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Welcome to the BUZZMUSIC Magazine: Summer '26 Issue. Over the last few months, we've spent a lot of time thinking about what BUZZMUSIC is really here to do. The answer has never changed. We believe independent artists deserve the same opportunities, resources, and respect as anyone backed by a major label. That's why this quarter we've focused on creating free educational resources across our social media platforms while continuing to advocate for artists behind the scenes through our PR agency side. This quarter alone, we've helped place 100+ independent artists in 50+ independent publications, giving them more opportunities to share their stories, grow their audiences, and build lasting credibility. To us, independence isn't just a business model; it's a movement. It's about creating a music industry that's more accessible, more transparent, and built around artists. BUZZMUSIC exists to help remove barriers, amplify independent voices, and prove that great music can come from anywhere. To everyone who has read an article, shared a post, submitted their music, or supported our mission, thank you. Your support allows us to keep building this community and championing independent artists every day. Without you, there is no us. BUZZMUSIC's Best Independent Sounds of Summer 26': BUZZMUSIC's Best Independent Sounds of Summer is your seasonal soundtrack to the artists defining summer on their own terms. From indie rock and alternative pop to hip-hop, R&B, electronic, and everything in between, this curated roundup celebrates the independent releases that captured our attention through originality, storytelling, and undeniable replay value. No major-label agendas, no algorithm chasing, just the songs, albums, and emerging voices proving that some of the most exciting music of the year is happening outside the mainstream. Whether you're looking for your next obsession or discovering tomorrow's headliners before everyone else, this is where summer's best independent music lives. ÅSA ORBISON Swedish-American jazz vocalist Åsa Orbison has built a career rooted in timeless storytelling, blending European jazz traditions with the American songbook through a voice that feels both classic and refreshingly modern. After introducing listeners to her acclaimed album Swedish Jazz Standards earlier this year, she's now preparing for an exciting new milestone. Åsa recently released "Hand I Used To Hold," her first original single, a deeply personal step forward that marks a new chapter in her artistry. Following years spent reimagining beloved jazz classics, the upcoming release allows listeners to experience her own songwriting and creative voice for the first time. Produced alongside her husband, Roy Orbison Jr., Åsa continues to balance heritage with innovation. Her music has earned millions of streams worldwide; she's performed on platinum-selling recordings with the Royal Philharmonic Orchestra, opened for Macy Gray, and reached international audiences through recurring appearances on Below Deck Mediterranean. As she continues to bridge Swedish and American musical traditions, "Hand I Used To Hold" promises to be her most personal release yet, one that reflects not only where she's been, but where her artistic journey is headed next. GISELLE Los Angeles singer-songwriter Giselle continues to showcase her fearless approach to pop with her latest album JUST SAY SORRY, an empowering anthem about letting go of people who refuse to take accountability. Blending pop and R&B with her signature emotional storytelling, the album encourages listeners to choose self-respect over empty excuses. Following this year's releases Rumors, Sweet Baby, and Young & Complicated, Just Say Sorry also serves as the title track of her new album, further cementing Giselle's reputation as an artist unafraid to turn real-life experiences into relatable, heartfelt music. MALSI Malsi is ushering in a new era of electrosoul, seamlessly blending R&B, jazz, soul, and pop with the rich influence of her Bangladeshi heritage. A singer, songwriter, and producer with more than 40 releases to her name, she's become known for her intricate vocal production and emotionally resonant songwriting. Her latest single, "Tumi Aar Aami (You n Me)," continues that artistic evolution, pairing Bengali and English lyrics in an uplifting reflection on self-love, devotion, and finding peace after heartbreak. Following the success of this year's releases and a growing global fanbase, Malsi continues to prove that authenticity, cultural storytelling, and fearless creativity are a powerful combination, making her one of the independent artists we're most excited to watch this summer. DESARAE DEE Desarae Dee is redefining instrumental music through storytelling, proving that words aren't the only way to move an audience. The award-winning composer, producer, and GRAMMY® Voting Member has built a distinctive sound by using the piano as her voice, blending contemporary gospel, jazz, R&B, and cinematic influences into emotionally rich compositions. Her latest single, "Telephone….Wait," reflects on patience, purpose, and trusting the process, inviting listeners to find beauty in life's quiet moments. Beyond the music, Desarae continues to shape the next generation of creatives through initiatives like The Sonic Story Lab, demonstrating that independent artistry can thrive by creating opportunities, building community, and leading with purpose. JAY DIENER Jay Diener is the kind of independent artist who refuses to color inside the lines. Blending indie pop and rap with an offbeat creative spirit, the New Jersey native balances infectious melodies with thoughtful songwriting, creating music that's as heartfelt as it is unpredictable. His latest single, "One In A Million," captures that balance perfectly, an uplifting anthem celebrating meaningful connections and the people who remind us what truly matters. The track quickly resonated with listeners, earning more than 20,000 organic streams and 250+ Shazams in its first week alone. With an authentic perspective and a knack for making music that leaves listeners feeling a little lighter, Jay Diener is an artist worth keeping on your radar. QOLAJ Qolaj is redefining electronic music by pairing high-energy club production with a deep sense of community. The Filipino DJ, producer, and founder of We, The Moment creates immersive experiences built on connection, freedom, and self-expression, while his innovative sound has already earned him Beatport's Global Remix Challenge title and an official remix for The Blessed Madonna and Kylie Minogue. His latest release, Qolajed.It Vol. 001, transforms three unreleased remix contest submissions into a bold creative statement, proving that great ideas don't need permission to exist. With a growing catalog of genre-pushing releases and a vision that extends far beyond the dance floor, Qolaj is emerging as one of electronic music's most exciting independent voices. QUEEN ANNE Queen Anne thrives in the space where dark, ethereal indie-pop collides with sharp wit and unapologetic attitude. Led by singer-songwriter Katie Silverman alongside writer-producer Sandy Chila, the duo blends '80s pop-punk influences with a modern alt-rock edge to create songs that are as addictive as they are unpredictable. Their latest single, "Watch Me Win It," embraces the chaos of everyday life with the reminder that success isn't about perfection; it's about defining victory on your own terms. Equal parts clever, cinematic, and irresistibly catchy, Queen Anne is bringing a refreshing perspective to independent music, proving that sometimes the biggest win is simply refusing to play by anyone else's rules. PAYTON GOLDSTON Payton Goldston is using music as a source of hope, resilience, and faith. The inspirational R&B and soul artist has spent years crafting songs that encourage listeners through life's challenges, earning radio support across the U.S., UK, Australia, and Mexico while serving as both a worship leader and Chair of the Board for the nonprofit music collective City Psalms. His latest single, "Growth" featuring JustNate, reunites the former Battleground City collaborators for a powerful reflection on embracing change, trusting God's plan, and finding strength through life's highs and lows. With heartfelt storytelling and an unwavering sense of purpose, Payton Goldston continues to inspire audiences far beyond the music itself. DESIREE CHOY Desiree Choy is bringing a fresh sense of warmth and vulnerability to modern R&B. The Los Angeles-based singer-songwriter pairs soulful vocals with cinematic, coastal-inspired production, creating music that feels nostalgic, intimate, and effortlessly timeless. Her latest single, "Care4U," captures the quiet beauty of emotional safety, exploring how trust, patience, and vulnerability can become the foundation of lasting love. Following standout moments like performing the national anthem for the Golden State Warriors and headlining her first show at The Hotel Cafe, Desiree is building momentum toward the release of her debut EP, Will You?, this September, solidifying herself as one of independent R&B's most promising emerging voices. SAMI SITEMAN Sami Siteman has built a reputation for turning life's biggest emotions into songs that make listeners feel understood. Blending pop, country, and singer-songwriter influences, the California native has amassed more than 780,000 streams across 150+ countries, connecting with audiences through honest storytelling and infectious melodies. Her latest single, "Slow Motion," serves as the final release before her highly anticipated debut album, Welcome to My Brain, arriving this August. The uplifting anthem encourages listeners to slow down, embrace the journey, and let go of the pressure to constantly keep up. With a debut headline tour on the horizon and growing editorial support from platforms like Pandora and Audiomack, Sami Siteman is entering her biggest chapter yet. DEATH BY PIANO Death By Piano is pushing the boundaries of Brooklyn's underground music scene with a sound that fuses darkwave, shoegaze, and electronic music into something cinematic and unmistakably their own. Led by singer-songwriter KALEN, the project pairs lush vocals with analog instrumentation, layered synths, and immersive production to create emotionally charged sonic worlds. Their featured track, "Pandora," reimagines the Greek myth through a feminist lens, blending mythology with themes of empowerment, self-discovery, and resilience. Following acclaimed performances at venues including Rough Trade NYC, Elsewhere, NuBlu, and Sultan Room, Death By Piano continues to establish itself as one of independent music's most compelling and fearless creative projects. ENZO NEBULA Enzo Nebula is creating Y2K dance-pop for anyone who's ever felt like they didn't belong. The New York City-based singer, songwriter, and self-taught producer crafts every track from his living room, blending nostalgic '90s dance influences with futuristic production inspired by his childhood in Italy and a fascination with outer space. His latest single, "Desire," explores the courage it takes to open your heart again after heartbreak, transforming vulnerability into an uplifting celebration of connection. With radio support across Europe and South America, and a growing community of fans who resonate with his message of embracing your inner "alien," Enzo Nebula is proving that the most powerful music often comes from those bold enough to stand apart. NÆ x BLIZZ NÆ and her creative co-pilot Blizz are proving that electronic pop can be as imaginative as it is infectious. Blending sci-fi storytelling, shimmering synths, playful brass, and theatrical live performances, the Chicago duo has carved out a universe where self-expression, inclusivity, and childlike wonder take center stage. Their latest single, "Canopy," draws inspiration from the hidden communication networks of trees, transforming scientific curiosity into a joyful anthem about connection, belonging, and the invisible bonds that bring people together. As they continue building toward their debut vinyl LP and captivating audiences with their immersive live shows, NÆ and Blizz are creating a world that's impossible not to want to be part of. MaTTHEW FLOWERS Matthew Flowers is carrying forward a rich musical legacy while carving out a sound that's entirely his own. Raised in a family deeply rooted in soul and jazz, the Portland-based singer-songwriter blends retro R&B, heartfelt songwriting, and modern pop influences into music that's both nostalgic and refreshingly current. His latest release, the Modern Loneliness EP, explores the emotional highs and lows of heartbreak, balancing introspective slow jams with feel-good grooves that remind listeners healing is rarely linear. Having previously performed alongside Feist at the 2010 Vancouver Olympics and toured with Portland indie favorites Shy Girls, Matthew Flowers continues to evolve as an independent artist whose music finds hope in even life's most difficult moments. DELLA VONNE Della Vonne is creating cinematic indie-pop for listeners who embrace every side of the human experience. Blending atmospheric production with emotionally honest songwriting, she explores the space where vulnerability, self-awareness, darkness, and hope coexist. Her latest single, "Unsteady," marks a bold shift into a more empowered chapter, transforming heartbreak and betrayal into a declaration of resilience and self-worth. Drawing inspiration from artists like Billie Eilish and Lana Del Rey while carving out a voice that's uniquely her own, Della Vonne is building a safe space for outsiders through music that reminds us we don't have to choose between our shadows and our light; we can carry both. KACE Kace is part of a new generation of hip-hop artists using music as a vehicle for growth, resilience, and self-improvement. The Maryland rapper consistently pushes himself creatively, releasing new music every two weeks while crafting songs that challenge listeners to embrace adversity rather than fear it. His latest single, "XP," explores how life's experiences shape wisdom and character, serving as the lead release from his new project, Espeon. With a Times Square billboard, a rapidly growing fanbase, and a relentless commitment to evolving both as an artist and as a person, Kace is proving that steady progress is one of the most powerful stories independent music can tell. KIAATTI Kiaatti is building his career the independent way, through consistency, authenticity, and an unwavering connection with his audience. His music is rooted in resilience, ambition, and the belief that every person has the power to shape their own path. His latest single, "Die By The Sword" featuring AdgVerse, captures that philosophy, using the imagery of a knight's journey to explore accountability, perseverance, and living with the consequences of your choices. Fresh off national touring, including his self-organized Pitstop Tour across the Pacific Northwest, Kiaatti continues to expand his reach while staying true to the message that's earned him a loyal and growing fanbase. STEFANIE MICHAELA Stefanie Michaela is proving it's never too late to follow your passion. The Los Angeles-based pop singer-songwriter returned to music after taking time away to raise her family, channeling her experiences into heartfelt songs that celebrate authenticity, hope, and finding joy in everyday life. Her latest single, "Carefree," is an uplifting reminder to let go of life's pressures, embrace the present, and rediscover the freedom of simply being yourself. Having collaborated with Grammy-winning songwriter and producer Keith Thomas and performed at iconic Los Angeles venues including Hotel Café and The Mint, Stefanie Michaela continues to connect with listeners through music that feels genuine, uplifting, and deeply human. MUTE THE MADNESS Mute The Madness is redefining what modern hip-hop can sound like. Evolving from a traditional rap duo into a full band, the collective blends hip-hop, R&B, rock, and reggae with thoughtful lyricism and live instrumentation to create music that's both powerful and immersive. Their latest release, Echoes Everywhere, reflects that artistic vision, tackling personal struggles and societal issues without sacrificing energy or accessibility. Built on authenticity and a desire to push creative boundaries, Mute The Madness continues to prove that independent artists can make music that's equally thought-provoking, genre-defying, and deeply entertaining. MATTHEW METTIAS Matthew Mettias is an artist driven by one question: Does this make someone feel something? The internationally charting Billboard Top 20 artist, producer, songwriter, and poet refuses to be confined by genre, seamlessly blending hip-hop, soul, spoken word, reggae, jazz, and cinematic production into deeply personal records. His latest release, "Seeking Saturn (Veritas) – LIVE," reflects that philosophy, exploring themes of purpose, growth, time, and emotional resilience through a performance rooted in honesty rather than perfection. Splitting time between Hawaiʻi and the San Francisco Bay Area, Matthew continues to build a body of work focused on longevity over trends, proving that some of the most powerful independent music comes from genuine curiosity and fearless self-expression. SIXPOINTS SIXPOINTS is challenging the boundaries of alternative music through a striking fusion of post-industrial soundscapes, spoken word, theatre, and experimental storytelling. Formed on Vancouver Island by composer Shaun Day Woods and poet-bassist Jimy Dawn, the duo creates immersive works that confront modern society while searching for hope, connection, and renewal. Their latest release, "Nero's Glory," distills that vision into a bold artistic statement, encouraging listeners to resist complacency, reframe the world around them, and reconnect with what truly matters. Following the release of two ambitious albums in 2026, SIXPOINTS continues to carve out a fearless path as one of independent music's most uncompromising creative projects. LORA A. Lora A. is creating a space where faith and music meet with quiet honesty. The independent Christian artist writes and produces every song herself, crafting atmospheric soundscapes that encourage reflection, hope, and spiritual renewal. Her latest single, "I Don't Wanna Lose You," is a heartfelt expression of staying close to God through every season of life, reminding listeners that peace and strength can always be found in His presence. Alongside recent releases including "Still With Me," "For Us," and "You Are Everything I Need," Lora A. continues to build a growing catalog rooted in faith, authenticity, and unwavering hope. Final Thoughts Music has always been about more than streams, charts, or algorithms. It's about the people willing to take creative risks, tell honest stories, and build something meaningful on their own terms. Every artist featured in this issue represents a different corner of the independent music world, but they all share the same drive to create without compromise. At BUZZMUSIC, we're proud to champion the voices shaping what's next. Whether you're discovering your new favorite artist, finding inspiration for your own creative journey, or simply looking for something real in an increasingly crowded industry, we hope this issue gave you a fresh perspective on the talent pushing music forward. Thank you for spending your summer with us. Keep exploring, keep supporting independent artists, and we'll see you in the next issue.

In a world where every moment seems destined for a social media feed, Orange County indie-folk singer-songwriter Kyle Matthyew is encouraging listeners to put their phones down and experience life as it happens. His latest single, “Garden Song,” offers a refreshing perspective on happiness, human connection, and the beauty of slowing down. Raised along the beaches of Southern California, Kyle Matthyew approaches songwriting as an ongoing conversation with himself, exploring the complicated space between optimism and existential uncertainty. His music finds meaning in everyday experiences, often uncovering hope where others might overlook it. Interestingly, “Garden Song” began with a classroom disagreement. While attending music school, Kyle Matthyew challenged a teacher's argument about the importance of social media for independent musicians. Although he understood its promotional value, he questioned society's growing dependence on digital validation. Walking home afterward, one particular thought stayed with him. “I'm not trying to grow my socials. I'm trying to grow a garden. Where they can lay me down when I'm old and forgotten.” That reflection became the foundation of “Garden Song,” an unusually lyric-first composition for the singer-songwriter. The track's message celebrates life's simplest pleasures, from sunlight and dirt-covered hands to meaningful relationships and the satisfaction of doing work you love. Rather than measuring success through online attention, Kyle Matthyew encourages listeners to consider what makes a life genuinely fulfilling. “I want people to take away feelings of rolling down the car windows and letting the wind mess up their hair,” he shares. With an accompanying music video on the way, another single titled “Wishing Well” approaching, and a full-length album planned for the new year, Kyle Matthyew is building toward an exciting new chapter. “Garden Song” is a timely reminder that sometimes the most meaningful thing we can do is simply look up. “Garden Song” came from a disagreement with a teacher about social media's role in an independent artist's career. Looking back, has writing this song changed how you approach promoting your music, or has it made you even more committed to your original perspective? It does feel a little silly to be posting on my socials about a song in which the first words are literally, “I’m not trying to grow my socials.” However, I think the message of the song is not so much about social media’s role for independent artists but more about its role in our society as a whole. Because, as an artist, it can really help. You need to reach a large number of people with a little marketing budget? Socials are great for that. But on the flip side, you have the ability to take in way more information than you can handle, a lot of which could not even be real or true. And that’s where I think a lot of harm can be done. That leaves me still believing in my original perspective. I don’t like social media. Writing and releasing this song has pushed me to find other ways to promote myself without relying on social media. It may be more difficult and potentially lead to me dealing with more rejection, but at the end of the day I can feel like I’m working hard towards something and following a path that I believe in. The line “I'm not trying to grow my socials. I'm trying to grow a garden” feels like a powerful rejection of how we measure success today. What does a successful life look like to you when you remove numbers, followers, and outside expectations from the equation? I think a successful life for me is about way more than just music. But let’s start with that because, of course, this is BUZZMUSIC. For my music, I’d like to continue to record and release songs that I’ve written, working with producers and other musicians to bring that to life. I have so much music that I feel like I’m finally ready to share with the world, and it finally feels like the right time for me to do so. A lot of my music stems from struggles that I’ve had with my mental health, like depression and anxiety, so it would feel like a success as well to hear that someone listened to my music and felt like it helped them out too. That to me feels like what the baseline is right now. As this journey continues, success would be getting to write for other people to help bring their stories to life. And ultimately, I feel like success would be having the opportunity to write an entire movie soundtrack. You describe your songwriting as a lifelong conversation with yourself, often navigating the space between hopelessness and hope. How has that internal conversation evolved as you've gotten older, and what have your songs helped you understand about yourself? I think the internal conversation has evolved as a way for me to be introspective without it leading to an existential crisis. Throughout my life, I’ve really struggled with depression and anxiety that led to insecurities and self-doubt, among dozens of other mental health issues, that stopped me from pursuing music as a career. It wasn’t until I started going to therapy that I was able to write songs about my experiences without the inspiration having to come from some kind of mental breakdown. As I’ve grown, I’m now able to look back on my experiences and channel those feelings rather than needing to be in the middle of them. It has led to a deeper understanding of myself as a person. There’s still plenty of internal dilemmas I struggle with, but I feel like I’m on a good path. I imagine it’s one of those things that I’ll never fully understand. Which is cool because there’s always going to be room to grow. There’s always going to be more to discover. And hopefully, those discoveries will lead to songs which can help others. “Garden Song” touches on mortality in a surprisingly peaceful way, suggesting that a life filled with love, meaningful work, and simple pleasures can leave us ready for whatever comes next. Has your relationship with the idea of growing older or dying changed through writing this song? I don’t know if it was this song specifically or just actually getting older, but my perspective definitely started to change once I turned 30. I realized that aging was the preferable alternative to not aging. This left me with a simple choice. Living. Jokes aside, I did always have an overwhelmingly dreadful feeling that I would be a part of the 27 club. The group of musicians, actors, etc… that died when they turned 27. It almost felt like a curse at times. Then, when I didn’t die by my 28th birthday, I realized I was just depressed. After doing a lot of work through therapy and self-observation, my relationship with aging started to become much more positive. I started to understand more about my brain and develop habits that helped me see the process of life as something enjoyable, rather than just something that I have to do. This song helps me as a reminder that I love to be outside and in nature, getting my hands dirty, and feeling the sun on my face. With “Wishing Well,” an upcoming music video, and a full-length album on the horizon, what larger story are you hoping to tell through this next collection of music, and how does “Garden Song” fit into that vision? Garden song is just the first seed to be planted that will grow a garden of music. I think it’s a good introduction to who I am and what kind of music I’m making right now. For the music video, I’m working with an insanely talented animator, Jonathan Dingle, who is hand-drawing all these incredible animations. I’ve seen a little bit of what he’s done so far, and I’m genuinely blown away. “Wishing Well” is the next single that I’m planning to release and it tells more of a story about searching for and finding identity. This song ties into the album a little more than “Garden Song” does thematically, and I’m really excited to get it out into the world. I won’t reveal too much about the album now, but it’s all centered around human nature, our flaws, and our ability to fail and start over again.

Portland-based rock project Lucid Aisle steps into a hypnotic world of sound and imagery with “Silhouette Dream,” a sprawling, experimental release now accompanied by an official music video that pushes the song’s surreal atmosphere even further. Blurring psychedelic rock, dream pop, ambient textures, and experimental rock, “Silhouette Dream” has an unusual history. The song began nearly a decade ago when Lucid Aisle’s Brent Joel Jones stumbled onto a clean electric guitar riff and began layering melodies through a loop pedal. What started as experimentation developed into a trance-like groove, with improvised vocals and poetry recorded over the top. The original loop was eventually lost, but the demo survived. In spring 2026, Brent Joel Jones returned to that recording and reconstructed the music, preserving an idea that easily could have disappeared altogether. Mixed and mastered by Charlie Ferree, the finished track retains that spontaneous quality. Rather than feeling overly polished, its layers unfold with the freedom of something discovered rather than carefully planned. That instinctive approach carries directly into the “Silhouette Dream” music video. Created with cinematographer Kyle Indigo and featuring a performance from Tillatha Leigh, the visual was filmed across multiple days without a rigid narrative established in advance. Instead, its story gradually revealed itself through the shooting and editing process. The result leans into surrealism, romance, symbolism, and cinematic unease, giving the music a visual counterpart that feels appropriately difficult to categorize. “Silhouette Dream” also connects to something larger. An upcoming video for “The Great Cosmic Dance” will serve as its prelude, ultimately transforming the two-song EP into a connected short-film experience. For Lucid Aisle, “Silhouette Dream” proves that some of the most interesting creative ideas aren't necessarily written according to plan. Sometimes they survive by accident and wait years for the right moment to become something more. “Silhouette Dream” began almost a decade ago as an improvised guitar loop before you reconstructed it in 2026. What did you hear in that old demo that convinced you the idea was still worth chasing all these years later? The demo was always in the back of my mind, and then for years I just forgot about it; then it resurfaced, so I revisited it. Every time I heard that loop in the decade of it lay around, it always hit me in the best way. The sound was so hypnotic and entrancing, putting me in a place of peace. Those ethereal sounds always have a place in my heart. I always felt really good after listening to it, like a form of escapism. It got to a point where I was like “f**k it… let’s see if I can re-create this. Once I started recording, things flowed. It made sense to fully embrace it. You’ve called the song a “happy accident.” How much of Lucid Aisle’s best work comes from following unexpected ideas rather than entering the studio with a clear destination? Every song has its own story and process. Some ideas/songs form quickly, and some I plant the seed and walk away, then come back later after I’ve been inspired by experience. Could be months, could be years. Sometimes it flourishes, and sometimes a potential song gets put into the closet. I guess anytime you riff around, and something interesting takes shape, you could call it a “happy accident”. But “Silhouette Dream” was different. A special gem. I’ve never quite had this kind of creative process in a song before. Especially a riff with multiple layers made on a loop pedal with no verses nor chorus. Just some poem sung. The music video’s story wasn’t fully understood until you reached the editing process. What did you discover the video was actually about once all of those seemingly disconnected scenes came together? I realized this is a love story with a beautiful but sad ending. This dude, “ Bromeo,” enters a new dimension through a red door portal. Meets the girl, and then they fall in love. Simple, classic, and cute love story. What’s really cool about it are the questions… Did this man and woman already know each other? Did they just meet in a single day until the last scene? Were those just dreams when she woke up to a phone call? Or did she know him already? Did they spend years together before the end? That’s what I found intriguing… it leaves it open to interpretation, which personally is my favorite kind of art. Plus all of the serendipities, color schemes, and symbolism that happened that were not planned yet completed the story. Some examples: The colors red and yellow distinctly appear throughout the video. That was not planned but ended up being the color scheme of the whole video. Tuliet does her makeup. The mirror changes... her reflection in a different place with palm leaves behind her head... then you see Bromeo in the mirror at the Mall with palm leaves above his head, like their own version of a Mistletoe. That was not planned… With some of these shots in public makes for chaotic situations. Security guards lingering or random people in public. It can get tricky, and you have to act fast. We were extremely fortunate to get at least one good take per scene because we only managed to shoot two per scene. We got pretty lucky. It seems that when you’re in a good creative flow state, the “universe” has a way of swooping in and adding its two cents of magic. You’ve compared the final visual world to David Lynch, Pink Floyd, Salvador Dalí, and a modern-day Romeo and Juliet. Which parts of that description feel closest to what you ultimately created? All the surreal backgrounds have a sort of Lynch/Floyd/Dali aesthetic. Desert in the door, blue sky with clouds in a mirror reflection... the timing of these atmospheres complements the flow of the scenes. It’s like applying the theatrics of “Twin Peaks” with a surrealist psychedelic swirl, which all those names mentioned were all about. The aisle in the mall seems like something early Pink Floyd would have done if music videos were a thing back then. Also, we have to pay homage to The Rolling Stones... we actually painted a red door black. “The Great Cosmic Dance” will act as a prelude and turn the two songs into a connected short film. What relationship between the two tracks will become clearer once audiences experience the complete story? The word “Dance" is mentioned in both songs. Both songs are different approaches to the same thing. Finding peace in the chaotic soup of infinity. Tuning the self in the chaos finds the rhythm and harmony in this sea of madness. Learning to dance with it, figuratively and literally, is the closest thing to finding balance.

San Diego alternative-pop artist Jaeden Boyett makes a powerful introduction with WAVES, a deeply personal debut album that explores queer identity, complicated relationships, mental health, and the unpredictable realities of growing up. Created independently in a makeshift bedroom studio, the project introduces an ambitious young artist determined to turn difficult experiences into meaningful art. Drawing inspiration from artists like Billie Eilish and Ariana Grande, as well as the commanding stage presence of drag performer Sasha Colby, Jaeden Boyett approaches music as a complete creative experience. Singing, dancing, filmmaking, and visual storytelling all contribute to an artistic identity that refuses to follow conventional expectations. WAVES uses the ocean as a metaphor for life's emotional unpredictability, with each track representing another experience that threatens to pull its narrator underwater. The opening track, “Paranorman,” draws inspiration from the animated film ParaNorman, using its themes of isolation and difference to explore queer identity and childhood experiences. Elsewhere, “TR0UB13SH00T” confronts emotional avoidance, while “grapes under the table” and “diving board” examine betrayal, heartbreak, and the darker consequences of emotional distress. The album closes with “unsaid,” a melancholic yet empowering reflection on finally walking away from someone who has already given up on the relationship. WAVES is particularly compelling because it embraces uncomfortable emotions without forcing an artificial happy ending. “If WAVES teaches anyone anything, I hope it teaches people that it’s okay to be messy,” Jaeden Boyett shares. Working with producers Renzo Torino and Michael Harrison, Jaeden Boyett recorded the project using DIY acoustic treatments, including blankets, pillows, and foam panels. Following a sold-out debut headline performance and recognition from emerging-artist publications, Jaeden Boyett is preparing for a November 4 performance at Hotel Ziggy in Los Angeles. With WAVES, Jaeden Boyett builds an artistic foundation rooted in vulnerability, individuality, and creative independence. WAVES uses the ocean as a metaphor for life's unpredictable emotional highs and lows, ultimately ending with the narrator being overwhelmed rather than achieving a traditional happy ending. Why was it important to resist giving the album a neat resolution, and how does that ending reflect your understanding of personal growth? It was important for me to highlight that your experiences don’t always end with a happily ever after. I have always loved movies and albums that don’t have happy endings. Ending WAVES on a melancholy yet fairly confident and fed-up closer allowed me to show people you can still show agency and understand the fault in your ways, while drowning in overwhelming emotions. Growth isn’t linear. The journey of personal growth doesn’t have to be cookie-cutter. It is okay to have slip-ups, and it’s okay to feel. It’s being human. You've spoken about how discovering Sasha Colby transformed your understanding of performance and helped you recognize the connection between music, movement, and identity. What specific qualities of Sasha Colby's artistry have influenced your own stage presence, and how have you translated that inspiration into something distinctly yours? Sasha Colby has been and will always be the biggest creative inspiration in my life. I’ve spent hours watching her performances on YouTube and studying her to learn how to own the stage and display that knowledge every time I perform. She taught me how to find presence in the silence of music. She taught me how to slap the crowd awake with just the look in my eyes. She taught me how to whip my hair like there is no tomorrow. Sasha Colby taught me how to have fun, and that it’s okay to get gritty when you’re performing. She taught me how to let go. I definitely have some signature dance moves like my jump splits, floor-ography, double pirouettes, and aerials, but they are all infused with the essence of Sasha Colby. My performance style is uniquely mine, but the entity that is Sasha Colby never leaves my body. Every time I’m about to perform, or I’m on stage, I ask myself, “What would Sasha Colby do?” You recorded your debut album in a bedroom using pillows, blankets, and makeshift acoustic treatments. What were the biggest creative and technical challenges of producing such an emotionally ambitious project independently, and what did that experience teach you about trusting your own artistic instincts? The creative challenges of creating in my bedroom were very small. I created my music in a place that was safe to me, my high school bedroom, surrounded by my posters, action figures, and knick-knacks. I felt safe and comfortable creating every time I sat on my bed to write and record a song. Technically, I had to make sure the noise levels outside my room weren’t too loud, and the process of soundproofing my room was pretty annoying. I had to get creative. Clapping around my room, listening for that metallic ringing every time I clapped. I thumbtacked soundproof acoustic panels onto my walls and in the corners of my room by the ceiling. I thumbtacked mine and my mom’s blankets and pillows to my walls to really make sure the room was acoustically treated. Out of my own pockets, this album cost me around $6,000. Creating this project 90% independently, I showed myself that I don’t need to wait for opportunity. I make opportunity. I don’t need to record in the fanciest studios known to man, or record on $10,000 microphones right away. When it clicked for me that I could create exceptional art that I was proud of, in a bedroom with only creativity, fire, and passion fueling me? I realized at that moment that I would be unstoppable. Growing up between San Diego and Dallas, you experienced environments where expressing your identity wasn't always welcomed. How did those experiences influence the stories you chose to tell on WAVES, and was there a particular song that felt especially liberating or intimidating to release? Growing up between San Diego and Dallas, there was a good amount of bullying I went through in both cities. I also had a lot of mental walls and turmoil built from things I was told and taught by the people around me, especially my family. From being called the F slur on the bus, to being pressed in the locker room, to being told that boys don’t play with girls' toys or act feminine, I never really let that truly suppress who I was. Although it did build toxic fortresses in my head that I later tore down as I grew older. I have a song on my first EP that touches on the “boys don’t play with girl toys” concept, called “boys don’t play with barbies,” where I talk about my childhood and all of the scolding and “teachings” I underwent growing up and all of the weight that gives a young queer kid. It was very freeing to write about, acting almost as a time capsule in my life. On WAVES, I wanted to touch more on the bullying and mental health side of things. So, “paranorman” was born. “paranorman” is about how your experiences growing up can affect the way you handle situations and how you go through life in general. “paranorman” is an ode to LAIKA's film ParaNorman, which was one of my favorite movies growing up. The whole film is very queer-coded. I always saw myself in Norman. So it was important and fun to me to be able to explore that world and be able to take parts of the film and use them as queer metaphors. The whole song is a statement about how being different is normal, so I was a bit intimidated to release it because I know a lot of people aren’t ready to hear the message of the song, but God, do people need to hear it. From selling out your first headline show to preparing for your upcoming Los Angeles performance, you've already experienced significant milestones as an independent artist. How has your relationship with performing evolved, and what do you want audiences to understand about Jaeden Boyett when they experience your music live rather than through headphones? I used to have horrible stage fright. Being a cheerleader my junior and senior year and discovering Sasha Colby really helped me develop, discover, and sharpen my identity as a performer. I’ve always loved performing in front of people, but there was always a voice in the back of my head that was telling me I looked stupid, or I was doing badly. Now when I perform, that voice isn’t there anymore. I command my audiences, and I take advantage of the eyes watching me. I have fun. I let go. When people hear my music live, I want them to feel it in their bones. I want them to feel my music the same way I do as I’m performing it. I always tell a story. I’m rarely the type of person to just stand still and sing. I always want to become one with the music and perform like there’s no one watching, in hopes that someone in the audience leaves the performance with something in them ignited. A spark. A passion. A realization. Every time I leave a concert, I feel inspired and I feel hope that one day I’ll be on stage in front of an arena of 20,000 people. I feel hopeful. I feel like if I chase my dreams hard enough, I can achieve them. That’s what I want people to feel.

Sacramento-based singer-songwriter Billy Stuart steps into a deeply personal new chapter with Sink With Me, a five-track debut solo EP. Written across several years and recorded at Uprise Recording in Sacramento, the project marks a significant departure from Billy Stuart’s years in Northern California’s hardcore punk and doom metal scenes, replacing distortion with intimate acoustic arrangements while preserving the emotional intensity of that heavier past. The EP opens with “Downtrend,” immediately establishing its recurring themes of instability and emotional collapse. Billy Stuart writes from the aftermath of being hurt, caught between anger, unanswered questions, and the instinct to keep holding onto memories and plans that have already begun falling apart. “The Open Door” shifts toward escape, but Billy Stuart refuses to portray leaving as an easy victory. Breaking free from something damaging introduces another problem: the terrifying uncertainty of what comes next. The instrumental “Reprieve” follows as a deliberately placed moment of breathing room, allowing acoustic and electric guitar, bass, and piano to carry the emotion before the record moves forward. “Swan Dive” turns toward time, distance, and acceptance. Memories and attempts to preserve a fading connection gradually give way to the realization that continuing to hold on cannot repair what has already changed. By the closing title track, the perspective becomes even more complicated. “Sink With Me” finds Billy Stuart recognizing how personal struggles can begin affecting someone else. Built around imagery of increasingly fragile ground, the song transforms pushing someone away into an act of protection rather than rejection. Billy Stuart performs vocals, acoustic guitar, electric guitar, and piano throughout the EP. Producer Michael Cox contributed drums, bass, and strings while also engineering, mixing, and mastering the project. Michael Cox tragically passed away in a car accident shortly after their final recording session, making his creative presence throughout Sink With Me an especially meaningful part of the record’s history. Across five tracks, Sink With Me never forces its way toward a clean resolution. Instead, Billy Stuart captures the uncomfortable space between holding on and letting go, where change may be necessary but knowing that does not make taking the next step any easier. Your musical background is rooted in hardcore punk and doom metal. How did those heavier influences shape the emotional intensity and songwriting on Sink With Me, even as the sound became more intimate and acoustic? I have always had a side of me that loves acoustic music as well as hardcore punk and metal. I grew up listening to those genres while also listening to artists like Rocky Votolato, Dashboard Confessional, and Elliott Smith. Even punk artists I was listening to at the time, like AFI and Love Equals Death, would have softer arrangements sprinkled throughout their albums. I think a lot of the influence of these heavier and more aggressive genres comes out in the lyrics rather than the music. These genres always gravitate toward heavier emotional themes in their songs, and I think the songs I wrote for this EP fall in line with that as well. The songs on Sink With Me were written across very different periods of your life, with some musical ideas dating back more than a decade. What made you realize these five tracks belonged together as one project? I wrote the music to "Swan Dive" in 2007, "Reprieve" in 2009, and "The Open Door" in 2010; however, I did not have any lyrics for any of these songs until 2025. When I was in my hardcore punk band Strike To Survive, I was already interested in writing acoustic songs, but they didn't fit the overall vibe of what we were playing at the time, so I just held onto them. I wrote some other acoustic arrangements as well over the years, but these three really stuck with me, and I always found myself coming back to them. I still didn't have much of an idea for what I wanted to do with them until I wrote the music for "Downtrend" and "Sink With Me", which was originally only one song, and I was having difficulty writing it until I split it into two separate songs. Then they both started to flow. I realized these five tracks belong together when I started to write the lyrics for the four songs, with "Reprieve" being the instrumental, and found that there were cohesive themes starting to form. There’s a recurring sense of falling, sinking, breaking, and stepping into the unknown throughout the EP. When did you begin to recognize those images as a thread connecting the record? When I started to write the lyrics to these four songs, I treated each song as a snapshot of the lowest moments in my life and wanted to write about how each of these moments made me feel. At these low points and times of uncertainty, I always feel like there is an emotional weight that latches onto me. This weight has this feeling of pulling me down, and I can either try to fight it to stay above water or feel the weight is too much to carry and let it pull me down further. I didn't realize these were recurring themes in my lyrics until I started to write them down and began to notice how frequent they were. I generally have always been one to internalize my emotions, and I feel like finally getting these lyrics out on paper and into these songs had this cathartic release that helped me work through these emotions better and took a lot of that weight off of me. Michael Cox played a major creative role in bringing Sink With Me to life. Looking back on your sessions together, what did Michael bring out of you as an artist that you might not have discovered on your own? If it wasn't for Michael, I don't know if I ever would have released Sink With Me. I was incredibly nervous to do this solo project. With my other previous bands, I only ever played the guitar, so I would just have to worry about that one thing. I would write a lot of the songs, play the guitar on them, and then we would record. After I was done recording my guitar parts, I didn't have to worry about any other part of the project. With this release, I would be playing the acoustic guitar, electric guitar, piano, and singing. I didn't have other band members to fall back on. On top of that, I also would need to really pay attention to the mixing and mastering. I was looking around Sacramento for a place that I could record this EP, and none really popped out as the right vibe for me until I found Michael and Uprise Recording. We talked a bit through email at first, but once we talked on the phone, I knew he was the right guy to help with this project. He had this positivity in his voice and really seemed like he was excited to record this with me. We had four four-hour sessions together, and it was just him and me working away on this. He added drums, bass, and strings to really make this EP shine and gave me the confidence to sing for the first time in my music career in a booth in front of him. He showed this recording just as much care and attention to detail as I did, and I don't think I could have asked for anyone better to have made my debut EP with. He holds a truly special place on this EP, and I will always carry his memory and the time we got to record together. The title track explores the difficult idea of pushing someone away because you believe staying close will ultimately hurt them. What made “Sink With Me” feel like the right song and title to represent the EP as a whole? I feel like the other songs on the record deal with how other people's actions affect me and my emotional struggles with them, while the song "Sink With Me" takes a look at how my emotional struggles affect others. When I have gone through these low periods, I can see how it affects the ones I care about and how they feel helpless trying to pull me out of it. There is this guilt that I feel during these times where I know I'm making them feel bad because I'm feeling bad, and my initial thought is that it would be better for them to just walk away from me. I mentioned earlier this feeling of emotional weight pulling me down during these times, and I never want others to be pulled down and "sink with me" because of my struggles. So, while the song "Sink With Me" is more about not wanting people close to me to be dragged down by these feelings, the EP title Sink With Me is more about inviting the listener to go on this journey with me through chapters of my personal struggles and also maybe have these stories resonate with them. I want to show people that they are not alone in struggling with loss, uncertainty, guilt, and hopefully they can take some comfort in feeling understood.

New York City singer-songwriter Craig Greenberg knows that chasing a dream takes more than wishful thinking. On his latest single, “If You Stop Believing,” the acclaimed piano-rock musician delivers an uplifting reminder that perseverance, meaningful relationships, and taking action are essential to building the life we envision. The sixth single from his forthcoming full-length album, “If You Stop Believing,” reflects the perspective of an artist who has spent more than 15 years navigating the unpredictable music industry while remaining committed to his craft. Drawing from the piano-driven songwriting traditions of Billy Joel, Ben Folds, and Randy Newman, Craig Greenberg approaches the track with his signature emphasis on storytelling and emotional sincerity. At its heart, the song challenges the idea that believing in something is enough to make it happen. Instead, Craig Greenberg encourages listeners to pursue their ambitions actively, even when the outcome remains uncertain. Equally important is the song's emphasis on human connection. For Craig Greenberg, creative ambition can sometimes become isolating, making relationships with friends and family essential to maintaining perspective. “I hope it inspires people to persevere in pursuit of their dream, to keep pushing ahead even when the path isn’t so brightly lit,” Craig Greenberg shares. Produced alongside Wayne Silver at Ice Plant Studio in Long Island City, the recording features Craig Greenberg on piano, guitar, and vocals, Hiroyuki Matsuura on drums, and Tony Tino on bass. Alex Psaroudakis handled mastering. With five independently released albums and more than 1,000 performances behind him, Craig Greenberg brings considerable experience to this latest chapter. “If You Stop Believing” ultimately offers something increasingly valuable: encouragement without pretending the journey is easy. It's a thoughtful reminder that dreams require both conviction and the courage to keep moving forward. “If You Stop Believing” emphasizes taking action rather than simply hoping things will work out. Was there a particular turning point in your career when you realized that putting yourself out there could change the direction of your life? Oh for sure. Actually getting my start in music was an example of that. Before I was doing music, I was really unhappy (and unhealthy) while working a corporate job in NYC. When I made the decision to pursue being a songwriter, I knew I needed to make a big change. I was reading a lot of self-help books at the time (I remember "The Artist's Way" was hugely influential) and decided to take a sabbatical, and went to live in Chile (where a friend from high school was living) and got work teaching English down there. After a few months, I met a couple of guys performing covers in a bar who invited me to start sitting in with them (on percussion and singing harmonies); and that led to me being offered my own gig at another bar, playing and singing 3 nights/week. Before that point I thought I'd just be a songwriter, but I remember distinctly waking up after that first weekend of singing gigs, and knew that something had fundamentally changed in my life. I knew as long as I was singing and performing, my life would be OK. So my leap of faith to leave NYC and go down there wasn't just a turning point, it kind of saved my life. You've performed more than 1,000 shows across different countries and spent over 15 years building your career independently. How has your relationship with ambition changed, and what does success mean to you today compared to when you first started? Well, I never really had a goal of being famous (i always saw fame as like a potential by-product of the gig). My ambition from the beginning was to make my living with my art, and well, I'm still working on that goal.. But after these many years on, success to me is living the way I want to live, having a healthy amount of freedom, and charting my own course. There's a part of me that is never really satisfied, but there's also a part of me that's just happy to be active and still in the game after all these years. The song also explores the importance of maintaining personal relationships while pursuing creative ambitions. Have you ever been so dedicated to music that it came at the expense of those connections, and what did that teach you? Oh absolutely... songwriting for me is a solitary act, and I really need to isolate myself to be productive, and there have been times when I've pushed people away in order to keep my focus. But I know that when I get too removed from people it’s a recipe for my head to go into a dark place. That reference in the song is really a reminder to myself to be sure to stay connected. You've built your musical identity around piano-driven storytelling, drawing inspiration from artists like Billy Joel, Ben Folds, and Randy Newman. What do you believe makes piano rock such an effective vehicle for communicating personal experiences and universal emotions? I dont know that there's anything inherent to piano rock that makes it a good storytelling vehicle, I just know that it's the means that's been the most effective and direct for me. Though maybe the way a piano is constructed has something to do with it as well...ie, the range of low to high notes you can play at the same time--that's a lot harder to do on a guitar. But I'm sure if the piano didn't exist I would have found another vehicle to use, lol. “If You Stop Believing” is the sixth release from your upcoming album. How does this song fit into the larger story you're telling with the record, and what does this new collection reveal about where you are personally and creatively? The record deals in part with my adjustment into middle age. As we get older, it's easy to let cynicism in, and this song definitely serves as a reminder to myself to keep my head up and moving ahead (I'm a big believer in the old adage that "the only way out is through"), and as corny as it sounds—to keep faith in the world. Despite all the darkness out there right now, there's still so much beauty and light to be found if you take the time to look. And creatively, I feel like I'm still just getting started, which may sound crazy to say as this song will be on my 6th album, but I know I still have a lot more to give, and I'm as excited as ever to keep making and sharing my music!

Self-produced singer-songwriter Mars Mignon confronts the patterns we inherit, repeat, and ultimately have the power to change on History Of Violence, a nine-track album spanning indie folk rock, alt-pop, and deeply personal songwriting. Across the record, Mars Mignon approaches the idea of “violence” from several directions. Generational trauma sits alongside unrequited love, self-deprecation, social pressure, and the weight of existing within systems that can feel impossible to escape. Rather than allowing that heaviness to consume the album, Mars Mignon continually returns to the possibility of choosing another path. Opening with the title track, History Of Violence moves through songs including “Unbecoming,” “Wallachia,” “Bad Luck Charm,” “Imogen,” and “Canaries In The Coal Mine” before closing with “Unwavering.” The sequencing feels intentional, gradually moving through confrontation, reflection, and the complicated process of deciding what deserves to be carried forward. Mars Mignon’s songwriting is particularly effective when personal struggles begin reflecting larger ones. “Vulture Food” and “Wristburn” sit within an album interested not only in individual identity, but also in the forces capable of shaping it. Raw vocals and an understated twang give the record a lived-in quality, while memorable melodies keep its heavier ideas accessible. At its core, History Of Violence rejects the assumption that history is destined to repeat itself. Mars Mignon acknowledges the darkness surrounding these cycles without surrendering to it, instead making a case for learning, change, and hope. The Epilogue Edition expands that world further with a version of the title track featuring Anna Lea, known for playing Penelope in EPIC: The Musical. The album explores cycles ranging from generational trauma to relationships and larger societal systems. Was there a particular cycle in your own life that first made you realize this needed to become an album? To be perfectly honest, that theme fell into my lap by happenstance. The album was originally going to be titled "Science & Magic". But I really wanted to work "History Of Violence" into the tracklist, because I felt it spoke to my current state of mind as a person and artist. That was hint number one. The more I thought about it, the more I realized the cyclical element tying all these songs together. And there’s definitely a piece of me in every single cycle presented. I still get caught in a self-deprecating loop once in a blue moon; I seethe watching history repeat itself because people in power refuse to acknowledge mistakes and wrongdoings, etc. I often don’t realize I am writing about something that I haven’t even discovered within myself yet until much later. When I made that connection, that's when I knew what the record had to be. There’s a tension throughout History of Violence between acknowledging what shaped you and refusing to be defined by it. How difficult was it to find that balance without minimizing the past? Therapy does wonders. But also, if you go out of your way to refuse what happened before, you do yourself a disservice. I often catch myself trying to rewrite history to justify why things happen, but that only digs me a deeper hole. We learn by looking back; we live by moving forward anyway. That's really the big thing: You don't have to move on, but you do have to move forward. Why did “Unwavering” feel like the right song to close the record, and what does its placement say about where you wanted to leave the listener emotionally? If "History Of Violence" was the thesis, "Unwavering" is that thesis being put into action. Choosing to be different can be a lonely moment. For all the big sound I played with, I wanted the resolution to feel delicate. It was the last song I wrote for the album, and it was less than a year old. I knew it had to be just me and my guitar—something raw and open that could be built upon, but also very much whole. As a self-produced artist, how do you know when a deeply personal song needs to remain raw and imperfect versus when it needs more production to fully communicate its message? I rarely begin tracking until I know the direction I want to go with a song, usually after it's sitting in my notes for a good minute. Like, I can hear enough of the whole song and its parts in my head, and it all clicks. But the shows I've done as of late have been acoustic. There's an intimacy to that. I love Jacquire King-produced work because it feels like the band is playing right in front of you, both intimate and massive. A song can feel big, even in its simplest form. I love that every song, at its core, is a conversation. Sometimes that conversation is explosive, like "Vulture Food" or "Wallachia", and sometimes it's quiet and contemplative, like "Unwavering" and "Canaries". They don't need much else to make themselves known, and that gives the words weight. The raw, imperfect human factor is what I like. The Epilogue Edition brings Anna Lea into the title track. What did Anna Lea add to “History Of Violence” that changed how you heard or understood the song? Anna is a beast. I still can't believe that even happened. Having them on the song added a layer of deep-rooted kinship, making the song's theme feel like a shared, individualized feeling. We are all stuck in our own underworld, but we choose how the sunlight comes in. Her voice is also so soulful and resolute. I told her, "Do not hold back," and she delivered on that front in spades. Happy I get to call them friend!

Italian-born, Madrid-based artist Lagaiaff is entering a fearless new era with “GUAI,” an energetic alternative-pop release that celebrates spontaneity, self-discovery, and the freedom of caring a little less about what everybody thinks. Blending electronic pop, R&B, urban influences, and Afro-Latin rhythms, Lagaiaff has developed a creative identity that refuses to fit neatly into one genre. Following her December 2025 debut EP selmaya, the multidisciplinary singer-songwriter returns with a playful new attitude, trading overthinking for instinct and welcoming the stunning chaos of figuring life out. “GUAI” captures that liberating moment when expectations lose their grip. It's cheeky, unapologetic, and built on the idea that making mistakes can be as valuable as getting everything right. “I want people to feel like they can care a little less about what everyone expects from them and give themselves permission to be whoever they want to be,” Lagaiaff shares. The accompanying music video takes that message into another dimension. Lagaiaff enters a television screen and transforms into an anime version of herself, venturing into a mysterious parallel world where insecurities, emotions, and unexpected possibilities collide. Born in Tuscany and formed by her experiences across Italy and Spain, Lagaiaff approaches music as part of a larger artistic universe incorporating dance, acting, fashion, and visual storytelling. With “GUAI,” Lagaiaff opens a more adventurous chapter within her artistry, reminding listeners that the best experiences begin when you stop trying to control everything. “GUAI” explores the freedom of letting go of expectations and accepting a little chaos. Was there a particular experience or turning point that made you realize you needed to stop overthinking and start trusting yourself more? I think it came from realizing how much energy I spent thinking about how I was perceived instead of actually living my life. Especially while building my career and figuring out who I wanted to be, I constantly questioned whether I was making the right choices or whether others would understand them. At some point, I realized no version of yourself will make everyone happy, so why not choose the one that actually feels alive? I started letting myself be more impulsive, make mistakes, change my mind, and follow things simply because they felt exciting. That shift became the energy behind “GUAI.” For me, the song is almost like saying, maybe this is going to be a little chaotic… and maybe that's okay. Sometimes trusting yourself means not having all the answers. Your music brings together Italian, Spanish, Latin, Afro, electronic, and R&B influences. Having grown up in Tuscany before moving to Madrid, how has living between different cultures changed the way you approach songwriting, identity, and the sound you're creating? Growing up in Tuscany and then moving to Madrid definitely made me realize that I don't have to choose one cultural identity. I can carry different places, languages, and experiences with me and let them naturally become part of the music. Italy is a huge part of who I am, especially emotionally and melodically, but living in Madrid opened me up to a much more international environment. I'm surrounded by Spanish and Latin culture, different languages, different rhythms, and people from all over the world. That naturally enters the way I write and compose. That's also why I don't want to put Lagaiaff into one box. My music can be very Italian and intimate in the vocals, then suddenly move into something electronic, Latin, Afro, or urban. To me, those contrasts don't feel disconnected. They feel like who I am. The “GUAI” music video takes you into an animated universe where you become an anime version of yourself. What inspired that concept, and what do the different challenges your character encounters reveal about the insecurities or expectations you've faced in real life? I've always been interested in creating worlds around music rather than simply making a music video. With “GUAI,” I wanted to visualize what it feels like to leave the version of yourself that you already know and enter somewhere completely unfamiliar. The idea started with wanting to see myself as an anime character, but it grew into something much bigger. In the video, I step into a television, become an animated version of myself, and get thrown into an unknown universe. There, I have to confront different insecurities, emotions, and the feeling of being watched or judged. That connects directly to the song's meaning. We all carry these invisible expectations, what we think we should be, what other people expect from us, how we think we're supposed to look or behave. The animated world made those feelings physical. I also loved the idea that the character looks exactly like me, but once she's in this completely different world, she has to discover what else she can become. I think that's something I'm doing in real life too. Your debut EP selmaya marked an important turning point in your artistic development, while “GUAI” delivers a noticeably more playful and fearless direction. What changed creatively and personally between those releases, and what parts of yourself are you discovering through this new music? Selmaya came from a much more introspective place. It was an important chapter for me because I was figuring out what I wanted my artistic identity to be and allowing myself to be vulnerable. It felt like looking inward and trying to understand myself. Since then, I've become much more comfortable with the idea that I don't need to have one fixed identity. I can change, experiment, and show different sides of myself without feeling like I'm contradicting who I am. “GUAI” came from that freedom. It's lighter, more playful, and more rhythmic, but something very personal still lies underneath. I'm discovering that I don't always have to make music from a serious or emotional place for it to mean something. Sometimes joy, chaos, confidence, and simply wanting to have fun can be just as honest. I think this new chapter is teaching me to trust my instincts more and to enjoy the process instead of constantly trying to control the outcome. You're building Lagaiaff as a multidisciplinary project where music, fashion, dance, acting, and visuals are equally important. As you work to reach international audiences, what do you want people to recognize as Lagaiaff's defining identity, beyond any individual song or genre? I want Lagaiaff to feel like a world, rather than just a genre or a collection of songs. Music will always be at the center, but I don't separate it from the visual. Everything else is just another way for me to express the same emotions and ideas. I want someone to hear a song, see a visual, or watch me perform and immediately feel that they have stepped into the same universe. At the heart of Lagaiaff is freedom, transformation, and becoming. I don't want to represent one fixed version of myself. I'm more interested in documenting the process of becoming someone—changing, experimenting, making mistakes, falling in love, leaving things behind, and discovering new sides of yourself. And internationally, I think that's what I want people to connect with most: not where I come from or what genre I fit into, but the feeling of being allowed to become whoever you want to be.

Photo credit: Danny Clinch One of the most influential albums in modern rock history is getting a celebration worthy of its legacy. Grammy Award-winning band System Of A Down is marking the 25th anniversary of its groundbreaking album Toxicity with a special week-long exhibition at BEYOND THE STREETS in Los Angeles. Running October 13 through October 18, 2026, the System Of A Down x Beyond The Streets: Toxicity 25th Anniversary Exhibition will offer fans an immersive look at the music, artwork, and cultural impact surrounding the band's landmark 2001 release. Admission is completely free. Originally released September 4, 2001, Toxicity debuted at No. 1 on the Billboard 200 and quickly established itself as a defining record of its generation. Combining aggressive instrumentation, unconventional songwriting, and politically charged commentary, the album challenged the boundaries of mainstream rock while introducing millions of listeners to System Of A Down's unmistakable sound. Twenty-five years later, its influence continues to extend across genres and generations. The upcoming exhibition will transform BEYOND THE STREETS into a celebration of the album's history, featuring rare artifacts, archival memorabilia, immersive installations, recognizable imagery, and exclusive merchandise. Founded by Roger Gastman, BEYOND THE STREETS is known for celebrating graffiti, street art, and the creative figures who challenge cultural conventions, making the gallery a fitting setting for a band whose career has consistently pushed against expectations. With more than 42 million albums sold worldwide, System Of A Down remains one of rock's most recognizable acts. The group's lineup of Serj Tankian, Daron Malakian, Shavo Odadjian, and John Dolmayan continues to attract audiences around the world. For longtime fans and newer listeners alike, the exhibition offers a rare opportunity to revisit the album that helped redefine heavy music at the beginning of the millennium. Event Details October 13–18, 2026 BEYOND THE STREETS, 434 N La Brea Ave, Los Angeles, CA 90036 Admission: Free, no ticket required

Is liking someone's pictures harmless, or can a relationship fall apart long before anything physical happens? Texas-born singer-songwriter Kim Kline tackles one of modern dating's most uncomfortable conversations on her latest single, “Good Girl,” a pop-rock release exploring emotional betrayal, online validation, and knowing when to walk away. Released through Cranked Up Records with distribution by Virgin Music Group, “Good Girl” marks a significant new chapter for the Los Angeles-based artist, whose music blends commanding vocals with emotionally honest songwriting and influences from pop, rock, and R&B. Rather than focusing exclusively on traditional infidelity, Kim Kline examines the increasingly complicated boundaries of digital relationships. From private messages to attention-seeking interactions on social media, the song questions what happens when someone begins investing their emotional energy outside an existing relationship. But “Good Girl” isn't interested in making excuses for questionable behavior. Instead, its message centers on recognizing that another person's constant need for validation doesn't diminish your own value. “I hope people hear ‘Good Girl’ and realize that someone else's need for attention or validation doesn't determine their worth,” Kim Kline explains. The release also represents a meaningful return for the accomplished singer-songwriter. Having previously achieved Top 40 radio success as an independent artist, Kim Kline has performed at iconic Los Angeles venues including The Troubadour, The Roxy, and The Viper Room. Her music has also appeared on MTV's The Hills. Following time away from the industry, Kim Kline is returning with renewed creative purpose and plans for additional music and visual projects. With “Good Girl,” Kim Kline delivers a timely perspective on modern relationships, reminding listeners that loyalty shouldn't be something they have to compete for. Sometimes the strongest response to betrayal is simply choosing yourself. “Good Girl” explores the blurred boundaries between emotional and digital infidelity. What inspired you to address this aspect of modern relationships, and where do you personally draw the line between harmless interaction and betrayal? As with most of my music, “Good Girl” is autobiographical. Unfortunately, I lived this experience. I was in a significant relationship with someone who was going through an extremely difficult period in their life. We made promises about our future and talked about marriage, but there was also a consistent pattern of seeking escape and validation outside the relationship. Eventually, I realized their behavior wasn’t about me. It was how they were choosing to cope, and I had to take my power back. For me, the line between harmless interaction and betrayal begins when you have to hide it, lie about it, or disguise it. If you can’t be open about it with your partner, that’s where emotional infidelity can begin. Online connections may start innocently, but secrecy and emotional attachment can quickly turn them into something more. When someone starts protecting those connections instead of protecting and honoring their relationship, they've crossed the line. The song shifts attention away from blaming the person being betrayed and toward recognizing the other person’s need for validation. Did you arrive at that perspective through personal experience, or did it develop during the songwriting process? That realization definitely came through personal experience. When you’re in the middle of something like this, it’s incredibly emotional, and sometimes it’s hard to see the forest for the trees. I had to dig deep, get past my own hurt, and really look at the situation objectively. I knew I was showing up and being a good partner, yet I kept watching the same pattern repeat itself. Eventually, I realized it had nothing to do with my value or what I was bringing to the relationship. It was about how that person coped with what was happening in their life and where they went to escape from it. Once I shared the concept with my producer and songwriting partner, Justin DePew, I learned that he had experienced something very similar from his perspective. That added another layer to the song for us and reinforced that this really isn’t a gender issue. Digital and emotional betrayal can happen to anyone. At its core, “Good Girl” isn’t about being a victim. We all face challenges in life. It’s about remembering who you are, taking your power back, and realizing that you can’t control another person. You’re only in control of yourself. We’re actually still friends to this day, and I can have compassion for what they were going through while also recognizing how deeply it affected me. Thankfully, I’ve released that pain, and writing “Good Girl” was part of that process. You’ve experienced Top 40 radio success, performed at legendary Los Angeles venues, and stepped away from the industry before returning. What ultimately inspired you to pursue music again, and how has your definition of success changed? When I reflect on my career in Los Angeles now, I’m incredibly proud. I was a girl from a small town in Texas who went out there with no job, no car, nothing but a dream and a suitcase full of clothes. Los Angeles was incredibly competitive, and somehow I cut through all that noise. I was driven; I wouldn’t take no for an answer, and ultimately the results reflected the work I put into it. Looking back now, I have a much greater appreciation for what I accomplished. Life happened, the industry changed dramatically, and eventually I had to step away for a while. But music never really left me. Friends and people in the industry kept encouraging me, and then I met J-Mill, an artist from Austin, Texas. We connected through music, and he kept telling me, “You need to do this again. Just start putting songs out on Spotify.” Once he put that thought back in my head, I couldn’t unthink it. It lit the fire again, and I started rebuilding. My definition of success has definitely evolved. Earlier in my career, my goal was reaching those traditional milestones: the radio charts, playing legendary venues, and ultimately getting that major-label record deal. I’m incredibly proud of what I accomplished, but today I don’t view a major-label deal as the finish line. For me now, success is building a sustainable career with the right team and support around me, continuing to create and release great music, and ultimately touring the world and getting in front of people. Being able to sing for an audience and make that emotional connection through the music- that’s what success looks like to me now. I want music to be my life’s work. Social media plays an increasingly complicated role in both romantic relationships and an artist’s career. Has navigating that contradiction influenced how you approach your own online presence and personal boundaries? I think social media can be a very slippery slope in both directions. In relationships, when someone is frustrated or going through something with their partner, there’s suddenly a sea of people online who can offer attention and validation. Sadly, I think a lot of people have experienced some version of online or emotional infidelity. As an artist, social media is incredibly important, but I’m also very conscious of how I use it. Having released “Stand Tall,” my anti-bullying song, I’m especially aware of how cruel people can be online. One of my biggest personal boundaries is very simple: if you don’t have anything nice to say, don’t say it. I don’t engage with negativity or go down those rabbit holes. I really believe that hurt people hurt people, so I try not to take negativity personally or get pulled into it. We never really know what someone else is going through. I just try to be conscious of what I put out there and use my platform in a way that feels positive, authentic, and hopefully inspiring to someone else. “Good Girl” introduces a new creative chapter with Cranked Up Records and Virgin Music Group. How does this release reflect the artist you’ve become, and what can listeners expect from the music and visual projects you’re preparing next? “Good Girl” represents where I am as an artist right now. I’ve always been raw and authentic in my songwriting, and Cranked Up Records gives me the freedom to truly be myself as an artist, which I really love. I’m having a lot of fun exploring new sounds, styles, and production, and evolving creatively. I’ve always said music is the universal language. If I connect with a song, a story, or what I’m feeling when I’m writing it, I know there are people out there who have experienced something similar, if not the same thing, who will connect with it too. Music can be incredibly healing and therapeutic. I want to continue making songs that allow people to feel seen and heard, and hopefully that connection can help them heal on their own journey, whatever they may be going through. From a visual perspective, I’ve always been inspired by fashion, imagery, and storytelling. That will continue to be a big part of how I present the music. Whatever we create visually has to serve the song and feel authentic to who I am as an artist.