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Welcome to BuzzMusic, Gabriel! We're impressed with the variety of work experience you have achieved at a relatively young age. What inspired you to become an actor and model as a child? Thank you. I really appreciate it! My mom put me in acting classes when I was younger to help me build my self-esteem and confidence. At first, I really didn’t really like it. I am an introvert by nature so, it was different for me. Time passed, I actually started loving my classes and teachers. I booked my first film, and the rest is history. I cannot see myself doing anything else. Modeling came after acting. The first brand to welcome me as their brand rep was FadeLife Clothing. Now, I not only model for FadeLife, I also am one of the first male faces for the LuvUrSkin skincare line. Who do you look up to in the entertainment industry? Do you have any acting or modeling inspirations that keep you motivated? I admire a lot of actors in the industry. Some of my favorites on my long list are Halle Berry, Ryan Reynolds, Chris Evans, Chris Pratt, Emma Stone, and Samuel L. Jackson. I eventually want to be a director myself, so I have been following a lot of the work that Regina King is doing. I think she’s a definite role model. And of course, Ben Affleck and Spike Lee. They are awesome directors too. In terms of modeling, I think Shemar Moore’s story is a motivation for me. We are both biracial, both started with the same agency, and he went on not only to continue modeling but to become one of the most recognized faces on TV.  Out of all the roles you've played, is there a particular project that was your favorite to be a part of? Why? I have loved all of the projects that I have been a part of. I think that the one project that challenged me was playing the grandson in Godzilla: King of Monsters. I got the opportunity to learn how to do stunts and realized that that was something that I definitely want to continue doing in the future. Do you have any upcoming projects or exciting guests for your podcast that you'd like to tell our readers about? What are you most excited about in 2021? We are excited about season 3 of Just Talk With Gabe. We really have some awesome guests coming on to the show...but, I can’t give you any spoilers, just know that this is going to be an amazing season. Make sure to tune-in. New episodes drop every Wednesday! In terms of acting, I’m slowly getting back to auditioning…so, I am just waiting on that one “yes.” The one thing that is the most exciting to me about this year is hopefully being able to reconnect with my friends in person soon. What's your favorite piece of advice someone has given you towards your career? If this is really what you want to do, then give it your all, leave nothing on the table. Learn all that you can about the industry as a whole. Be able to act, direct, run the camera, edit, pack up the equipment, and even stock the craft services table. And lastly, if you are lucky enough to “make-it,” give back to those who are on the same journey. #BUZZMUSIC, #GABESILVA

Slovak-Canadian art-pop musician, sound designer, and multimedia artist Saint Idiot hails from Edmonton, Canada with his multifaceted talents. His music has been interpreted as a deconstruction of pop; familiar forms rendered in sophisticated sound palettes, set in lush, carefully textured compositions, that are both a little futuristic and a little mossy. With inspirations including the multisensory worlds of artists like Björk and Bowie, the continuing legacy of bell hooks, as well as Zen, Deep Listening, ambient music, and flora, he comes to us with the third single from his forthcoming album, ‘Alternate Utopias from a Nostalgic Future.’ With the mellow harmonies reigning from a crisp breeze of sound waves, “Talk” pursues you to dive into your intrapersonal recollections as you gulp down the dreamscape Saint Idiot explores. Whitecaps of nostalgia come flooding into your mind as the intricate elements of delicate tenors trickle into the overall quintessence of the subjects lectured. The narrative of “Talk,” delves into the theme of healing in the age of hyper-individualism and isolation. With the profound falsetto vocalization of Saint Idiot capturing the emotion-fueled authenticity, the ingenious topics usher you into a state of reflection. The combination of feathery and weighty synths paint a life-like story as we navigate through the highs and lows conquered in the sonic voyage we whole-heartedly embark on. What we adore the most about the flourishing instrumentation offered up in “Talk,” is the various dimensions unraveling in the instrumentation. Featuring layers of guitar, harp, and clarinet to merge with the diaphanous synths, the execution of the song's structure builds like a comforting framework, blanketed by the angelic melodies laced into Saint Idiot’s timbres. Being the third single off of ‘Alternate Utopias from a Nostalgic Future,’ to reach the ears of the public, we greatly look forward to the flow of this upcoming album. We love the entire essence of “Talk.” What inspired you to make this song the third single from your forthcoming album? What is its significance to be released as number three? Thanks so much for having me, and I’m super glad you’re into “Talk!” I’m halfway through rolling out the album now, which is coming out on September 8th, and this song is halfway through that album. In both contexts, “Talk” feels like a real crux moment. I’ve now spent some time setting up the range and energy of the music, where “Bubblewrap” is a bit more on the conventional but splashy side of the album, and “Terracotta” is flexing the narrative, “let me transport you somewhere else” side of the album. “Talk” feels like a bit of both, and it also really gets at the kernel of the whole album in an unobscured, honest, conversational way. The subjects you bring up in “Talk,” are something that you can personally relate to, or do you see people around you going through this? What is the meaning of this song to you as the artist? I absolutely do struggle with it all the time. “Talk” is about committing to emotional dialogue, and while I’ve gotten quite good at understanding and expressing my own feelings in general, I do face a lot of obstacles in creating a healthy, generative dialogue with a lot of other men. It’s those same unspoken rules of engagement that I think is all too familiar, starting with the maxim “boys don’t cry.” My own inner work took years, and I discovered a lot of defense mechanisms that kept me from it. When I was much younger, for example, when I struggled with confusing emotions, I would get into these silent panic attacks where I’d freeze and be unable to even think—it felt like walking in circles—and it was a real barrier to solving problems in my relationships with other people. A lot of my male friends say this situation is all too familiar to them. It baffles me why a certain kind of masculinity is about unapologetically avoiding emotions—emotions are this entire, complex aspect of reality in the same way we take it a given that there is such a thing as an electromagnetic spectrum. To avoid this plane of reality is to intentionally cut off part of existence from yourself, and that’s just so debilitating. That can’t bite you in the long run. Personally, when I sing about “being let down by our fathers,” I think I am talking more in the abstract—I’m really grateful to have the dad I have, someone with a lot of range of expression and emotional mastery—someone who gave me a lot of freedom to be however I wanted to be. But I feel for the people I know who did have a really closed-off, emotionally opaque father. I feel for the boys who didn’t know anything but a sort of self-defeating, isolating kind of macho masculinity as they grew up. In general, I also just feel for everyone who had to watch their dad struggle through it, and I feel for all the people who are now having to go through some form of reconciliation because of it. I want to make a point of saying that this isn’t about invalidating or attacking manliness. Masculinity is beautiful. The issue isn’t masculinity per se, and I’m not fighting a “the world versus men” fight, as that would be really self-defeating, and also performative and self-flagellating. Instead, this is about all of us joining to fight in “the world versus everything that holds men back from their whole humanity,” because I think that when men suffer under the weight of the unexamined masculine expectations handed down to them, they harm themselves and the people around them, knowingly or unknowingly. Could you please share a glimpse of what the creative process looked like when you structured “Talk?” Oof, the truth is that I outright suck at conventional song forms, but also, I just enjoy music that takes unexpected turns—I love experimental music, weird forms, and ambient and classical forms, so I guess I’m more prone to fluid structures. I most often write from the densest section of a song by feeling out the entire sound palette and then carve the sound down outwards from there. It’s really fun and exploratory that way! Also, I’m a drummer primarily, and I’ve been challenging myself to think less in terms of backbeats, and “Talk” just ended up being the song where I really played with how to keep time and how to screw with conventional percussion. In the middle section, for example, I was trying to evoke this kind of unidentifiable feeling by creating the “shadow of a bass drum,” where something is ducking and warping the mix where a bass drum would be, but it’s just barely waking up those subsonic frequencies. How important is it for you to let yourself be vulnerable in the music that you create? Extremely. The scarier it is, the more important it feels. In some way, the topic feels all or nothing, too. The other huge theme of the album is humility and being able to admit when you’re wrong, so I think it’d be disingenuous if I was pretending I haven’t harmed people or that I don’t f*ck up. What's next for you? I’m winding up to shoot a music video for the last single on the album, coming around August. I’m also writing these personal essay companion pieces for Next Gen Men, a wonderful organization here in Canada. Other than that, it’s getting warm in Edmonton, and I just discovered mountain bike trail riding, so I’m divining that perhaps a visit to the ER might be in the cards for me. Let’s hope not! Instagram Facebook

Tom McGeoch didn’t give himself much credit after winning a poetry contest in college. He thought he was just a drummer from Columbus, Ohio, and didn't think of himself as a songwriter/artist even though he wrote plenty of original songs. After graduating from Berklee College of Music, he packed everything he could fit into a Honda Civic and drove across the country to Los Angeles to pursue a career in music. The artist name From, Tom comes straight from his poetry and letters that he has written over the last several years. A process that he has continued to practice every day. From, Tom is completely raw and unfiltered. His music communicates the more difficult aspects of life in a refreshing and unique way. These songs are an honest reflection of who Tom McGeoch authentically is. The latest ambiance dispersed throughout From, Tom’s recent release of “Someone,” is thought-provoking in a realm of both tranquil and buoyant components coming together to coincide in a triumphant launch of empowering tenors. Discussing brilliant themes that relate to his fan base on an emotional level, From, Tom displays a vulnerable side of himself in his lyrical motifs displayed. “Just because you love someone, someone, someone, don't mean that it's enough,” is the memorable line to commence the vibrant essence of the chorus as we digest the soothing verses that outline his thoughts based on the notion of holding on to someone’s company for just too long. From, Tom has a striking tone that is poured into the manner he flaunts his realism. Basking in the heartfelt timbres that he charismatically swings into a perspective scope of emotion, we take the lived experiences by From, Tom and we transition the carefully crafted words into our own understandings that infiltrate our mindset as this song progresses. “Someone,” has us reaching into thoughts that we have pushed to the side and feeling inner sentiments that we didn’t know still resided in our care. With each release, From, Tom dives into a deeper pool of melodies that come across as more felt than heard. Hello From, Tom, welcome to BuzzMusic, and congratulations on the release of your latest single “Someone.” This experience you discuss in your lyrics is something that many people can relate to. What moment or story inspired you to create a song of this caliber? I went through a breakup with someone I really loved and that was the inspiration for the song. Realizing that I could love someone and know that they weren’t the right person for me was a hard pill to swallow. Could you please take us into the production aspect of this song? Did you work with anyone to bring the top-tier sound to life? It was a total team effort. I came up with a couple of ideas for the music and I sent them to my friend and co-producer Kyle Kanzigg. He and I worked together for a few weeks to really bring the song to life. Kyle also brought on his friend Alex Kopp to co-produce it. I co-wrote the lyrics and melody with Lydia Frutig who is still on my phone as “Lydia Big Bear” because I recently met her at a songwriting camp in Big Bear, CA. She’s now a close friend of mine who I’m so grateful to know and work with. My good friend and old roommate Randy Belculfine helped me track and produce the vocals. It was mixed by Matt Huber and mastered by Sam Moses. I also worked out some of the harmonies with my friend Nick Samson. You’re extremely well-rounded when it comes to music. How long has it been that you’ve started to create for yourself? Do you still assist other artists in their compositions? I started this artist project last year right after the pandemic started. I can play many different instruments so I had been messing around and recording ideas since I was in middle school. It wasn’t until last year though that I got serious about starting my own artist project and singing. I do still assist other artists in their compositions. I’ve been writing a lot with my friend Nick Cozine AKA “MNYS”. He really inspires me and it’s a blast working on music with him. He also helps me out with my project too. We have a whole squad of friends and we all write and produce together. I mainly help out with lyrics and vocal melody but I also help out with the production side here and there. How would you like the messaging in “Someone” to resonate with your fan base? I’d love for it to help and give clarity to someone who was feeling the way that I felt. If people connect with it, that’s awesome. If not, that’s cool too. Even if it just makes someone want to dance, that’s enough for me. Instagram Twitter

Joey Salinas was born and raised in northern Virginia being the oldest of four children. Being inspired by Mariah Carey, George Michael, Aerosmith, and Janet Jackson growing up, these artists remain heavy influences on the art he creates today. Much of Joey Salinas’ music today explores the many facets of his identity. He is a strong believer that representation matters and while his resonance and subject matter are mainstream and universal, he expresses them from his own unique perspective as a gay man of Latin descent. Dipping into the sonic and visual pairing for Joey Salinas’ third video release from the album, ‘Identity: Chapter 1,’ we are sedated with the almost ethereal ambiance of “Wonderland.” Delicate vibrations trickle through your speakers as the intimate subject matter stems from the essence of blossoming love. Grasping our undivided attention, the black and white footage brings life to the cinematic approach taken when filming this up close and personal reiteration of Joey Salinas’ adoration for love. Welcome to BuzzMusic, Joey Salinas. We love the pairing of both the song and music video for “Wonderland”. Could you please take us into what inspired you to make this your third video release for ‘Identity: Chapter 1?' First, thank you for having me! I’m very pleased to hear that the video is being well received. What inspired me to make it the third video release is very simple. It’s the third song off of Identity: Chapter 1! I’m releasing the music videos to my project in album order. But, to go a little more in-depth, I can tell you what inspired the video itself. The song “Wonderland” is very intimate and ethereal sounding. It draws you in and takes you through a journey of the beginnings of a new love blossoming. The song is about love. So, with the music video, I wanted to convey all of that on a grand scale to match how big the feeling of love can be. I’m very into film, so I wanted the music video for “Wonderland” to be very cinematic in nature. I wanted to portray the feeling of love with lush backdrops and lots of water and foliage, with nature representing how love can nurture and flourish. And I kept the backdrops wide open so you can feel the grand scale of the song through the visual. My favorite part of to film was the waterfall scene. It represents how, much like water, love can breathe life and feed the soul. Water also flows and can move you, much like the feeling of love. We love the various versions of you that are conveyed through the cinematic approach in the music video. Could you please take us into what version of you we see and the significance they hold to you? Well, for this chapter I’m exploring Joseph. It’s the true name of ‘Chapter 1’. All of the songs in this chapter represent Joseph. The bright-eyed, hopeful and optimistic version of me that took on the world with innocence and determination. He is how I started out and how everyone knew me as growing up. He was my beginning, therefore ‘Chapter 1’ was designed by him. The other versions of me in the video represent who I will later become in the future but still rooted in how I began. This will be a theme I carry throughout the entire project. What was it like working with Jason Anderson to get your vision across in “Wonderland?" Did your vision get executed exactly how you imagined? I had a great time working with Jason. He was referred to me by a good friend and we hit it off when we met. I walked him through my concept and he was all in. I knew that with his dance background, he’s also a dancer/choreographer aside from videographer, that he could help fill in the gaps for me in terms of how to shoot the video. Although we did get some amazing shots and our film day went rather seamlessly, there is one thing about filming that I wish would’ve been slightly different. When I found the bridge that we shot at for the main scene of the music video, I knew I wanted it was going my main shot. I had scouted that bridge for months because the area in which it stands gets extremely foggy during the late night/ early morning hours. It gave off an awesome Sleepy Hollow vibe, and being that the song has an other-worldly feel to it, I thought it was a perfect match! The fog would get so thick at the bridge, that it made it look like the bridge stood alone with limited visibility. It would’ve been such a dream! Unfortunately, on the morning of the shoot, when we got to the bridge it was practically clear skies. I had hoped that by the time we finished setting up that it would get foggy, but then the sun started breaking through the morning sky and I knew we had missed our chance if there was to be any fog. I. WAS. DEVASTATED!! But, we made it work and the video is still something I’m extremely proud of and delivers the message I was hoping viewers/listeners would receive. If listeners could take away one thing from the music video, what would you want it to be? I would like for listeners to get lost in the feeling of being in love. I would like for listeners to be able to escape real life and live in the moment. What’s next for you, Joey? There’s still more to tell in ‘Chapter 1’. And there are more chapters to explore. So I have much more content on the way and hope that listeners will continue the story with me Facebook

Changing the Los Angeles music scene one step at a time, the country-rock trio TruckerBomb releases their latest wavy and hazy single entitled "Light of Jesus." Mixing a dash of grunge and the up-tempo swing of honkey-tonk, TruckerBomb and its members consist of the musical stylings between Troy Richardson, Salty Rose, Ursula Lari, and Dave Rodway. While the band continues to make waves throughout our city with their unconventional songwriting approaches and dynamic Americana/country-rock tunes, it's only a matter of time until they land their tunes in film/television soundtracks. When listening to typical country-rock, existential dread isn't usually a topic that's touched on, yet singer-songwriter Troy Richardson is never one to shy away from deeper and more personal issues like this. Primarily within their recent single, "Light of Jesus" Richardson and his accompanying bandmates bring us into the depths of despair while losing the light of God's child. Listening to "Light of Jesus" the venture begins with TruckerBomb's entire instrumental breakdown with Troy Richardson's heavy bassline, Salty Rose's bright electric guitar, Dave Rodway's mid-tempo drums, Mike 'Slo-Mo' Brenner's groovy lap steel guitar, and Fernando Perdomo's anthemic B3 organ. Diving deeper into the song, TruckerBomb, and lead vocalist Troy Richardson takes us through a personal and emotional story of walking through the darkest days while seeking life's light once again. Feeling down and out, Troy Richardson and his accompanying background harmonies float us towards the outro while leaving us in an introspective state of mind. Find TruckerBomb's latest single, "Light of Jesus," on all streaming platforms, and be sure to keep track of the ever-changing band as they continue to challenge the norms of modern country-rock music. We're excited to chat with you about your recent reflective single, "Light of Jesus." What inspired the saddening yet relatable lyrical concept? Hmm … is it saddening and relatable? I'm still trying to figure out what the song is all about myself. I had bought a Jesus nightlight to be funny. Maybe it's the Midwesterner in me. It was a cheap one and quit working. I said, "Well, we lost the light of Jesus," and thought that sounded like a song. As I started it, it was very literal. I bought it from eBay or something, so there was no warranty. When I wrote, "we're going to get it back again, but they say we gotta pay," it was because I literally had to buy another one. I brought the demo to a songwriting group that I'm a part of and, from the feedback I got, it seemed to pull people in a lot of different ways. I went back and added a bridge, with the lyrics, "Turn on to see the world as it is," and some others to drive the point home a little more. I don't know if it worked, but at least it made the song into an ABACAB song structure. I've been at this for a while and funny enough never used that one. What was your band's creative/recording process like when creating the instrumentals for "Light of Jesus"? What kind of feel or atmosphere were you aiming to achieve? This was our third single produced by Fernando Perdomo at Reseda Ranch Studios and I think we've got a great groove going. First, I pre-produce the hell out of our stuff at my place, Only Child Studios. Or, I try to. I started playing when there were just 4-track recorders and stuff. It was easy to blow hundreds, if not thousands, of dollars in the studio if a band wasn't prepared. The closer I can get to a final arrangement with everything, the better. There's never any chance of killing the studio magic because Fernando always comes up with great ideas on top of whatever I have. I hoped to bring a moody vibe that complemented the uncertainty in the lyrics. I think we got everything I hoped for and much more in this recording. Regarding Troy Richardson's songwriting for "Light of Jesus," did you face any challenges when looking back into your memories to find such personal and emotional stories? Every time I tried to be more literal with the lyrics, they got more evocative. I know full well there's plenty of stories where non-believers have a religious spirit flow through them, and they create something with deeper meaning. I'll just leave the song as it is, and people can figure that out for themselves. I don't know if it's about a nightlight anymore. I’d welcome any listener to tell me what it’s about after it’s released. How does "Light of Jesus" contrast your band's recent releases? Does the song deliver different themes or instrumental atmospheres? Very much so. The sort of spacey feel at the beginning was inspired by some stuff I had recorded on the demo. To make up for my limitations as a guitarist, I had reversed a single note I had played and added a bunch of reverb. I just kinda fell in love with that sound. Since our first two singles were firmly grounded in the Americana style, I wanted to branch out. The band has some diverse influences and I'd like to show them off. Plus, I really hoped people would hear the first couple of seconds and think, "What the hell is this?" What has been your favorite music release of this year, so far? It's kinda crazy to think the year is almost half over and I've paid so little attention to it. Towards the end of last year, I heard Jason Isbell's "Reunions" album and it may have changed my life. The lyrical themes ran so deep and so much of it spoke so directly to me, I almost wondered if he had been following me around. I was inspired to dive deeper both musically and lyrically with my own stuff after that. There's an artist named Sierra Ferrell I really like. She may only have two official single releases, but she posts some video of her stuff online that I try to catch when I can. She's really great. I hope she has an album in the works and makes it big. There's a guy out of Texas named Aaron McDonnell who released a single this year. I just randomly happened across him and think he's criminally underrated. He has two albums out that are just amazing. Hopefully that single was a precursor to a new full length that's coming. I guess Aubrey Sellers' latest album was last year too. Did people not release much music this year? She's a great songwriter who blurs the lines between genres. I really enjoy her stuff. Instagram Facebook

Portland August is the musical alias of Caleb Washburn, a Dallas-born artist, who’s versatile, dynamic, genre-bending compositions fortify his independence. Never afraid to reach further into the creative abyss, Portland August’s sound can be described as raw, detached, and experimental. Bringing a new light to his most recent creation in the nine-track solo album 'On God Vomit,' we reach into the dark essence of the introductory single ‘Song 1: Ebb.’ Reverberated guitar riffs linger in the background of the composition as the trap-style drums merge together with an organic percussion arrangement. Through the foreboding vocal layers disbursed in this track, you capture the immediate hues of a black and white world that has Portland August sitting in the grey zone with his exclusivity. Setting the tempo for the ominous body of work to come, we’re locked into our seats and ready for the rollercoaster ride of a lifetime. “Ouroboros,” plays into a kaleidoscope lens of psychedelic ease. You get sent on a nostalgic voyage through the eras with Portland August and you never know where you’ll land. With lyrical motifs such as ‘you’re the only one who’s breaking apart, your metamorphosis will break me apart,’ you hear the importance of the songwriting impacting the composition in a way that is integral to the structure of the instrumentation. Coinciding with the festering passive aggression that comes from evolution, we hear a side of Portland August that touches on the breaking points through a journey of growth. Third, on the tracklist, we filter through a resonance that is both reminiscent and futuristic in its varying moments. “Dying is Where Jupiter is,” has us indulging in a mysterious canvas of heartfelt tenors. What we love the most about Portland August’s tempting vocalization is the ease that is placed on the articulation. His intimate offerings trail you along and you’re eager to follow along as he showcases the findings of his very thoughts. In a sonic piece that is rich in cavernous synths and pads, the moments that lush guitar riffs peak in have us scoping out the glimmers of hope in a song that tours us through a shadowy narrative. Still floating in this ethereal realm of what’s fact and what’s fiction, we find ourselves in the depth of “How Far?.” Speaking of death, heartache, and how far your mind will travel in its spiraling fashion of weakness, the manner in which Portland August’s carefully crafted words take on a distorted haze have us feeling the rhythmic essence as it pulses to our own heartbeats. There are various layers that have us seeking answers to our own questions as each song on 'On God vomit,' acts as our own personal therapy session. Taking us to just pass the halfway point with the title track 'On God Vomit,' we hear a poetic essence to the spoken word introduction that has Portland August getting intimate with his vulnerable findings of this lifetime. The manner in which the instrumentation approaches the overall theme in a sparse nature is truly remarkable. With each word he sheds and each breath in between, you’re ushered into simmering with lyrical motifs such as, ‘soaked in god vomit, I awaken deep beneath the punctured crust,’ before 'On God Vomit,' comes to halt. “Mosquito,” is the sixth song presented to us in an authentic Portland August fashion. Commencing in a distant effect that has its meaning masked by haunting echoes, we get introduced to the full-fledged dynamism of “Mosquito,” as it comes rippling into our speakers in a way that speaks volumes. ‘All they do is stare, numb inside another lover,’ has us basking in the abstract lyricism that paints its own imagery on the canvas of our minds. Compared to the other songs portrayed on this album, the musical elements come flooding through your speakers in an upbeat overflow of vitality offered. As we take our energy levels back down a notch, the rustic sounds of “Sanctuary (Hear My Call?),” have us invited into a warm atmosphere of acoustic guitar riffs. Serenading us with an emotion-filled ballad prominent with what begins as a minimalistic foundation, we appreciate the delicate timbres amalgamating in pacifying tenors. It’s fairly easy to find hope in the glimmers of the songwriting displayed in the track with striking words like, ‘give me breath and some strength to believe.’ Taking us all by surprise the vibrant outbreak that embodies the transition of golden hues reinforces the glow-up of Portland August in a way that radiates effortlessly. Opulent guitar riffs and a deep bassline kick off the second last song on 'On God Vomit.' “FMP,” has us entering this imaginative force field of impactful vocal effects as we chomp down on the blatant wording immersing our speakers. Bellowing verses from a place of organized chaos lurking within his being, we admire the depth that Portland August navigates his audience throughout. Transitioning between heavy-hitting spoken word lyrics to the glorious croons filtered with an extensive vocal range, “FMP,” is the track that has us grasping onto the most overbearing emotion on this album. Coming to the final moments of 'On God Vomit,' we feel a sense of intensity remain with us as we try to comprehend all that we took in. Portland August is a creative genius that exercises his uniqueness in a way that not only evokes emotion, but it tempts listeners to get in touch with their own philosophical truths. “coma,” is perfectly placed last on the tracklist with all it offers in soothing closure. Depicting a structure that is melodically pure in its vessel, we’re captivated by the colossal finish 'On God Vomit,' which has in its emphasized expression of non-computerized instruments and burgeoning certainties. Welcome to BuzzMusic, Portland August, and congratulations on the release of 'On God Vomit.' Could you please take us into the overall concept laced into your album? The concept of 'On God Vomit' is a narrative following a man amidst complete disconnection. I approached it as if it were a film, even writing a screenplay to immerse myself. Did every song that you intended to have on this body of work make the cut? Was there a particular method in the placement of the tracklist? It started with a couple of songs that I felt were really strong and I created a narrative around those. So after the narrative was created I had an idea, stylistically and lyrically, for where I wanted to go. I always had a particular vision in my head for what I wanted the album to sound like, and It took many failed songs/demos to end up building the 9 songs on the project now. Because of being a story-driven arrangement, and how premeditated everything was, the tracklist is very important in its order. It’s how I created it to be perceived. Out of each song showcased on this project, do you have a specific one that resonates with you more than the others? What’s your reasoning? That’s like choosing your favorite child. I look at the body of work as one, so to pick one song that I resonate with more than the others wouldn’t be possible. I spent a lot of time making sure each track stands alone, yet does its part profoundly well in purpose. I love each song deeply. Could you please share a glimpse into the recording process that you took on when bringing this album to life? How long did it take you to create? In order to get the ‘raw’ sound I wanted, I decided to record everything myself, in my makeshift home studio. I worked as an audio engineer at a couple of studios in LA, and I realized that where you record doesn’t really matter, as long as you have decent equipment, and a deep love for the craft, it’ll be undeniable. The recordings took place over the span of about 2 years, and it seems like a long time because I constantly go back and re-record stuff and add to arrangements, and etc. I’m quite obsessive about it. The mixes alone took the longest because I wasn’t as experienced at the beginning of the mixing process, and I had such a particular sound I desired. I ended up really digging into it. Many mix failures and restarts were had until I got a product I was happy with. If your audience could take away one thing from 'On God Vomit,' what would you want it to be? I honestly have no idea. I would just want it to be affecting and perceived however the listener wants it to be perceived. Instagram Twitter

Currently hailing from Boston, Massachusetts, the pop artist and singer-songwriter CASSANDRA releases a summer bop to get you out of the quarantine blues entitled "21 Ragin." Having lived in cities like Rockville, Duluth, Binghamton, and now Boston, CASSANDRA was able to learn new aspects of herself and the life around her through each city. Now studying Classical Voice and Opera at the New England Conservatory for Music, CASSANDRA and her four-octave vocal range have been wowing listeners since her debut in 2020. Elaborating on her recent banger, "21 Ragin," CASSANDRA brings us into the heat of her 21st birthday through poppy grooves and her beaming vocal portrayal. Through her exciting and stimulating lyricism, CASSANDRA's latest single arrives just in time for any listener to flee the dreaded emotions brought by the year 2020. Diving into the single "21 Ragin," the track opens with a hefty bassline, a powerful kick, and CASSANDRA's bright and lush vocal stylings. While she begins setting the scene of her 21st birthday and taking back that warm tequila until the sunrise, the beat drops into this powerhouse and enlivening atmosphere where anyone and everyone is encouraged to let loose and dance along with the song's heat and vibrance. With added brass instrumentation and electrifying organic/synthetic instrumentals, CASSANDRA keeps the song alive with nothing but enthusiasm and energy. Just when we thought the song was over, a mysterious and chilling bridge meets our speakers where CASSANDRA whispers her excitement of turning 21 and blasts through the spirited hook one last time. Lose yourself in the sonic party of CASSANDRA's latest single, "21 Ragin," available for you to bump all summer long on all digital streaming platforms. Welcome back to BuzzMusic, CASSANDRA. Congratulations on turning 21 and releasing your anthemic single, "21 Ragin." What inspired you to pay tribute to this milestone through a lively and upbeat single? Thank you for having me! 21 Ragin was inspired by my desire to go out and have fun with friends after a year of being cooped up at home. I’ve been wanting to write a dance-pop party song and this felt like the perfect time to do so! 21 Ragin is a double-meaning song for people who are turning 21 or want to go out in the year 2021 to break free of the isolation we’ve all endured during COVID. I hope it makes people dance and feel the excitement of socializing again! We can't get enough of the dynamic instrumentals/sonics within "21 Ragin." What sort of sonic atmosphere did you want to offer listeners through this single? Did you work with any producers/engineers during this process? I wanted to create an electric, glittery, lost-in-the-moment nightlife vibe for this track and worked with my producer, Scott Griffin, and audio engineer, Mark Abrams, to achieve this. I’m hoping people feel the energy of being fully in the moment as the lights are flashing and the music is blaring while out having fun with friends. How did you write your lyricism for "21 Ragin" so that any listener could get down with your words and vibe? What did you want your audience to take away from his upbeat banger? I released 21 Ragin just days after my 21st birthday to celebrate, but I also wanted this to be heard in the summer months. Turning 21 is certainly freeing and the ability to go out now that vaccines are rolling out has made that feeling of freedom even stronger. The lyrics were meant to capture my excitement and a manifestation of a future girls' night out. I’m hoping it encourages people to get out of the house and do the same (after they’ve been vaccinated of course!). We've noticed that you released your debut EP, "Made for Me," just twelve days before your latest single, "21 Ragin." Why didn't you place "21 Ragin" within the EP? Does the single-serve a different vibe than the EP? My EP, 'Made for Me,' was meant to explore multiple genres and styles as I broke into the pop world and although 21 Ragin continued this exploration, this song felt like the start of a new era of my music. The song marked the beginning of my dance-pop music and I’m excited to explore deeper into the genre! What's next for you? Next, I am heading back to Nashville to record more music! While in my junior year of college, I’ve been writing at least one song a week since recording 21 Ragin, and now that school has ended, I’m picking my favorite songs and recording them soon. I’m so excited to share these next tracks with my fans. All summer long, I’ll be extremely active on TikTok and Instagram @youknowcassandra and will be sharing my music on there as well! Thank you again for having me. I can’t wait to share more songs this summer! Instagram Artist Website

Craig Greenberg is an artist on the rise who uses his platform to encourage fans to embrace the beauty of human connection. The multitalented artist originally moved from Chile to Spain before settling into New York City to officially pursue his career as a musician. His music is now reaching fans on an international level, from Israel to Cambodia to the US, where his uplifting and motivational lyrical messages are bridging communities across the globe. Having the opportunity to share the stage with revered artists such as Jackson Browne, Chris Barron, Jane Wiedlin, Louise Goffin, and Jerry Joseph has given Craig Greenberg the tools and experience required to take his artistic career to the next level. The aspiring musician has risen from his collaborative past and now continues to win over new fans with each inspirational solo project. Best known for his ability to showcase the organic authenticity of instrumentation with delicate pianos and vigorous electric guitar lines, Craig Greenberg has fans anticipating what’s to come. Read more with Craig Greenberg and his new single, "We'll Come Together" here. Instagram Facebook

29-year-old LGBTQ+ Pop artist Michael White hails from the city of Portland, as he brings positive vibes in his distinct sound and lyrical content. His extensive vocal range takes inspiration from Ariana Grande, Demi Lovato, and Christina Aguilera and he utilizes his skillset in a way that makes each release that much more captivating. Defining his genre as mainly Pop, he has no problem combining various genres to his sound to deliver that feel-good energy. Tapping into a whimsical soundscape of brimming sensation, his most recent single “Drive Me Crazy” has our speakers soaring in irrefutable charisma. The smooth and sultry vocalization that Michael White takes into his music has him serenading us through an ambient realm daubed in effervescent synths and beguiling rhythm. Michael White delivers his sweet vocals in a way that brightens his profound resonance as they effortlessly come pouring from the speakers in harmonious bliss. We find ourselves immediately swept into a kingdom of starry-eyed composure that utilizes the canvas of our minds to reflect his intricately crafted lyrics as they leave an imprint of the vivid imagery fashioned. “Drive Me Crazy,” is both fluently mesmerizing and dripping in complexity. Something that tends not to go hand in hand when enchanting melodies mirror repetition. However, the reiteration that is brought to the table cascades in a reverberated chamber of love and admiration as Michael White simply pours his heart out about a subject that comes to him as second nature. The buoyant comedic relief that trickles into the speakers before “Drive Me Crazy,” comes to an end showcases the unapologetic persona that Michael White vulnerably wears as he guides you to take him for who he is as an artist and individual. Dripping in authenticity, we’re here for Michael White’s captivating timbres as he serves us up a piece of genuine emotion. Hello Michael, welcome to BuzzMusic, and congratulations on the release of “Drive Me Crazy.” We love the new single! It really takes us through a tour of our own nostalgic memories. Did you find the writing process for “Drive Me Crazy,” to come to you effortlessly, or did you have to apply yourself a bit more to the theme radiated? Thank you! It's one of my favorite songs off this album. "Drive Me Crazy" came immensely effortlessly. It's basically about a situation with a certain person in my life and I get strung across and played with like a freaking toy. We get close and things happen and I get mixed signals and it, no pun intended, Drives me crazy haha. Like most songs I do they relate to things, moments, and scenarios in my life. This is just a page of one of the chapters of my story. What moment or story inspired the overall creation of this striking narrative that you depict? Well, this song is meant for anyone who is being strung along by someone who is sending off "mixed signals". I'm a single man who is not tied down to anyone but I am always stuck in the same situations where I'm "seeing" someone constantly and we do the things that people in relationships do but they don't really say anything about where you stand. It's a constant game of overthinking. Makes you go insane and you just overthink every little thing. From the text messages, the vibes, the moments you guys have together. You just want to know where you stand but no one wants to make the first move. Was there anyone that assisted you in bringing this composition to life when it comes to the production or engineering elements? If so, how did they contribute to the desired sound that we hear? "Drive Me Crazy" was one of the longest songs on this album to record. I messaged this guy Sean back early summer 2020 (who is now one of my good friends) and I told him I had this song I wanted to do. We ended up doing these late-night sessions on this track. I recorded this song so differently. We started with lead vocals one night, then harmonies, background vocals, adlibs, and so on. Every night we worked together it was something different. But I got to be a part of the mixing process, which I never get to do. So I had a say in all the parts of what I wanted to keep and what I wanted to be taken out. Got to comp vocals together and make something great. What are you hoping that your audience takes away from the theme and messaging in “Drive Me Crazy?" I hope people dig the vibe of the track. There are so many layers of vocals, harmonies, and stuff so in certain speakers and stuff, you can hear all the plushy goodness. But it's a sassy kind of song. The adlibs that peak in and out of the track just straight-up sassiness. It's just a fun song to put on blast and just dance to. The message is if you're really into someone, be upfront with them and tell them how ya feel. Stop driving people crazy with mixed signals What can we anticipate to hear next from you? Well, this song is off of my first album called 'My Heart.' It's an album I've been working on since late 2019 all through 2020. So I'm super stoked to get it released. Available May 14th, 2021. I am also stacking up songs for future projects. I have a single called "Our Time" being released shortly after the album release that will be a part of a shorter EP. And by the holidays some Christmas stuff. I'm always working and thinking about what to do next. But all I can say is that I'm loving this new stuff that I am creating and I hope the new listeners will too! Instagram

Originally from the Midwest, Tory Floyd grew up between two worlds where she would either put on-at-home concerts that would cater to her parent's heavy rotation of artists like The Jackson 5 or build a deep relationship to the world of sports. Since 2018, she has constantly been in the studio with her number one collaborator and producer; her brother Preston Scott of Press Tone Productions. Her soulful pop style pulls influence from melody master Ariana Grande and lyrical storyteller Julia Michaels. Expanding her impact on the industry, Tory Floyd has caught the attention of those in the TV and Film world all while having multiple nationally and internationally aired music placements. Her artistry speaks for itself as she is fresh off the release of her most recent single, “A(WY).” Casting a tune into the realm of edgy pop meets R&B fusion, the song's decoded title translates into “Alone (With You).” The soothing instrumentation hosts the versatile vocalization of Tory Floyd’s sultry vocalization as she dips between a spoken word essence to kick off the track, but exudes her extensive vocal range throughout her introspective croons throughout the remainder of the composition. Tapping into a tenacious persona that hones in on knowing the value of yourself, Tory Floyd navigates listeners through the anthemic narrative catered to anyone waking up to a relationship that diminishes their value and holds them back. Stimulating our headspace with an array of harmonies more bone-chilling than the last, the musicality brought in unison is a seamless example of what brilliant production techniques can do for an emerging artist. Flaunting the wisdom she yearns to share with her fan base, the dreamscape of sounds collides in a rhythmic kingdom of introspective thoughts through an imaginative lens of silver linings. With a string of releases set to be launched throughout the course of this year, Tory Floyd is here to reiterate that it’s time to take back your control. Welcome to BuzzMusic, Tory Floyd. We felt such a connection to the lyrical content released in “A(WY).” What inspired you to tap into such a vulnerable subject for this particular record? This latest release, “A(WY)”, with Press Tone Productions is an edgy pop/R&B blend. Decoded, this title means “Alone (With You)”. With gritty Ariana & SZA vibes, this is the anthem for anyone waking up to a relationship that diminishes your value and always finds a way to hold you back. It’s especially fluent in the female perspective; knowing when it’s time to take back control and when it’s time to bounce. On this one, the track was actually made prior to the lyrics & melody. My brother and producer, Preston Scott, had put it together at some point earlier. One day I was in the car and it started playing when I was listening to some other tracks we were working on at the time. This one didn’t have a concept but it felt gritty and had a strong, yet subtle confidence to it. I started free-styling off of ideas I had already jotted down and one stuck out as that perfect starting point: “I’m gonna make it on my own, until the day that I decide it’s better than being alone”. This stemmed from a recent experience that reminded me it’s better to be on your own and the best version of yourself, than with somebody else and hide the parts that were always meant to thrive. The marriage of the track and the concept came fairly quickly once they were introduced. With such an extensive vocal range, we would love to know how you approach your harmonic layers! Could you please share a glimpse of what the creative process looks like when fine-tuning one of your songs? When it comes to fine-tuning a song, especially one with multiple vocal layers, it takes flexibility and patience. We’ve found that the best way that works for us is to lay down the lead vocal, cut together the basic foundation of the song and then add the layers and adlibs after it’s had its time to sink in. When you know what the overall goal of the song is, it’s much easier to elevate from there instead of trying to get fancy before you know what the building blocks are. Do you find that the environment where you reside plays into the sound you’ve crafted for yourself? I would think everyone would say “yes” to this question on some level. It’s hard not to be influenced by what you surround yourself with. For me, I’ve moved around a lot in my life so I understand pulling inspiration from many places, but where you are in a current moment will always have the greatest effect on you. LA is where I live now, so the diversity in not only interests and backgrounds, but the diversity in music plays a role in my sound as well. A city like this gives you a bit more permission to explore and potentially “fail” at the parts of your sound and style you haven’t tried yet. It’s also the home to such extreme highs and lows… so it allows you to tap into your most intense moments of joy, but also forces you to embrace the deepest moments of loneliness and insecurity. I feel like this song, “A(WY)”, meets you somewhere on your way back up the hill. You’ve accomplished some wonderful things throughout your career so far! What happens to be the highlight? One of the clear highlights so far was having one of my songs featured in a recent episode of the hit show, Grown-ish on Freeform. The song they used was called “Bloom” and it was written during a pretty low point dealing with anxiety and doubt. Basically, I was trying to write my way out, so it’s wild to see it used on a show like this where the characters are navigating some of these same big questions. The best part is, not only did they want just one version of the song, but they decided to use two; the acoustic track opens the episode from black. You can check out the season 3 episode (“No Halo”) of Grown-ish featuring my song “Bloom” on Freeform & Hulu. What's next for you? Be on the lookout for “A(WY)” in an upcoming episode of The CW’s Black Lightning. It’s always exciting to hear my songs on a platform like that. As for the music, we have a string of releases slated for rollout throughout 2021. Definitely, some lighter pop/R&B coming soon in contrast to this edgier sound in “A(WY)”. This is a great year for putting out new music and I’m running right alongside it. Introspective, yet rhythmic, what we have in the queue really feels like the culmination of the human experience: both complex and colorful. Instagram Facebook