Search this site

The East Sussex-based alternative-rock trio Wildhorse elaborates on the creation and release of their latest nostalgic single entitled "Record Collection." Comprised of Jack Baldwin, Henry Baldwin, and Ed Barnes, the trio has been busier than ever, crafting and reworking their versatile sound. Recently releasing their swinging single, "Record Collection," Wildhorse expanded on the song's creative process through a recent interview with us. Mentioning that the song was inspired by personal events, Wildhorse's latest single, "Record Collection," encourages listeners to normalize platonic friendships between two people of the opposite gender. When touching on Wildhorse's creative process, the band had this to say, "We always try to make every element of the song have a hook to draw people in and keep our sound meaningful and interesting." As our interview with the trio came to a close, Wildhorse reminded us to be on the lookout for more nostalgic sounds in the future, "The nostalgia of the 60s and 70s has always been an important part of our sound," says Wildhorse. Find Wildhorse's latest single, "Record Collection," on all digital streaming platforms, and make sure to keep an eye out for the trio as they continue creating music that strikes a nostalgic chord. Instagram Facebook

The hip-hop and R&B artist, Samson Brown, has released his third single of the year, "A Vibe." This is not only the artist's first single written and recorded in Vancouver but also his first time working with producer, Koji. Coming in hot, right in the nick of time, the summer energy sprawled across this hit single fuses together laid-back, lo-fi instrumentation, and the driving sense of anticipation that comes from the heated adventures of the season. The wistful essence that Samson Brown has invited listeners to take part in has the speakers filled with illuminating hues of creativity. Taking pieces of Koji’s production ear, and his own rhythmic escapades, “A Vibe,” has us fully immersed in the feel-good energy that is portrayed. Each lyric he performs is propelled with an unbothered swagger that comes to Samson Brown as second nature. You hear just how at home he is in a realm that takes on various elements of his craft and brings his audience a refreshing take of what Samson Brown is capable of. Smooth as butter cadences gracefully cascade upon the well-balanced production and mix development, as “A Vibe,” rests at the top of the totem for us when it comes to summertime bops. Taking his talents to a newfound level that has us immersed in everything Samson Brown does best, we’ll gladly sip a cold beverage and get lost in “A Vibe,” during our antics this season. Welcome to BuzzMusic, Samson Brown, and congratulations on the release of “A Vibe.” This collaboration between yourself and Koji hits it out of the park! How did you both come to work with one another? What was this experience like? Thank you! It's crazy because I and Koji make two different genres of music, he's more into the EDM realm, I'm into Hip-Hop so it was definitely a challenge at first figuring out the vibe we both liked but in less than an hour we came up with the perfect vibe "A Vibe" In your own words, what does “A Vibe,” mean to you? What are you hoping that your listeners take away from it? A vibe means enjoying life to the fullest. This journey that we're all on can sometimes get crazy, with covid and everything else that goes on in the world it's easy to forget how to simply enjoy life when you're focused on all the bad. Enjoy life, there are always going to be ups and downs but as long as you remain true to your goals and yourself it'll always be a vibe to remember! In terms of taking on a sound that is new to your music catalog, how did you feel that the creative process went in terms of agility? Can we expect more in this realm of sound from you in the future? I always love to try new things when it comes to music. I hope I collab with more EDM artists in the future to see how far I can take it. I always want my fans to be excited when something new drops and not expect the same old over and over again. What is your mission statement as an artist? How do you apply it to each thing you do, or create? Be Real Stay true to yourself and the rest will follow. I apply this teaching every day and it's ultimately whats helped me get to where I am today What's next for you? Working on the music video for a vibe but we already have an August release that I know everyone will love ready so stay tuned! Instagram Facebook

The Colorado native, producer, singer-songwriter, and multi-instrumentalist Thomas Harpole releases food for the soul with his latest swinging single, "Headlights (The 1916 Funk)." Growing up captivated by a variety of artists who mastered world rhythm and the sound of the human soul, Thomas Harpole later went on to form the band Thomas Harpole & Company, who donates all live proceeds to various non-profit organizations in Denver. Having accumulated over 75k+ streams through his recent single, "Fifteen Steps," Thomas Harpole is truly turning heads with his unique sound. Getting to the goods, Thomas Harpole's most recent release, "Headlights (The 1916 Funk)," offers a brilliant blend of funk, Cuban, Latin, and jazz at a swinging 17/8 time signature. Also, fueling the song with passionate and heartfelt lyricism, it's without a doubt that listeners will take something away from Thomas Harpole's recent hit. Hitting play on the groovy single, "Headlights (The 1916 Funk)," the journey begins with tight drum arrangements, a funky brass section, sweet piano melodies, and an accompanying acoustic guitar. As Thomas Harpole makes his bright vocal appearance, he delves into lyrics of being swooned by someone's beautiful and bold eyes that captivate his every being. Reaching the one-minute mark, Thomas Harpole melts our speakers with a brilliant and cinematic instrumental arrangement, dousing our ears in the liveliness of funk blended with the soul and rhythm of jazz. Taking a deeper listen to Thomas Harpole's lyricism, he later realizes that he was merely blinded by someone's beauty and disregarded the red flags they held up from time to time. With another beaming instrumental breakdown, the song comes to a heated close. Get your groove on with Thomas Harpole's recent single, "Headlights (The 1916 Funk)," now available on all digital streaming platforms. Welcome to BuzzMusic, Thomas Harpole. We're genuinely captivated by the broad and bright atmosphere within your recent single, "Headlights (The 1916 Funk)." What inspired the creation of this dynamic single? Well, thanks! I was inspired to write the song after spending time traveling in Latin America and listening to Cuban and Brazillian music that really moved me. I was walking through the streets of Trinidad, Cuba in early 2020 and was inspired by the nighttime energy, the red, gold, blue lights, and being there with my brother and friend. It felt like a dreamy place, we were off the grid but we were alive. I wanted to capture this drunken, nighttime feeling in a song. And while I had played the song with my band before, I didn't really understand the production or sound I was after until going on this trip. From there, I set out to write a song that would push me further than an acoustic song. How did you create the instrumentals for "Headlights (The 1916 Funk)" to complement and amplify the song's mysterious lyrical theme? What sort of vibe did you want to deliver? I knew I wanted the song to start in standard funky rock, move into a fusion in the middle, and then twist and turn into a Cuban climax in the end. The first half of the song was driven by the acoustic line I wrote for the verse in 2015. It was a strange line but catchy and chromatic. I knew it was either missing or had too many beats. I would try to count how many times I would tap my foot per pass of the riff. I kept landing on 19. I called the song "1916 Funk" for a while which had a nice ring to it. I thought I was a fancypants because I had used a different time signature. hen my drummer came along and told me I wasn't counting the song correctly at all...HA! I was humbled on the spot to learn the song is in 17/8 time for the hooky verse lines. It keeps the listener guessing and the horns really drive that cut-time feel. I had two guitarists cut some complex, Santana-like solos on top of compressed funk strums on the guitar. My friend Ryan also brought this fantastic nightclub piano player-in-Havana vibe on the piano and started playing a Montuno as the song pushes toward the climax. A Montuno is basically a Latin chord progression on the piano that makes you move your hips and want to start yelling about how good it is to be alive. That's where the "buh-buh" lyrics came out of: simply from playing it live and celebrating it all for a moment. And of course, the sax and trumpet really sweep you into this dreamy, fast-moving, colorful world... much like being in love and the general point of the song. Could you expand on your creative process when formulating the instrumentals for "Headlights (The 1916 Funk)"? Did you work solo on this process? I self-produced the song along with my friend Matt Legge who is an audio engineer at Third and James Studios. He played the role of a co-producer and the "why don't you calm down a little" guy in the studio. I got so enthusiastic and tracked so many bits for this song (over 300) that one day Matt said that we maxed out the processing power on ProTools and couldn't possibly add any more tracks. t that point, I was beating a dead horse, and we finished the song that evening. Most of the song was recorded remotely by musicians during the pandemic! I used video calls and recordings to explain to them what I was after, and it worked out pretty darn well. The one thing that made this song come alive was the female background vocals (Lauren Frihauf, Pamelagrace Okeke). Matt and I kept adding all kinds of delays and reverb to these sounds to give them different colors and depths in the song. We automated tracks hundreds of times during mixing, in order to make certain things shine as you listen. I feel like every section of the tune is pushing what's possible with an instrument plus melting genres together, and there's nothing more fun than producing that. Since the pandemic hit and artists were stripped of the opportunity to perform live, how have you kept your audience engaged? Have you hosted any social distanced shows or played any concerts online? I've had a blast interacting with people on Instagram during this time and sharing my writing process as I formulated these songs. Last year, we did a backyard show in Denver and were expecting a couple of dozen close friends to come out and hang. Something like 140 people showed up, along with the police. They even let us finish our set. It was awesome! But this pandemic has forced me to focus on writing this album and creating something long-lasting and ambitious. Anyone that is musical had to sit down and really examine their art and passion again, outside of performing live. I've enjoyed it, and now it's time to bring this energy to a crowd! What is your mission statement as an artist? To write stories that give you, the listener, permission to feel every emotion in life and to see life through the lens of melodies and deeper meaning. To celebrate the complex, colorful, and wild moments that enter our lives, and to find meaning in the tremendous pain and difficulty that we all have to endure. My goal is to write music that becomes the soundtrack to one person's life. That's enough for me. Just one person. I don't make money from this, nor do I want to; all leftover funds from shows or streams are donated to music nonprofits for children. I've never wanted to be paid for something I feel is a spiritual obligation, and simply a fun part of being alive. As long as I'm making it [my art], I feel that I've made it. Instagram

The Southern California-based math-rock/post-rock duo The Mantra Discord expands on the brilliant soundscapes and meaning of their latest stimulating single, "Impressions." Consisting of Jeremy Arcibal on drums and Russ Weisenthal on guitar/bass, The Mantra Discord is continuously evolving their sound, which can be heard through the versatile string arrangements and exhilarating guitars within their recent hit, "Impressions." Touching on the meaning behind "Impressions" in a recent interview with us, The Mantra Discord mentioned that they wanted to deliver a different and darker aspect to modern math-rock/post-rock. The unique blend of strings and claps challenged the duo to step outside of their comfort zone. "'Impressions' is about the beginning of something different and unique and just leaving our own mark, letting everyone know we are here," says guitarist/bassist Weisenthal. "Impressions" sat in an old unreleased catalog for quite some time. That said, The Mantra Discord thought it would give listeners a solid introduction to their versatile and dynamic sound. Currently working on their full-length album slated for a late 2021/early 2022 release, The Mantra Discord encourages their audience to get to know their unique sounds through their latest single, "Impressions," available on all digital streaming platforms. Instagram

Inart is a genre-defying, artist-advocating musician based in Lagos, Nigeria; the proclaimed hub of African creativity and innovation. Born Oghenetega, Ovbagbedia, He discovered his passion for music earlier on in high school amongst peers who doubted his innate talent and ability to make timeless and engaging musical compositions. From which came the adoption of his name Inart, which is an acronym for I‘M NOT A RAPPER THOUGH. Fresh off the release of his five-track EP, ‘MERAKI,’ Inart delves into his experience of life through the alternative rap project’s collection of songs. Within the edgy soundscape of “BBS,” which stands for Big Black Sienna, we hear the intriguing essence of the song creep into the speakers through enticingly ominous keys. The moment the beat drops, you’re surrounded by the mellow tones which are accompanied by the vibrancy of upbeat percussion patterns swarming the sound waves. Dipping into a smooth fusion of Afro-Swing meets Hip-hop tenors, the passionate overflow of carefully crafted lyrics is brought to the front and center of the composition as we hear a reverberated performance sweeping us into a state of hypnotism. That’s what Inart’s music will do to you. There’s a constant flow that trickles into the back of your mind that has you perceiving his music in ways that go beyond the sounds heard, and tiptoe into the rush you embrace through thought-provoking words crafted. “BBS,” have you bouncing to the sweet sounds before you, as you become fixated with the artistic virtuoso that Inart has to offer. Through melodic flows that are backed by meaning, Inart continues to take strides in involving his audience in his webs of increasingly juicy narratives. Listen, here. Welcome to BuzzMusic, Inart. “BBS,” has an extremely infectious energy and we’re living for it! Where did the inspiration for this song come from? What significance does it hold to you? BIG BLACK SIENNA is one of the most important songs out of Nigeria this year. Although being widely accepted in clubs mostly for having a groovy tone to it, it’s more of a statement than a song. This song portrays the sad reality the Nigerian youth is subjected to as a result of gross misconduct by the Police. Police brutality has slowly become a norm and one of the biggest problems in this country that’s already facing enough challenges as it is. The song gives an insight into why the “End Sars” movement was started and why it immediately became a global trend. The core inspiration for this song is from my life experiences with police In terms of the ‘MERAKI,’ EP, how do you find that the “BBS,” song fits into the themes and concepts heard on the project? BBS is perfect as the second song off the project because it continues the story of leaving home from the first song. It tells you what comes next after leaving home, the first hurdle I encounter, THE POLICE. It makes the whole story “Meraki” a complete tale. The project is basically incomplete without any of the songs on there. Compared to other projects that you’ve released, what are some similarities and differences you’ve noticed through the creative process? Meraki was made at a time where my artistry began to develop from someone that makes music into a proper artist that makes music for a living unlike when I worked on my mixtape pink blue. Although all of Meraki was made out of my bedroom, parlor, or lounge, just as in pink blue, but this time the growth was evident in the delivery, the cadence, and the general quality of the sound. It all came together with Meraki. The quality of engineering was different, we used professional studios in about 3 different sessions. Meraki really established me as an artist ad the songs that have been made ever since we finished recording Meraki are surreal As an artist, what message do you aim to send out with the music that you create? Positivity and transparency. I make true music with real-life experiences. I just look to spread positivity self-belief and value through my music. It's very ok to be true to yourself regardless of where you find yourself in life. Instagram Twitter

The Totals is a project headed up by British-born musician Mohsin Siddiqui. Music was a big part of Mohsin’s childhood, starting in his family’s home. He learned to love singing and dancing to his father's old record collection. His uncle introduced him to Oasis in 1995 and from that moment on he wanted to follow in a Rock 'n' Roll star. Now residing in Portland, Oregon, it was there where he met some extremely talented friends and fellow musicians who helped him produce work for what is now The Totals. Fresh off the release of The Totals' second LP 'Divided,' the twelve-track album embodies heavy-hitting energy that simmers in the realm of fully vibrant sound waves. Kicking off the album with the first single “Shaking,” we hone in on the classic rock traits that the driving guitar riffs embody as they fill the speakers in a sustaining charisma. With drum patterns so tight, the tempo has us navigating through hues of colossal animation as the smoldering timbres of Mohsin Siddiqui infiltrate the instrumentation in a manner that is fresh with raspy intensity. Residing in a bluesy atmospheric feel, the authenticity that gets served up in “One More Thing,” delivers a high octane offering of upbeat hues. Flowing with a melodic chant and surprising musical arrangement featuring plenty of sonic goodness over an intricate dance-like beat and groove, this track propels with its appeal to various genres that come together and cover mass ground. As we transition into the third song featured on the mid-tempo “Song on a Sunny Day,” we’re greeted with a more minimalistic introduction that takes us into a soothing blanket of luscious electricity. Even during their moments of more melancholic geared creations, the overall structure of The Totals isn’t compromised. Flaunting their moderate versatility through harmonized rhythm, and gently strummed guitar chords, the potency of this song offers a multi-dimensional look into the band’s aura. You can’t have the sun without the rain and that’s why the progression of this tracklist radiates in impeccable order with “Song on a Rainy Day,” following the previous warm hues. Dipping into a somber tone that slows the tempo down in a way that has you recalibrating, The Totals maintains a blues-like feel in their flourishing rock quintessence. “New York City,” has us nostalgic during the opening moments of its soundscape, as we hear the repetitive guitar lick accompanying meaningful percussion that slaps with a purpose. Booming with heartfelt memories in the reminiscent lyrics such as, ‘Hotel from motel, I’m jumping around. Till I stop to rest and see the whole town,’ we feel that this is the moment we get to sink into The Totals as more than musicians, but as individuals apart from their music. We’re raving over the striking harmonies dispersed in the minimalistic “Until You Save Me.” This striking record enlists the talents of Caitlin Marcus in order to achieve such a poignant vibrato in the beautifully scoped delivery. We instantaneously fall into the dynamism that both Mohsin Siddiqui and Caitlin Marcus share as they feed off of one another’s energy in a ballad that could move mountains. Reaching the seventh song on 'Divided,' we grasp onto the distinctive resonance filtered through “(Interlude).” An almost ethereal voyage sparks up the essence of release in a liberating moment of fresh air in all the glory that is encapsulated in this uplifting minute. Through an eclectic arrangement of opulence, we get to kick the tempo up a notch as we listen to “Silence in the After.” Exuding a balanced blend of bright and dark elements, the complexity of The Totals’ musical concepts gets portrayed through the instrumentation. Pairing that with a simplistic yet compelling songwriting style that has the words, ‘Wanna be the silence in the after. You got me, the silence in the after,’ being chanted repeatedly, we appreciate the unique take on The Totals’ artistic canvas. “Easy to Remember,” commences with a wholesome feel as you plunge into its reverberated echoes and sonic density that attaches a 90’s vibe to this piece of work. The buttery beat and the passive guitars create a rumbling atmosphere that perfectly fuses with the lyrics depicting a narrative of emotions eating away at someone. The title track “Divided,” sits at number ten on the tracklist, and let us tell you, it does not disappoint. In a frenzy of psychedelic intensity, the lathering passion transitions through a conveyance that takes on down tempos and upbeat liveliness. The various layers that produce this smoldering framework have us fixated on the distorted essence throughout the journey of 'Divided.' Coming close to the final moments of the album 'Divided,' we have the washy miasma of vocals that welcome us in on “Save the Lights (Parts 1 & 2).” In an interesting extended rock tune with a pleasant rudiment focused on spatial principles, the distorted bassline jumps out at us as well as the sprinkled piano chords throughout the composition. With lyrics exploring the foundations of saving yourself in the perspective of the world, there are tidbits of wisdom laced in the entirety of “Save the Lights (Parts 1 & 2),” that haves us gracefully ready to complete this sonic expedition. As we reach the end of the album, we take in all that is the straightforward “Gonna Lose It.” The rootsy and acoustic ballad once again wraps up The Totals’ minimalistic approach to their craft that they are known to throw in the mix by showing at times less is more. Breaking into the fierce finale that remains the perfect piece to close off the project, “Gonna Lose It,” highlights division between two people. Providing a theatrical spotlight to shine on The Totals, we get to take in true talent both musically and lyrically as the varied and engaging album prides itself on top-tier production and performances throughout. Listen to 'Divided' here. Welcome to BuzzMusic, The Totals. We love the entire soundscape of your album 'Divided.' Could you please take us into the concept behind this body of work? Thank you, I’m excited to be chatting with you all! The album basically started with a loose concept of love and loss and a playlist of songs I had been deep diving into. During pre-production, some of the themes solidified as a divorce in my family developed, so some of the songs changed lyrically along the way. Musically I wanted to work with more programmed and synthesized sounds too as the theme of love (more acoustic and poppy) went into a loss (more cold and robotic), so experimenting especially with the second half of the album was an exciting prospect as we moved forward into recording. We hear various sounds that complete the essence of 'Divided.' Could you please take us into the team that helped to enhance the sonic visions exuded? Sitting with my dear friend and producer Dan Marcus, I played him the demos of the songs I had in mind and snippets of the songs I wanted to sound like along the way. There was a range of sounds influenced by Blur, Supergrass, Radiohead, and Bruce Springsteen to name a few. Working with Dan for the last 7 years on various projects including the first releases for The Totals, there was a deeper understanding and a more focused concept of sounds to use. The drums (split with myself and Barrett Rider) sounded larger, the guitars (Cody French) soared to new heights and brought in a lot of New Wave/Britpop sounds. On-point backing vocals from an old friend Ali Parassidis, and some magical synth/keys moments from Greg Withers (both fellow Canadians) gave the extra roundness to the songs. There was also a wonderful duet featuring Caitlin Marcus on vocals. I was honored to have her on a duet, and "Until You Save Me" would not be strong without her. I'm absolutely grateful to all these great musicians and friends I know from my time in different places in my life. How long did it take for you to create this masterpiece? Could you please shine a light on the creative journey you embarked on when bringing it to life? I had a collection of about 15 songs together around the end of 2019 which Dan Marcus and I whittled down to 13 (one which was left out of the final album). From there I did the scratch tracks on my own, and we planned on starting the drums and everything else in March of 2020. We got the drums done just as the pandemic hit the States, which made things both harder and easier at the same time. Our bubble was pretty intact to finish the album and with work-life a little more confined we got it started and mixed in 18.5 weeks. I was moving back to Boston from Portland, Oregon too so there was definitely a timeline to get it all recorded before the end of June. There were a few friends we were not able to feature on this album unfortunately and some sounds we had to work around without certain gear. However, overall it was impressive to improvise some sounds on the fly. For instance, I wanted an attack/delay specifically on "Song on a Sunny Day", but we weren't able to grab the pedal we needed so we worked around it with a delay and volume pedal throughout the entire song (took a little practice for me to get that down). Being your second LP, what differences did you encounter from the release of the first album to now? Aside from the pandemic, the second LP was actually easier to get done. The musicians were all great friends and we had played together in this or other groups before so focusing on the sounds I wanted was easy. There was a freedom we were able to have on this record as well since we recorded it with all the gear in one or two houses, so grabbing a pedal and trying it out like the fuzz box on "Gonna Lose It" was easy to set up and try out. If we needed to practice parts we could pick a day and get it done, and some of the songs were jammed beforehand with a full band before COVID hit so it was fun to work those structured songs with new sounds while recording. The first album was a mishmash of practicing songs and getting them done with little change, and any additions were after (for example the strings on that first album). Having more vision and time to mess with sounds this second album made it more fun and experimental. What are you hoping that your audience takes away from the themes and messages heard on this album? My main goal for an audience on this album is to take a journey through the highs and lows of relationships. There are moments where love can be beautiful and new (ie: “Song On A Sunny/Rainy Day”) and the dark places aren’t pretty (ie: “Gonna Lose It), but the themes of love and loss and parties changing feelings can be taken as a whole and as individual songs. I hope the rage of sounds gives the audience at least one song they really dig too. I love a lot of different genres and this album was a chance to add some of those other genres. Instagram Facebook

From a young age, Texas-native Parker Howard has leaned on music as an outlet for expressing herself. With a passion for Country music, the 21-year-old artist’s music has been placed in the top 50 on the Texas Country Music Charts, as she has embarked on radio tours throughout Texas, Kansas, and Oklahoma, and been recognized as a Breakout Artist at Off The Row Studio in Nashville, TN. Taking us into edgy undertones with the release of her latest single “Take It Like a Man,” Parker Howard turns up the intensity to 100 as gets real with us. We love how the dark nature of the instrumentation still emits an effervescent bop to the way it’s portrayed. There’s something about the way the sustaining guitar riffs etch into your mind as you dig into the gritty effects depicted. Combining the enticing resonance of the rhythmic energy with Parker Howard’s smoldering vocal performance, we’re left in a smoky shadow that oozes the vulnerability she reiterates through this single. We’ve always appreciated how her bellowing croons cascade with any musical foundation she is given. However, in “Take It Like a Man,” a newfound sense of confidence floods our speakers as the lyrics she propels are drenched in her fierce persona. Trickling a passion-fueled narrative in the powerful words she asserts, Parker Howard’s words reflect her kicking someone to the curb as she no longer has time for their games. Knowing exactly how to serve up the unapologetic persona that’s rather prevalent in this song, Parker Howard has us feeling the music at an all-time high as we place “Take It Like a Man,” on repeat. A warm welcome back to BuzzMusic, Parker Howard! We admire the unique tactics that you take when executing the attitude you convey in “Take It Like a Man.” How did taking a darker methodology to this track feel for you? Was there anything direct that inspired this approach? I’ve always been more intrigued with different sounding songs and sounds. It’s a way for me to express how I feel because I am not very good with my own words. I also feel as if sad music is more relatable to a lot of people, but then again so is happy and upbeat music. I’m very thankful for my team and the people that I work with who help make the sound in my head come true. When bringing the compelling sounds of this record to life, did you have anyone that assisted you with making the vision pop? What was that experience like? P.T. Houston, Erin McCaffrey, and Sarah Morey as well as all the amazing artists and band players at Off The Row made this come to life. As I said before, I am just so thankful for the people that have pushed me to the point of believing in myself and helping me along every step of the way. It’s very rewarding and fun being in the studio and hearing all the different sounds and melodies. We put them all together and make something beautiful. You’re known for some more subtle undertones that you generally take into your music with you. Did you find that on “Take It Like a Man,” you had to channel a different type of energy to get the end result? I do think "Take It Like A Man" is a different vibe than I usually go for. I am wanting to take a different path in the country music scene and create some beautiful music. I don’t necessarily want to be put into a genre, I want to break down all those walls and be able to sing any type of country. I also would love to be a role model to people to show them that they can do anything that they set their minds to. What are you hoping that your audience takes away from the messaging in this song? I’m hoping that people know that they are worth so much and that they shouldn’t take anything from anyone. You have to find happiness within yourself first and you always have to know that you’re going to be there for yourself at the end of the day. I think being independent is one of the best things you can be in life. It’s always OK to depend on people and have people help you, but you’re always the one who's going to be there for yourself the most. Instagram Facebook

Toronto-based composer/guitarist John McLaren has collaborated with R&B songstress Stephanie Heitz on their latest single, "Any Other Way." The 2019 release of Stephanie Heitz's debut EP, "Dark to Light," culminated her lifelong pursuit of songwriting. With a focus on encouraging, inspiring, and uplifting listeners, her artistic talents collide profoundly with John Mclaren's extensive experience in the music industry. John began his musical journey at the age of seven. The soothing spirit of "Any Other Way," as conceived by John McLaren, filters through your speakers in a comforting manner as the rhythmic vibrations of his guitar riffs pierce through the barricades of mundane monotony. This soundtrack is enhanced by subtle complexities that enhance this soundscape in a way that draws your ear to the finer details buried within the therapeutic framework. Stephanie Heitz’s smoldering vocal performance speaks into your soul as you interlock your thoughts with each word that she sheds. A particular charm is found in the brilliant use of timing and spatial techniques, as well as the structured lyrical motifs throughout the entire arrangement. “Any Other Way,” casts out descriptive wording that is performed in a prevalent manner with lyrics such as, ‘Have I been wasting all these tears? Feels like I’ve known you. For a thousand years, I can’t imagine any other way,’ tugging on your inner emotions. As both John McLaren and Stephanie Heitz bring their dynamism to the surface, there is a sense of magically captivating tenors that flourish in the realm of love and adoration. Creating a lifelike narrative that practically leaps out to your ears, "Any Other Way" provides all the emotion you need. Welcome to BuzzMusic, John McLaren, and Stephanie Heitz. This collaboration between you two is so well thought out! It brings out the best in both of you as artists and individuals. How did this collaborative project come to be? Was there a particular moment inspiring the narrative? John: Stephanie and I started out as fans of each other's music on Instagram. We became fast friends and began cheering each other on with their craft. Both of us had been listening to the other's work on Spotify, and one day I reached out to Stephanie inviting her to join me in collaboration. I had solely been an instrumental guitarist up to this point, so Stephanie jumped at the idea of being my first songwriting collab! Could you please share a glimpse into what the creative process entailed when bringing this song to life? What was it like working with one another to bring something so intimate to the ears of your audience? Stephanie: From the moment I listened to John's beautiful composition, I connected with it on an emotional level, and just knew it felt like a love song. John is a newlywed, and I have been happily married for quite a few years, so this concept seemed very fitting, and the lyrics fell easily into place. What does the overall quintessence of “Any Other Way,” say about you both as artists? John: Being that we live 1477 miles apart, we engaged in a series of video chats in order to bring their project to life. Stephanie started feeling lyrics from the first moment she listened to the moving instrumental. I suggested that she sing them live over a video chat, so I could get a better grasp on the vision for the song. We quickly found out that we are like-minded in many ways, so communication came very easily. It only took two video chats to get the lyrics just the way we had both envisioned, and in no time at all, "Any Other Way" was on its way to be mixed and mastered in the studio. What are you hoping that your audience takes away from the themes and emotion delivered? We both want to bring a sense of hope to the world. We are very passionate about what we write and want to have a positive influence on our audience. What is your mission statement as an artist? John: I want my guitar to convey emotions that ignite a response in people. Stephanie: I aspire to pour encouragement into my listeners with every lyric I writes. We believe our creative collaboration has accomplished both of these goals. JohnMclaren Instagram Stephanie Heitz Instagram

Making up the rules as he goes, Bankston blends genres and continues to break boundaries. Growing up, playing in bands landed him in the studio constantly. This is where he learned how to produce and engineer music. Being a multi-instrumentalist whose skills eventually took him to The LA Recording School where he specialized in music production, his new musical vision is a mix of Pop-punk and Hip-hop with lyrics that hit. His latest creation titled, “Cannibal” introduces us to a fusion of intriguing intensification matched with swift melodies that grace your mind. It’s not out of the ordinary to plunge into a Bankston record with the type of mind-altering effects that take over your entire being. The buoyant instrumentation that is carefully strung together dips in between upbeat and effervescent hues that instill a sense of optimism before you delve into the gritty, bolstered atmosphere that leads the song to its sonic destination. We are completely absorbed in the unique tone that Bankston’s croons adopt as, “Cannibal” which thrives in the realm of Pop Punk angst meets the new wave melodies of Hip-Pop. Bankston’s lyrical performance paints vivid imagery upon our minds as the words that he passionately pours out has us feeling a type of way about the narrative he addresses. Lyrical motifs such as, ‘And all I ever wanted was a peace of mind. I know I tried again, and again, and again,’ prove to us that he’s at his wit's end, and the strength in which he conveys these words backs it all up equally. “Cannibal,” truly fits into Bankston’s artistic vision, and with a record of this caliber dousing the sound waves, we’re ready for the next anthem to come reigning from his music catalog. Hello Bankston, welcome to BuzzMusic, and congratulations on the release of “Cannibal.” There’s such an array of genres that jump out at us, and we know how authentic that is to how you create your music. How did you decide which genres would be apparent in the creation of this song? Did you make this decision before, or after the theme was chosen? Thank you so much! I really wanted to mix pop-punk and hip hop, both of my favorite genres. My co-producer Gearshift and I started with the trap drums in the verse and right off the bat I wanted to add guitars. Once we had the vibe of the first verse I knew it needed a dynamic change which was done by the acoustics in the pre-chorus and then the acoustic drums and distorted guitars in the chorus itself. It was one of those songs that just came together really quick off of the jump. The first session is where we came up with the majority of the verse and pre-chorus and the following day I was so pumped about it I produced and wrote the rest of the track. In your own words, what does the message in “Cannibal,” mean to you? What are you hoping that your audience takes away from this song? The idea behind "Cannibal" was about my lifestyle and some of the unhealthy aspects of it and how they were bothering me, eating at me so to speak like a cannibal. How does this single compare to your previously released, ‘Running Uphill?' What are some similarities and differences that the creative process saw? Leading up to the release of running uphill I was kinda nervous about people’s reactions to the song and this new style I have adopted but once it came out I got really great feedback and was very inspired by it actually. Now leading up to cannibals release I was more excited than nervous, I knew I had something I was really proud of and ready for people to hear it. The process is always different but usually stems from just messing around and experiment with sounds and different instruments and both of these songs were based around the drums and guitars. What has been the most eye-opening moment for you throughout your artistic career this far? To be honest, it was when I stopped caring what people think about my music and just know whether I vibed with it or not, and funny enough that’s when people really started to pay attention. What's next for you? I have a couple of singles in the bag that will be coming out throughout the year and gonna be playing some shows soon too now that everything is opening back up. Instagram Artist Website

Up and coming rock band Driven Out is based out of Los Angeles, California. Comprised of vocalist Christian Higgins-Hernandez, guitarist Ryan Alzina, bassist Jay Lantz, and drummer Jonathan Ricketts, their melodic essence is met with an all dreams can be achieved mentality, and a feel-good pep in their step. Taking our attention to Driven Out’s introductory single, “Change,” we enter their debut album, ‘Inspired By You,’ as we’re greeted with intricately crafted techniques that are all the rave for Driven Out. Feasting upon the finer details that add texture to the complexities heard throughout this record, there’s no denying the crisp musicality that shines through each note in a top-tier mix. Steered by the resonated bassline that immediately sets the tempo, we hear the clarity propelled through tight percussion patterns, gritty guitar riffs, and a smoldering lead vocal. Taking it to the next level with thought-provoking songwriting techniques offered up, scripted motifs that kick off this piece delve into the poetic spirit lingering in the virtuoso displayed. ‘Like my mind, this paper is blank. I have my thoughts but no words to convey,’ is a prime example of how Driven Out immediately pulls you into the unveiling of this album at a moment’s notice. Fitting into their entire project concept of bringing forth an eternal marriage between the poetry of thought, and melodic instrumentation, it’s safe to say that Driven Out knows exactly what they want to convey, and expresses it with an even more impactful purpose than intended. Welcome to BuzzMusic Driven Out. “Change,” seemed to fit so perfectly into ‘Inspired By You,’ that we couldn’t help but show an overbearing appreciation towards the song. What was the moment or story that inspired the first song on your album? “Change” is a special one for sure. It’s a song in which the main character is in the middle of a conflict with themselves. Looking in the mirror is something we all get a little intimidated by, but that deep inward reflection is where we dig up and find out who we really are. People are afraid of change but if we’re not changing then we’re not growing. Growth requires and demands a change in you. This song was inspired by Christian’s own personal experience and those once close to him. This song is made for anyone going through a struggle. Keep your head up and face your adversity. Fitting into the concept of the body of work like the last puzzle piece, did you always know that this is where “Change” would fit on the tracklist? How were you able to choose where each of the 14 songs would go? Yes, “Change” was always intended to be the opener for the album. This album is a loose concept album, to be honest. It’s the story of the common human experience. “Change” kicks off the story with our character meeting their rock bottom. Our character knows that living on in this way is not an option. This album is a journey through the experience of someone trying to change the course of their life. Seeking a purpose. Searching for the light in the dark. How long did it take for you to create ‘Inspired By You?' What was the process of recording your debut album like, and how did it vary from creating singles ‘Inspired by You’ was made within the last year. We went through multiple sessions of song structuring, melodies, and instruments. This time it was nice to have recorded in guitarist Ryan Alzina’s home studio. It was a lot easier to get stuff done when needed. In terms of themes and messages sent out to your audience, what are you hoping they take away from a song like “Change?" Face your adversity head-on. Believe in yourself. There is a fire in you. Shine bright. What's your favorite release this year, from an independent artist you admire? Absolutely love what Fretland is doing! “Too Much” is such a beautiful song on their amazing album ‘Could Have Loved You.' Hillary Grace Fretland is an amazing vocalist! Instagram Facebook