Slime.' How long did it take your group to create this record from start to finish? Recording for 'Liars & Slime' took place over three years. We are fortunate enough to have access to a studio regularly, so we record songs almost as they come in. We are fortunate to be able to do things this way. Some of these songs were written and recorded years ago, and then in the case of "Snowflake," that was written and recorded while we were already in the mixing process. Were there any experiences or concepts that inspired your album 'Liars & Slime?' What message did you want to get across? 'Liars & Slime' is a lyric taken from our song "Wrong Again," which is about being careful of judging others' idols when yours could have just as dark secrets. That being said, the overarching idea is that we are all tired of people being liars and slime. We would hope that our art speaks for itself in what we want to get across, but at the end of the day, as cliche as it sounds, it is up to the person listening to determine how it makes them feel. Hopefully, we are all listening loud and having a damn good time doing so. What is the significance of the introductory track, "Take Out?" Was this song meant to capture the habits and lifestyle of someone who's somewhat discouraged? "Take Out" was written way before covid, so it's a song about a discouraged person instead of what life has become for a lot of us. But you know we've all been so depressed you don't even want to leave your room. The only thing motivating you is the take-out food that's coming. The only thing holding you back is the pile of garbage on the table. What was a typical day in the studio for your band when creating 'Liars & Slime?' What does your band's creative process usually look like? A day in the studio varies for us depending on what we are cutting. Some of the songs were recorded live, and some were recorded in an overdub fashion. Jay's Garage is in a super secluded spot with no windows, and it's beyond easy to lose more than a few hours in there. That's the way we like it: get in there and get to work. Most of the time, when it comes to the way we write, a member will have most of a song written, and they'll bring that to the group, and we jam it for a while. Sometimes the song stays the exact way it was when it came in, and others will get torn apart and reworked until it sounds right. We are a pretty cohesive group, so writing with the 4 of us comes pretty naturally. We like to demo songs early on and start listening back; this makes it easier to hear what a fan would listen to. It gives us an outside view of what's happening in the rehearsal space while we're working on the tune. Plus, it's a bonus to hear where something started when it's all said and done. Most of our tunes begin on an acoustic guitar and then morph into what you hear now. Like Charlie and Joe wrote "Listerine & Tea" years ago with the idea of FuzzBucket but no band. It sounded too good acoustic, so it stayed that way. That is probably the oldest song on the record. "Disappointment" was pretty much written in the studio. Joe said he had a new tune, and we laid down a scratch to send to people, and the next thing you know, there are drums on it. We eventually re-recorded that live as a band. How did you want your album, 'Liars & Slime,' to make the listener feel? Did you want to evoke any specific thoughts and realizations? We want people to turn it up loud, get a vibe going, and forget about all the BS around them. Past that, they can judge for themselves on what our songs mean. Instagram Facebook

Hailing from Palmdale, California, the versatile and dynamic emo rock band .XOM releases a poignant and punchy single entitled "3AM in the PM." .XOM's sound is a hard-hitting blend of modern-day emo, alt-rock, with hints of lo-fi synths to bring the mix together seamlessly. .XOM is comprised of Ivan Olivia, Dakota Metzger, Gabriel Olea-Macias, and Anthony Scaglione. The band's irresistible sound has landed on stages alongside acts like The Groans, Sad Park, Archer Oh, and Banned From Japan. Hitting us in the gut with a deeply relatable message is .XOM's latest single, "3AM in the PM," crashed our speakers like a freight train of emotion. We appreciate the band's ability to defy genre norms and create a sound that's genuine, unique, and genuinely moving. We're excited to introduce our readers to this up-and-coming band, and we encourage them to keep an eye out for the group's next moves. Listening to "3AM in the PM," the track kicks off with a riveting and powerful instrumental breakdown that leaves us focussing on .XOM's electrifying guitar riffs and melancholy synth arrangements. As lead vocalist Ivan makes his way in, he begins to expand on the certain thoughts that exhaust him and keep him from living a carefree and content life. We love the emotion and power within his vocals, as they're perfectly baked up by .XOM's dynamic and well-rounded instrumentals, especially with their crunchy guitar riffs, heavy bass licks, piercing drum breaks, and haunting synth melodies. As they lead us to the outro, .XOM leaves us with a need to escape the chaotic world around us. Experience the cathartic performance by .XOM in their latest emotional and heavy single, "3AM in the PM," now available on all digital streaming platforms. We feel a sense of rejuvenation after experiencing such a powerful and emotional single like "3 AM in the PM." What inspired your group to write this moving and hard-hitting track? We wanted to invoke this specific feeling of "how small one feels in the grand scheme of everything." Like how the minor problems and emotions are just as valid as the big ones. The house show aspect was how some of us felt with our depression and still being around friends and people and trying to get that from an outsider's perspective. But also how people try to force you into something and break out of that and enjoy yourself however you want. Could you expand on how your group shared the creation of your instrumentals for "3 AM in the PM?" What was your band's creative process like? Dakota (Bass/Vocals) came in with the song's main idea and chord structure on an acoustic guitar, and everything fell into place pretty quickly. We all added our flair to the loneliness the song describes and the dynamic shifts in volume to represent the different personality states. When it all came together, this song gave us a Joyce Manor vibe, so Gabriel (Guitar) wrote a Manor-inspired riff over it to nail that feeling of yearning. As we were recording, we wanted to add several elements to the song that seemed fun and that we hadn't tried before: Glockenspiel Unique lo-fi samples Rich vocals harmonies Even a shout-out to one of our friends Who wrote the cathartic and emotional lyrical content for "3 AM in the PM?" What did you want to make the listener feel with your lyricism? Our bass player Dakota brought the lyrics and the original idea into practice and the song built from there. We wanted people to feel like they're not alone in their emotions, to be able to feel cathartic and grand in the darkest situations. You don't have to drown yourself in your feelings, but it's still necessary to face them eventually to heal. How did you come across this unique and loveable sound of yours? What inspired your group to explore such different sounds like alt-rock, electronic, and emo? Our favorite artists have always switched themselves up whenever they wanted to try a different way to express themselves. We dug bands and artists that did that, and we didn't want to box ourselves in with one thing because we all love many different genres. Ivan (Synth/Vocals) used to play more guitar but started using the keyboard and sample pads more often in live shows to add different elements into our material. Gabriel and Anthony (Drums) brought enlightening and energetic emo and punk background, which is always fun to jam to. It's just blending everything we've grown up with and seeing how to combine it into something new and consistent. What's next for you? More Music and More Videos. So don't miss it! Instagram Facebook

A Cali kid through and through, AJ La Joya has always had an ear for music, being surrounded by it his entire life. Exploring the genres of jazz, R&B, and 90’s hip-hop, this musical foundation would give him what he needed to venture through his original creations and exercise his artistic freedom to discover his sound unapologetically. Continuing to forge his path in the industry, AJ La Joya freely blends fresh raps with charismatic singing throughout his music as he dynamically surprises his listeners with each track released. Taking upbeat, Pop-infused instrumentation and blessing it with his buttery croons, AJ La Joya has us submerged in everything that is his newest release, “Don’t Lie.” The enticing hi-hats trickle into the tempo and carve out a danceable melody that has you bobbing your head to the beat as you find your way out of your chair. Infectious with the trance-like energy to come from this single, AJ La Joya has a knack for creating these larger-than-life atmospheres fueled by his emotions. Whether that be the themes of love turning south as the truth is unraveled in this sonic letter to the one doing him wrong, AJ La Joya ensures that his sonic creations leap towards you and make you part of the effervescent soundscape present. Through the various harmonies that texturize his vocal performance, we get to hear the sweet croons of AJ La Joya in the hook, right before his daring verses introduce you to a more mellow side of his authenticity. Wrapping us up in the middle of a storyline that speaks to organized chaos, AJ La Joya is well put together and flourishing in the illuminating limelight that glistens upon him. Take “Don’t Lie” as an exhibit of AJ La Joya not warrant the type of behavior that will only corrode the evolution of love. It's always a pleasure when we get to chat with you, AJ La Joya. We love your latest track, "Don't Lie." Is this song based on a real-life experience? What was the breaking point to make you craft a piece out of this narrative? Likewise, and thank you! "Don't Lie" is loosely based on personal experience, but to be honest, I started humming the chorus and just ran with that theme. Nine times out of ten, people never say what they mean, especially in relationships. Just say what you mean in the first place! It'll save a lot of time because the truth always finds a way to come to the surface. Do you find that "Don't Lie" is an excellent representation of your artistry as a whole? What does this song say about you apart from the music? I'd say this song continues to showcase my evolution as an artist. Compared to the stuff I dropped in 2020, my newer material is much better cohesive. I'm finding what works best with my voice and embracing certain quirks about it. But I feel like that's the way things should be. As an artist, you should constantly evolve with each new release, and I'm doing that. I'm an adventurous person that is always looking to try new things, and this naturally extends to the type of music I make. I like to have fun in everything I do. When talking about your previous release of 'Make It Happen,' you mentioned spending more time on the song during the recording process. Is that a similar formula that you followed when bringing "Don't Lie" to life? Before "Make It Happen," I would go with the first thing I could think of lyrically. Nowadays, I choose to be more deliberate with my words and wordplay. My pen has gotten more robust, so I have an easier time writing. For "Don't Lie," the verses came very easily for me, but I spent more time on the hook (I was going back and forth between two versions). Once I nailed down the lyrics, this was probably the easiest song I've had to record. It only took 1-2 takes to deliver it how I had envisioned. I take it as a sign that I'm getting more comfortable with who I am as an artist. What has been your biggest takeaway from the release of "Don't Lie?" My biggest takeaway from this release is not to overthink things. Don't get in your head too much, and just have fun with it. What's next for you? I'm planning on dropping another song in December with a music video to accompany it. I'm also recording more music for next year. There's this song I'm dropping in early 2022 that I produced. It'll be the first time the world will hear an AJ La Joya-produced track! I can't wait. Instagram Facebook

The musical concept project La Femme Pendu of multi-disciplinary creative Allison Scagliotti recently released her eerie and haunting single entitled "Allons Chasser." Through her descriptive and story-telling french lyricism, La Femme Pendu's music is inspired by female characters from iconic horror films of the past century. She's most known for reclaiming and reworking the narratives of tragic screen femmes into horror ballads and goth-pop bangers, made for feminists, film freaks, and creatures of the night. Dropping a sultry and ravenous single entitled "Allons Chasser," which translates to "Let's Go Hunting," the song was inspired by Tony Scott's vampire film The Hungry and features Jake Hays on lead guitar. The transcendent and haunting single offers a unique and chilling listening experience, especially with help from La Femme Pendu's angelic and melodic vocal stylings. Diving into "Allons Chasser," the song kicks off with a breathy vocal sample and a punchy pop beat alongside a plucky bassline and Jake Hays' hazy electric guitar. As La Femme Pendu makes her haunting and sensual vocal appearance, she begins to serenade us in the language of love. As she later expands on how death is ugly but aging is worse, she then proceeds to invite us on a trip to hunt down her next meal. We love the song's gritty electric guitar by Jake Hays, as it spices the song with incredible passion and power alongside the fluttery and soothing pop beat. As La Femme Pendu makes her way to the song's end, she leaves us with nothing but chills and excitement. Experience the conceptual stylings of La Femme Pendu and her recent single, "Allons Chasser," now available on all digital streaming platforms. Welcome to BuzzMusic La Femme Pendu. What an incredible and haunting piece you've delivered with your latest single, "Allons Chasser." What inspired you to write a single based on Tony Scott's The Hungry? Each song on 'VAMPYR' is inspired by a classic vampire film. On my first record, Absolute Horror, my lyrical protagonists faced supernatural terror drawn from the last century of horror cinema. This time I narrowed my focus to my favorite vampire films. Of the nine movies that provided the foundation of this project, The Hunger is my cornerstone. To me, it's the high watermark of vampire cinema, and Catherine Deneuve's tortured undead queen provided a deep lyrical well to draw from. She loves her paramours passionately, but she loves herself more. What drew you to the likes of Jake Hays to feature on your single, "Allons Chasser?" What was your collaborative process like with him? I've had the pleasure of knowing Jake and watching his talent develop for nearly a decade. When it became clear that a couple of songs needed a secret special ingredient during the recording process, Jake was the first person I thought of. His playing is virtuosic and adds impeccable vibes to the song I could only have dreamed of. I'm so lucky he could find time in his busy schedule to deliver such spine-tingling solos. Was it easy for you to write such story-like lyrics for "Allons Chasser?" Would you say that you're most known for your writing skill and style? In January of this year, I visited one of the only terrestrial video rental stores in the Western hemisphere. I curated my own little vampire film festival in my living room. I watched each film with pen and paper, jotting down images and memorable lines, some in English and some in French. It was a similar but more streamlined approach than I took on Absolute Horror. Was it easy? I'm not sure anything this fulfilling is easy, but tapping into the flow was worth it. The beginning is the hard part, but once you show up to the process, your creativity is there to serve you. Am I known for this writing style? It's niche. I'm lucky that my music is slowly finding the people who appreciate it. What sort of atmosphere or vibe did you want to offer through the song's production and sonics in "Allons Chasser?" In the opening of The Hunger, Bauhaus performs their eponymous hit Bela Lugosi's Dead over a montage of the vampire lovers hunting in the goth club. The quiet coolness of the vampires decked out for the night in couture, sunglasses, and a single earring was what I was going for. That emulates the kind of noodling, reverb-drenched guitar reminiscent of The Cure for a navel-gazey texture. The vocals go for the effortless confidence and subliminal tortured sadness of Catherine Deneuve's Miriam. How can we get to know you and your music better through songs like "Allons Chasser?" Do you usually explore such intriguing and haunting subjects within your music? My songwriting process begins at the intersection of character and setting. I'm a storyteller at heart; the ethos of La Femme Pendu is French horror ballads for feminists, film freaks, and creatures of the night. Chalk it up to my previous life as a child actor, my new career as a director, or just being generally bored by straightforward love songs. I have no idea what my next concept will be, but in the meantime, you can find me praying at the altar of Kate Bush. Instagram Twitter

Radiating charge and a unique flair for lyrics and melody, songwriter and artist Tana utilizes her rich and diverse views on gay culture, to strongly influence her musical and personal journey. Having recently signed her song ‘Savage’ to Sony US and Babygrande records, Tana is unapologetic, revolutionary, and liberating, and she places diversity at heart. Stating, ‘I’m queer and I want to use my platform to be real and be a voice for others,’ her growing reputation means she is one to watch, and she aims to change the scene for good. The intriguing essence of her most recent bop “Fake Friends” has us gravitating towards eclectic instrumentation faced with liberating truth. Transitioning between her widely casted vocal ranges, the angelic glimmers of Tana’s timbres trickle into the sound system as they nuzzle their way into your soul. “Fake Friends” plays into a narrative that many of us can relate to firsthand. Speaking on the superficial encounters that make people appear to be more invested in you than they actually are is a concept that hits home in a major way. Showcasing her stance on these situations when they arise, Tana uses her impeccable songwriting techniques to take you deep into what it usually looks like when this happens, and her ability to say she wants no part in the fakeness. What leaves us awestruck is the tantalizing soundscape provided by the instrumental as the peaks and valleys prominent in the themes take the driver’s seat on this ride of a lifetime. Building up to the climactic moment where Tana’s harmonies lusciously come pouring in at the chorus, we hear ‘everybody’s so, so fake,’ become a lyrical motif that exults in repetition as it’s drilled into our expanding mindset. Tana provides experiences with the intoxicating melodies that she conveys. Making each release more than just another song, we’re grateful for the journey of Tana in which we get to take part. Welcome to BuzzMusic, Tana. We adore the concept and execution of "Fake Friends." With subject matter that's so blatant in how it's presented, was there a tipping moment for you that inspired the creation of this song? Thanks for having me. It's always a pleasure. Don't get me wrong, I love being there for people, and I'm an excellent listener. With 'Fake Friends,' I guess the tipping point was when I started noticing toxic friendships and 'energy vampires,' you know, the kind of people that love to suck all that positive energy out of you and load their issues instead. Still, sometimes it can become too overwhelming and intrusive, so I had to limit my contact with certain friendships and protect myself and my energy. If we look at 'Savage' and "Fake Friends" side by side, what differences and similarities did you notice in both the creative and release process? With 'Fake Friends,' the creative process was just literally me and my guitar. I always write about what's happening in my life, and in that particular moment, I channeled those feelings into making something good of it. I struggled with writing alone because it always felt daunting, but I've improved in this area and can sit down for hours writing. I usually come up with melodies first and then lyrics, which I did with' Savage.' I wrote' Savage' a while back. However, it was a collaborative effort as I wrote with two other songwriters. Although I typically write alone, I love writing with other people because it gives you more options and ideas on where to go lyrically. Regarding my release plan, I pretty much have a solid structure that I go by, but I can't give out all my secrets now, can I? Was there anyone by your side in helping you achieve the ultimate vision for this track? How did they contribute? I wrote "Fake Friends" from home and got it developed by my producer Imad. I shot some photos in a carpark with my friend Mia for the artwork, which would then be designed into the official cover. I hired a graphic designer called Overdaux, who I've worked with a few times. He's super talented and never fails to provide me with the best content. If I'm being completely honest, I didn't really know what direction to take the artwork in, so I gave complete creative control to my designer and instantly fell in love with the first idea he showed me, primarily because of the colors and how well they gelled together to create this trippy aesthetic, which is something I'd love to do more of in my visuals and artwork. Being a voice that's highly looked up to, what do you do to ensure that people grasp your music the way it's intended to be grasped? I guess I try to be my authentic self at all times. I'm always optimistic, and I don't give up quickly, and that's something I always remind myself and others to do. I write about my life and musical experiences as well as topics that are important to me. I'm queer and biracial, and I want to use my platform to be real and be a voice for others. What's next for you, Tana? More music, and that's all I'm going to say because the evil eye is natural. Instagram Facebook