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Established in September 2019, My Dark Reality is known for its high-energy shows and powerful lyrics. As their first release under Bently Records, comes their new single, “Things You Should Know,” a powerful and memorable grunge-style song. Available on all major streaming platforms, “Things You Should Know” is filled with drive and danger that brings alternative rock and roll back to life in 2021. Focusing on guitar instrumentals, movement becomes created in this piece to expand each natural lyric. The vocals within this track instill resiliency within listeners back as each rough tenacious choral reminds them of each obstacle they have overcome. Grit and passion are effortless as each member of this group work together to create a single that highlights deep vocals and stylistic guitar melodies. Goth and punk rock and roll come together to establish electric energy whenever My Dark Reality produces music, however, “Things You Should Know” is a must-listen as it stands to invigorate audiences with authenticity and internal passion. With plans to release an EP later this year it is clear, My Dark Reality will continue to push and make an even bigger mark in the music industry as they continue to revive Rock and Roll with their electrically passionate grunge singles. facebook.com/mydarkrealityband twitter:https://twitter.com/MDRBandOfficial instagram.com/mydarkrealitybandofficial

Crow Speaks truly began one fall day in 2015 when Edgar Sopper found a used Tascam MKII Portostudio four-track cassette recorder in a Goodwill for $20. It was a fitting find for the end of a three-year stint in the Pacific Northwest, as well as the end of a three-year romantic relationship. This used tape recorder accompanied a secondhand microphone on Edgar Sopper’s travels to Buckeye, AZ, where he would find his father unwell, and doctors unable to provide an explanation as to the curious behavior that he had been exhibiting for years. Finally being diagnosed with early-onset dementia, Edgar Sopper battled his own inner demons with his trials and tribulations in life as he would attempt to adjust to a new reality. Crow Speaks is the channeled frustration, loss, hopelessness, and depression expressed in hopes that the sound acts as a guidepost to anyone who can relate that it can and will get better. Releasing a compelling series of songs on his most recent EP, “Crow Speaks,” the self-titled compilation incorporates five tracks written over the course of 2015 to 2019 in Oregon and Arizona. Edgar Sopper began undertaking this self-recorded, written, performed, and mixed EP in December of 2020, where he would pour his heart and soul into the body of work that would later be released on February 20th, 2021. “Crow Speaks,” commences with the dark essence of “Down.” A song that carries an edgy foundation that trickles into furtive lanes of expressiveness. Transporting this innovative sound into the second record, “Drive,” an expanding scope of the miscellany of genres that Crow Speaks reconnoiters is rediscovered in the body of work. Consistently playing upon the experimental elements that trace a spirited psychedelic fusion molding your mind in mesmerizing ways, the five songs heard on “Crow Speaks,” carry out the echoes of Edgar Sopper’s distant vocals surfacing through hazy layers of entrancing guitar riffs. The prevailing ricochets that are shed through the vocals pleas act as a cry for help as Edgar Sopper shares his story of dissonance with those who are willing to listen. The rhythm that’s held in each composition, most notably “Collapse Relapse,” lures you into a headspace that Crow Speaks effortlessly crafts as the envelope is pushed into eye-opening angles of keen wit, and therapeutic framework. In an enticing atmosphere that is focused on exposing the vulnerability of Edgar Sopper, we fixate ourselves upon the emotional turmoil that has us encountering ominous hues of mystery in the abstract lyrics intricately crooned. The fogginess that lays in the instrumentation of each body of work has you simmering a shockingly raw display of talents from Crow Speaks. The enduring potency of each track exceeds the influential traits taken into account as we seek a deeper meaning into the textured layers of synergy released into the portentous environment that surfaces amongst the melodic mist. Striking our ears in an upbeat fusion, we find the development of “Crow Speaks,” to be remarkable as we tour numerous time signatures in a syncopated rush of artistic versatility pumping through each composition. “XYZ God,” leans into a more upbeat atmosphere that turns heads and places the tempo in a dance-like realm. Encrusted in a progression that you want to write home about, you truly never know the direction that the project “Crow Speaks” is headed in. Drifting through moments that allow you to feel a thorough blend of sentimental tenors, you also find yourself weaving around the enticing tone of a high-impact battlefield waiting to be torn apart as you await the moment reality sinks in. “Winter In A Glass House,” is a prime example of the turbulence you can expect to feel as you reach the final song and attempt to take in the full meaning released. Crow Speaks has set out to impart the sentiment ‘Express. Even if you are limited in what you can achieve at the moment, express by any means possible. By expressing whatever it is we're going through, we can free it and ourselves.’ With “Crow Speaks” being dedicated to David Abe Falkena, the various supporters of Crow Speaks, Olivia, and Mr. E for telling Edgar Sopper that he is a quitter, we are certain that the expectations that the project of “Crow Speaks,” had set in place have been conquered as all is left on the table for fans to bear witness. Welcome to BuzzMusic, Crow Speaks! We love the exhilarating ride that your self-titled EP “Crow Speaks” takes us on. Could you please share with us the main messaging that you hope to put forth in this project? The messaging I hope to convey by being brutally honest about my feelings while they are happening is to show folks that when you're hurting or experiencing it's okay and necessary to talk about the things that society has labeled negative or unpleasant or taboo or social suicide whether that's spoken or unspoken through response or inaction. I believe we need to as a society need to come together to discuss the pain we experience on an individual level and able to express these things safely and without immediate and pre-determined judgment to get to the root causes and address them to improve the quality of life for ourselves and the whole. I believe too often we are placed in economic circumstances that make us competitors, instead of family members of the human race and co-pilots on this fantastical, epic, unbelievable voyage through our lives here on what we know as Earth. I hope that if anyone who hears my music and relates or feels the way I felt when I wrote these songs that they know that another soul has been in that place and made it out and it gets better. There is a better choice than calling it quits prematurely. There is a way forward and out. From 2015 to 2019 you wrote the songs that we can hear in this body of work. Do you remember the year that you wrote each song? Did you end up revisiting them before the recording process took place? Great question! And an astute observation. Yes. The songs were written at different times and were changed along the way before or during recording. Down was written in the spring of 2016 shortly after I returned to Arizona and discovered my father was unwell, but we were still unable to definitely say what was happening with him. This song was written and finished mostly in one sitting, with harmonies on the breakdown added during recording and a heavy lower octave guitar added as well during recording thanks to the software capabilities available. Drive was begun in 2017 or 2018 and the opening long inspired by leftover feelings of growing up in the midwest and living in places I didn't really resonate with. A friend of mine I had met while doing security when I lived in San Diego for a year was starting up a podcast and asked if I can help him buy the equipment and start it up, so I did and he wanted to use one of my songs. He happened to have a lovely Fender tube amp, so I set up my pedal on the spot and played what I had so far with no accompaniment, dry vocals, and because of not being bound to a microphone or I was able to fidget with my pedal with my hands while still singing which resulting in the bass loop repeating at such a moment that it created a great flow that opened up just enough before keeping it moving again. I worked with this for quite a while to recreate that. I finally was able to figure out something comparable that I could do while singing. The lead guitar line used to come before the bass, but during the recording found that I loved the pairing of "Since I can't be honest..." with the bass entry. The midsection of the song that features the vocal backups and bass only I do spontaneously live, so it was fun to look at what that translated as visually in the recording software and changed the sequence, so it will be interesting to learn to have to do it the way I recorded or to tweak it and build off of in the future possibly. The song's ending was the final piece..because of the pedal I use, it's difficult to make sure the songs have enough variation, especially as the drum machine is so repetitive, so I felt I needed to make sure the song wasn't lacking in dynamic or variation or range, so if folks make it to the end, I hope it catches them by surprise. Only by recording it, did it feel finished finally. Collapse Relapse's was written in about 5 minutes in 2016 after returning to AZ on an acoustic guitar and the lyrical content originally reflected more economic/socio grievances and heartbreak from my previous relationship in Oregon ending. The day after Dijon Trump was elected to office in 2016, I decided to try to transform something just heartbreaking and negative into something positive and changed the lyrics to be an apology piece to the Universe/Earth for the way we've messed things up and ourselves. The rest is pretty self-explanatory. I tried to draw parallels to the civil rights movement, but we really are continuing that same fight that was never fully resolved. XYZ God was written in the winter of 2016 in my folk's garage in Buckeye, AZ. I had no friends yet and no life and was emotionally a wreck, out of control before I got some counseling help and got sober....fresh off of a Paxil cold-turkey wreck. XYZ God is the product of my love for one of the Zoom G1On's sub-bassy effects and discovering its layering capabilities. Definitely might be a little extra and busy, but it's so much fun to play. The lyrics were written during recording on the four-track cassette demo's I did and the song's structure was influenced by my f-ups like miscounting in my head where other parts should enter....recording on tape is a different thing...it's much more difficult to fix error's so I had accepted some of the f-ups and work with them and incorporate them into the work. The instrumental line after "You can lay awake all night..." is exactly that. Accidental empty space that needed filler. A few additional changes like extra choruses and lead guitar harmonies or lead guitar parts were added in response to performing the song live. The ending vocal lines "Gets out. Gets out." were added during the recording, as well as the choppy intro vocals. Winter In A Glass House was begun in the fall/winter of 2015 in Portland, OR. I was still living with my ex-fiance in a one-bedroom apartment and burned through another job because of my mental health and an awful manager with anger issues, as well as a best friend who I had just fallen out with. It all culminated in a moment of resignation and hopelessness, which resulted in the intro, first verse, and chorus. After returning to AZ I came back and wrote a second verse. The four-track version of the song featured a loop segment and piano parts from a $20 used children's keyboard, that I kind of regret omitting, but, wanted to keep everything reasonably close to how I can perform it live, rather than create an unrealistic expectation. I am completely new to digital recording. This album was my first attempt. I'm putting off having to do my homework with digital recording. Something about keeping it simple with just me and a few pedals is appealing to me, where if I forget to make a change or hit a button live...it can, has, and will be a train-wreck, as opposed to relying on a programmed sequence...I kind of like that. Apparently, I enjoy situations to potentially humiliate myself. Out of the five songs on the EP, do you have a specific song that resonates with you more than others? Why? XYZ God will always be my baby...I love that song with all of my heart. It's so personal to me and I love the rhythms, textures, mood, weirdness, business, and harmonies of it all...I can go nuts on stage with that one a really release some energy, but after recording these songs I can admit 'Drive' is what I keep returning to and continuously keep wanting to turn most days even a month after releasing the album. It just has a fresh, upbeat, light energy that is refreshing and I think catchy. I had to imitate my friend's Fender tube amp that sounded so good when I helped him with his podcast through recording software's simulators, but I love the sound I was able to achieve for the bass. I love the outro and can listen from a progressed and safe place and removed space from the song and feel a sense of love and compassion for the person who wrote that song, as opposed to all of the destructive, painful feelings which created it. With each artist varying, what was the thought process behind the tracklist in place? The thought process when writing for me comes second...I usually go strictly by feeling and catharsis...I just vocalize whatever comes out unplanned. So, really, there was no thought process. I apparently needed to purge my feelings of being trapped somewhere you don't want to be. After performing it the instrumentals took me to a place where I apparently felt was a good time to purge the "Run run away. I tried. I tried. I tried. I tried." and "I couldn't run no." The unwanted sexual experience I had as a child was something I only told to two or three of my friends at various times and counselors. I only told my parents a couple of years ago at the age of 33. I used to journal every day for nearly 25 years and had never addressed or confronted these feelings, so it's very much like that young boy I see in pictures talking to me directly, and thanks to the help of professional mental health providers and counselors I can realize that the love, compassion, and care I feel for that young boy belong to me and I am indeed worthy of love and will protect that kid. How have you found yourself growing as a writer, artist, and individual from 2015 to this present moment? Sadly, I feel stagnant as an artist, though I know it's not true. I have always required absolute solitude in regards to physical proximity from people for me to be able to open up and be vulnerable and purge and create free from any outside perception or judgment or feeling like you have to perform, so I'm biding my time for the opportunity to potentially see what comes out. I have learned so much from that time period, to now that I'm sure the changes will be reflected in whatever comes next, but even if nothing comes next. I'm proud of what I've done and where I've been. crowspeaks.net

Hailing from Atlanta, GA, Boi Blue was entrenched in music from a young age, raised in the south where the music, food, and culture are rich and full of soul. Growing up around the church, music was an inherent part of his life, but it wasn't until he began listening to classic, influential rappers such as Biggie, Tupac, and many others, that his passion for rap took flight. Boi Blue has grown and developed his own, soulful style; a musical illustrator, painting on a canvas of silence with colorful, rich words. It's safe to say the budding star has mastered the art of storytelling that has made classic rappers the icons that they are. Fresh off the release of his six-track EP 'Say Less,' Boi Blue exemplifies a sultry opus of dim Contemporary R&B vibes that heighten our sense in a major way. As we zone in on the second track heard on this body of work, we're greeted with "Girls Want War," a brilliant display of time and spatial components in the artistic route of songwriting. Boi Blue's vocals jump out of the speakers as we're immersed in various styles of the striking timbres he releases in a passion-fueled performance. The reverberated universe that has us in a simmering stew containing only the energetic vigor that Boi Blue personifies is unparalleled. The way that the narrative pours from his soul-laced exhibition of talents is remarkable. We're truly hanging on to the edge of his seat as we hear the musical influences that he allows to speak into his musical creations, all while creating his route with a melismatic panache. Serving us this delicacy on a silver platter, Boi Blue varies in his imaginative tendencies as he is the tour guide of our emotions through "Girls Want War." With a slow tempo foundation of bass-heavy components that remain the sturdy groundwork for his angelic crooning to lay upon, we have to admit that Boi Blue is a one-of-a-kind talent. Wearing many hats that all suit his self-assured swagger, we're ready to dive into the rest of "Say Less." Thank you for joining us at BuzzMusic, Boi Blue, we absolutely love the vibes that you emit in “Girls Want War.” What was the moment that brought you the inspiration for this particular single? Hey, thank you for having me! Yes, thank you! I enjoyed creating this song, I actually wrote and recorded a similar song a few years ago but it was never released unfortunately so my producer and I wanted to create another version but with a more melodic feel. The song was inspired by true events Atlanta nightlife, boy meets girl, love at first sight kind of thing. I just wanted to paint a portrait of that whole experience just with words of course. Does this song mean the same thing to you that you would like your listeners to take away from it in terms of thoughts and emotions? Yes, I really tried to go in-depth with the lyrics to create a feeling that the listeners could vibe to, even though it’s a short story the feeling is memorable. What is the entire concept of “Say Less,” based on? How long did it take you to create this body of work? Say Less is a statement used to express an understanding. I use it for motivation when it’s time for me to get something done, especially when it’s album time. It took me 5 months to complete this project because I wanted to create a specific sound, I spent most of my time picking out beats, also mixing the tracks in the way I wanted them, I’m always searching for the right sound. How have you found yourself growing in your musical journey as an artist from the first release of yours to now? Yes most definitely! I’ve grown so much musically, that’s the whole meaning of this project today. I wanted the true fans that have been with me on this journey to feel this way as well. In 2011 I started as a great rapper, today in 2021 I’m a great artist who studied and mastered his craft, and Lord willing I hope that it grows even bigger than what it is today. What's next for you? I plan to keep growing as an artist and an entrepreneur. I just started a record label and I’m looking for more inspiring people like myself to help build a positive and solid foundation. Instagram #BUZZMUSIC

Born and raised in a small town in Israel called Arad, Yarin Glam moved to LA at the age of 14. Yarin Glam’s Middle Eastern background shines through her music as she brings her most authentic self into each project. Her songwriting is inspired by Pop and R&B artists ranging from Rihanna to Lana Del Rey to Justin Beiber. Yarin Glam’s core focus with her music is to share her journey of freeing herself of doubt and celebrating her diversity. Fresh off the release of her highly anticipated single, “Unbothered,” Yarin Glam takes the artistic opportunity to douse her listeners in a pool of empowerment. Being the follow-up track to her previous releases, ‘Realness’ and ‘Shut Up,’ Yarin Glam has seen a spike in her streams as her rapidly growing fan base flocks to her overflowing charisma. With the melodic instrumentation taking notes from her Middle Eastern background, the intoxicating creation sits in the realm of the subject matter that she discusses. With her buttery vocals shining a bright light on themes of being your authentic self, despite what society tells you, we are fully immersed in the unapologetic confidence that Yarin Glam exudes as she reiterates, “Imma keep doin’ me.” How the production taps into numerous elements of creativity are brilliant. We’re fixated on the fusion of distorted textures that accompany the soothing hues radiating in the vocal performance before us. As we reach the end of the song, Yarin Glam can be heard speaking words of Hebrew as she chants, “Ki Ani Affa Al Azmi.” Translated to English, the intricately placed lyrics mean, “because I’m feeling myself.” With the lyrical motif of the track, we’re all for the boisterous self-assured vibrations that Yarin Glam fluently sends to her listeners far and wide. Welcome to BuzzMusic, Yarin Glam, and congratulations on the release of your hit song, “Unbothered.” We love the message that you send out in this song! What inspired the overall creation of this track? So unbothered for me was the perfect ending to my EP. it’s a feel-good song that’s empowering and all about self-love. I wanted the song to be fun and for the message to come across with my lyrics. Could you please share a glimpse of what the creative process looked like when bringing this song to life? I went into the studio with a clear vision. I wanted to bring a middle eastern vibe into the production to bring some authenticity to the song since that’s my background. I wanted an empowering song. I wanted the message to be I am who I am if you don’t like it? You don’t need to be in my life. What is the main message that you send out to your audience through your artistry? With this whole EP, I wanted the message to be all about self-acceptance. I shared my story of battling anorexia and the importance of embracing yourself for yourself. Not what society tells us we should or shouldn’t be. What's next for you? Hopefully, once covid is under control, a goal of mine is to perform my music live. And of course, keep growing as an artist, keep creating more music, share more stories and hopefully inspire more people in the process. Instagram Twitter #BUZZMUSIC

Raised in the small city of Tomball, known for being the guy to do it all, Cris Ponce, professionally known as T.N.L.C, is fully wrapped up in music so he can share his knowledge with his audience. After years of listening to many talented artists, he has found vast inspiration from Logic, Kendrick Lamar, and Mac Miller. Tapping into his inner self to obtain a creative mindset for his flow and rhymes, T.N.L.C is looking to become the next life changer in the music industry. If you’re looking to tap into that nostalgic emotion felt bop that easily transports you to a dimension of sentimental appreciation, then T.N.L.C has you covered with “Divine.” His latest release captures a glimmer of new wave charisma as it simmers in a pool of old-school Hip-hop tenors. The presence that comes to the forefront in his tonal distinction is unmatched. You’re fluently drawn towards the mesmerizing grasp of T.N.L.C’s wavy performance. He effortlessly extends an invitation to his fresh rhymes that remain timeless in a fully seasoned era of wordplay. T.N.L.C even went as far as to pair an easy-going visual that casts a gravitational pull out into the universe as his message in “Divine” is well received by his listeners far and wide. Taking lyrical dexterity to another level, T.N.L.C is a hybrid of his own. The wit he carries as a wordsmith teleports your mind to encyclopedia pages as he is a walking preacher. T.N.L.C shows no signs of slowing down as he continues to garner attention from a wide-ranging audience. Depicting vivid imagery in the word he displays, T.N.L.C is on the right path to becoming a game-changer in the Hip-hop industry. Welcome to BuzzMusic, T.N.L.C, and congratulations on the release of, “Divine.” What was the inspiration that carried your mind through the writing process of this track? Making Divine was a super fun time and being inspired by Logic, Kendrick Lamar, and Mac Miller I knew that I would have to come in with genuine wordplay. I added a little story of myself of how people are ignorant nowadays and how before music I was actually just planning to become a Master Barber but people get “Jelly Belly” (Jealous) and they have to bring someone who is doing good down. I don’t have a license to perform any cosmetic performance and that’s why I started to make music instead. It was something I’ve always wanted. Hearing about Logic’s retirement really made me sad bc I look up to him the most when it comes to making music. I paid homage to him by making a whole mixtape about me and I hope one day to get his recognition by meeting and even making a song with him. He is the reason why I started to make music. Without him, I know that I wouldn’t have super fast wordplay. I wanted to keep his legacy on but a few weeks ago I started to see that I can’t be like him. I’m T.N.L.C “The Next Life Changer” and I’m here to make a change in the music industry by always keeping it real no matter the situation. This isn’t any longer Logics Legacy. This is my legacy. The next life changer’s Legacy. Divine is one of my best songs I’ve created for now and it will always be in my top 5 no matter what. Could you please share what this song means to you as the creator? This song defines the basic meaning of hate and jealousy of people in this world. We all greed and we are all jealous at times. My hook is super simple but the way I made it sound makes anyone want to sing to it. “ Yeah, I’m feeling divine! Momma told me it’s time for me to shine! Cuz I pray for the enemy! And they wasting time and energy when they can spend it with me” those few bars mean soo much to me as I have lost a lot of friends as I’m giving my life to God as I’m a Christian Catholic and people see my change as I’m a goofy person but I have my limits. Barbering means a lot to me as I explain how someone basically reported me in the lines of the 3rd verse “but in summer 2020 people were hating on me. Right now I will am making a mixtape. Grad of ‘21 don't feel like a mistake. And not only that, I wanna throw my white flag. Why hate on ur peers when a kid was just trying to chase a damn bag” Money isn’t important to me as it doesn’t bring happiness in my life. Do I need it to live? Of course. Everyone does. I’m still in Highschool for now as I’m a graduate of 2021. And I hope to whoever listens to this song that they get a brief sense of my mindset and how I see the world. I want to make this world a better place by simply spreading positive vibes and spreading God's word slowly but surely. We love the simplicity of the music video showcased, it allows the focus to remain on the words you portray. Was this always the vision for the visuals? My Hometown I'm always going to represent and never forget about was the perfect place to record this music video. The old town feels and my song instrumentals and to top it off my vocals and verses coming in like it all made sense. Sure it is my first official music video as an independent artist and I see my flaws but that won’t stop me from improving my craft. Keeping it simple was definitely my key vision for this music video. I don’t like adding super big effects as it wouldn’t fit the genre. How I see it is that I made this video just like a good simple breakfast. You add the milk to your bowl of cereal. What is the main message that you’re hoping your listeners take away from “Divine?" As I’ve said before the main message for this song is that I’ve got actual trying to pray on my downfall and me being a follower of God I know that it’s not right to play with fire and just keep praying for the enemy. Without my Heavenly Father, I know that all my achievements wouldn’t have been able to have reached the day of light. This mixtape still needs to see it’s a day of light but we are to a good start so far. The simplest way I could say the message is “ just be u and keep going no matter who tries to bring u down. No matter what life brings me, I always will give everyone a smile.” What can fans anticipate to hear next? The best part is that I’m working on my Debut Album called “Shoes of a Beginner, Mindset of a Winner” this album and let me repeat that. This album will blow away this whole mixtape that I have created. It’s going to have roughly 22 songs and it will be the album that gets me to have that recognition I’ve been aspiring for. It’s going to come out this year 2021 for sure but I’m just not sure when exactly yet. I’m going to release a single from that album which is called “Floating” this coming April 16 so stay on the lookout for that. I have 2 new singles out which are called “Envisions” and “Chillax”. Both bring 2 different vibes and envisions is more chill and chillax is more for a “Friday feel” I’m here to make a change with my music and May God bless everyone who listens to my music and who is willing to keep up with my mindset as I really am in the shoes of a beginner with a mindset of a winner. “Trusting God no matter the situation” - T.N.L.C 2021. Instagram #BUZZMUSIC

Born and raised in Brampton, Ontario, Canadian singer-songwriter Julianna Jones has been crafting her sound for over 16 years. Drawing musical inspiration from influences like Demi Lovato, Ariana Grande, Larkin Poe, and Summer Walker, she has developed a Pop/R&B sound with a Rock ’n’ Roll undertone. Julianna Jones infuses multiple genres into the songs that she crafts, as she writes from her personal experiences in life and love. Using these tools to carve out her own unique space in the Pop community, she continues to prioritize her love for music as a solo recording artist, vocal coach, and businesswoman. Applying the artistic pressure in her most recent single, “Bad for Me,” Julianna Jones steals the show with her sultry vocalization depicting a narrative about someone’s energy being toxic to her aura. The charismatic appeal that Julianna Jones conveys through her radiating timbres is inimitable. She is a powerhouse of a vocalist and with each note that she has us hanging onto, we feel invited into her authentic storytelling. As she carries forth an illuminating poise and self-assuredness through her messaging, we can't help but think that we wished we could carry that typo of confidence Julianna Jones displays in “Bad for Me,” every day of our lives. The upbeat instrumentation acts as a fortified foundation in which she uses as her stomping ground. The musical arrangement syncopates with her artistic styles in a seamless blend of intoxicating harmony. Dabbling into the unapologetic persona that she effortlessly embodies, we have to say that we love the light that Julianna Jones is shimmering in. Grasping the true quintessence of her fierce energy, the performance was given in “Bad for Me,” is one for the books. Make a point to keep Julianna Jones on your musical radar as she continues to put her best foot forward. Welcome to BuzzMusic, Julianna Jones! Congratulations on the release of, “Bad for Me.” We love the energy you showcase on this track! Was there a particular moment or story that inspired the creation of this song? Most artists have a story behind their songs, and when I wrote "Bad for Me", I didn't have just one thing that inspired it, it was a multitude of things at the same time that had lead me to my breaking point. I found myself stuck in a situation that felt very manipulating and toxic so one random Monday night in mid-December I sat down and wrote everything I was feeling at around 1:30 am and sent it all to my friend. All I had at the time was a crappy voice memo and background beat. With each artist varying in techniques, what environment do you find yourself to be the most creative with your art? I am very much a night owl, so my creativity tends to come when I'm alone in my room with my piano at late hours of the night. I try to dive deep into my past experiences or events I've seen my friends go through and write based on true events or feelings. Could you please share a glimpse into the recording process that has placed “Bad for Me,” in our speakers? The recording process for "Bad for Me" was super easy and entertaining, to say the least. Most of production was done by my long-time friend Garrett LaJoie and then sent off to MUSICBYMILANO, who's worked with Tory Lanez and Icona Pop, to name a few. I love collaborating with different artists and connecting with people who share the same interests as myself. What are you hoping your listeners feel when hearing this song for the first time? Is there a particular lyric that you would like to stand out to them? What I hope that the listeners take away from this song is that if they're in a similar situation, that they know the signs of a bad relationship, realize their worth and know that they're not alone. No one is perfect and we all make mistakes, grow and learn to create a better version of ourselves. It's taking that one step to get yourself out with the old and in with the new. Just remember whenever you're in a toxic situation, "Is that really what I'm worth"? What's next for you? I am planning on releasing more music this year to further my career as a solo singer-songwriter and dabbling in more production and songwriting. Instagram #BUZZMUSIC

Operating out of East London/Kent, Steve Davies, the man behind Wicked Winters, creates an atmosphere of serenity as he uses musical ability to touch on feelings of loneliness and despair in a light manner. His new single, "Orchestra Of Doubt," gives audiences insight into mental health and allows them to relate on a personal level, as the single uses depth to cause inner fulfillment. This tasteful piano tune is paired with a tranquil ambiance as Davies' outstanding vocal range stands alone. Each organic lyric creates a sense of relatability as his inner vulnerability is brought out on full display. Davies' passion is heightened as he draws towards a message of enduring the restrictions we have all had to achieve through the pandemic and the emotions that came along with them. Although the pandemic offered its challenges for social individuals like himself, Davies' used this opportunity to express his feelings as he began creating music again. Although this song is filled with emotions, it will create a different response from different types of people, and that is a very important part of "Orchestra of Doubt." Discover more about Wicked Winters, here. Instagram Facebook #BUZZMUSIC

22|DEE is an artist from Copperas Cove, Texas that centers his music on the genres of Rap, Hip-Hop, and R&B. Beginning his career crafting purely R&B music referred to as heartbreak melodies, he reinvented his sound last year and took on the persona as Fly Guy. Now, 22| DEE's music revolves around family ties, women, his love life, and motivation due to his inner struggles with himself. From the effervescent release of his album, 'Welcome to Wonderland (Finally Living: Wonderland Edition),' we draw our attention to the second track found on the project. "22's Wonderland (Entrance to Wonderland)" is a collaborative body of work that features the talents of Eve. Approaching an Electronic realm in the instrumentation choice embarked, the upbeat ambiance has us on our toes both literally and metaphorically. The anticipation that brews on this record is immense, as 22|DEE allows his quick-paced cadence to be flexed throughout this buoyant soundscape. The distortion that simmers in his vocals adds a textured layer of persona that trickles into the arrangement. It allows the evolution of "22's Wonderland (Entrance to Wonderland)" to be that much more impactful. The contrast that sits in both the performances of 22|DEE and Eve is thought-provoking. Their talents go beyond the words they write down and transcribe into melodic creations and dip into a pool of perfectly timed kingdoms where their zealous personas shine bright. Adding a little tender love and care into each composition exuded, 22|DEE has a little something for everyone. With 11 songs to be explored on his latest album, it's worth the listen and journey you will venture on. Welcome to BuzzMusic, 22|DEE, and congratulations on the release of '22’s Wonderland (Entrance to Wonderland).' Such a unique fusion of genres explored! What was your motivation for the body of work found on this album? The motivation behind the album sonically was just to bring the listener into the highs and lows of “Wonderland”. Wonderland is a symbolism of life itself. There are multiple stages and chapters people experience so the album starts with more upbeat and energetic music until it transitions slowly into a more dark and heartfelt set of music. On the song “22’s Wonderland (Entrance to Wonderland),” what did the creative process entail when you fashioned it together? So the motivation behind 22’s Wonderland was to make the listener feel as if they were being led into Wonderland. That’s why In the beginning you can hear me talking and calling for the listener to follow me until “EVE” announces that you’re entering into Wonderland. Then the beat came in with such an energetic/theme park feel that I wanted to capitalize on that and make something that was high energy but also smooth on some parts kinda like a rollercoaster. How do you allow your musical and non-musical influences to speak into the work that you create? As for as musical influences go I’m a huge fan of artists like Uzi, Travis Scott, A boogie, & the list really goes on and on. I’m heavily influenced by artists who can really rap and use autotune for melodies so I just think they all influence me in the different flows I use. I actually love it when people say “Ohh this gives me and Uzi vibe” or “This sounds like Lil Baby” because they just name people that influence me let alone greats so I take it as a compliment. As far as non-musical influences affecting my music Anime would be my main one. Anime’s been something I’ve loved since my middle school days and a lot of them really incorporate a lot of life lessons and emotion into them. I think this helps me tap into the more emotional songs I create and just has made me be more in tune with other sounds because I actually like a lot of the intros and outros to anime. It’s actually one of my dreams to be on an intro or outro so I hope to tap into that field as I move forward. What inspired this new-found sound that you deem as your own? I think what really inspires my sound would be my love for all kinds of music and the use of autotune that allows me to combine them. A lot of people like a bunch of genres but stick to making music in a similar box. I’m the opposite, Sometimes I’ll think okay give me an EDM or pop beat but ima put my sound on it to make something completely different. I’ve made rap, hip-hop, RnB, lofi, EDM, pop, and even country songs. Music is such a beautiful thing and I wanna experiment with every sound. Sometimes it gets overwhelming trying to please everyone in my fan base but hopefully, my different sound is eventually accepted by everyone but if not it’s okay it’s fun making the music I love. Hopefully one day I get my own genre called “Heartbreak Melodies” which all my music can be categorized as! Instagram Twitter #BUZZMUSIC

The Michigan-based singer-songwriter/multi-instrumentalist collective Shady Groves releases their smooth and melodically-rich single, "Smoulder," and an accompanying music video. Delivering a slick electro-pop sound drenched in rich tones, driving arrangements, and crooning vocal melodies, Shady Groves continuously keeps their audience coming back for more. Compromised of Adam Fitzgerald, Dylan Caron, and Jeff Yateman, Shady Groves is currently gearing up to release their sophomore album, 'Dreamboat,' on April 1st, 2021. Now releasing their second single, "Smoulder," from the forthcoming album, the single and accompanying music video offer an immensely unique and daydreamy groove. Created by Elaine Smith, Shady Groves' music video treats our eyes with the utmost nostalgic and psychedelic edits while floating with the song's melodic and harmonious tones. Listening to the single, "Smoulder," we're met with pulsating synths and delicate pads, offering a tender and smooth-sailing sonic atmosphere. Once the beat drops into a down-tempo and relaxed rhythm, Adam Fitzgerald makes his way in and begins singing of wanting someone who tends to play mind games. Fitzgerald's vocals at the chorus deliver rich harmonies alongside Shady Groves' steady and chilling sonics/instrumentals, finishing the song with heart and passion. Moving into the psychedelic music video for "Smoulder," Adam Fitzgerald stars solo in this video while roaming various fields and pastures. The entire video delivers crisp editing and effects created by none other than Elaine Smith. Capturing nature's gifts through shots of blue skies and green meadows, Adam Fitzgerald plays his guitar while roaming through nature alongside the song's dreamy tones. Watch Shady Groves' music video for "Smoulder" on YouTube, and keep an eye on the collective as they prepare to release their sophomore album 'Dreamboat,' on April 1st. Hello Shady Groves and welcome to BuzzMusic. We love the soothing and psychedelic tones of your latest single, "Smoulder." Would you say that most of your songs offer this psychedelic and wavy feel? Adam Fitzgerald: First of all, thank you. Honestly, all of our songs are very different, we try to push ourselves into new sonic territory while also expanding on what makes us "us" and staying consistent. Our other brand new single "Like You" was once described to me as Beach Boys meets The Strokes, which feels pretty perfect, while "Smoulder" is a lot moodier. We love all sorts of music so I've always been into the idea of our albums sounding like mixtapes. Our heroes like the Velvet Underground or Grizzly Bear or blur / Gorillaz or Broken Social Scene always have such different songs & I love that. I think part of that sound on "Smoulder" comes from my guitar tone, which is something that has evolved over the years into a special kind of amorphous weirdness. We like to do different things because we like so many styles of music, we never want to do the same thing twice. Some of our songs are folk sounding, with mandolins or banjos or ukuleles or whatever, then we have songs like "Smoulder" or "Waves" that have that "wavy feel" (love that by the way, thank you) so we usually just say our music is "indie" when people ask because it's a nice umbrella term - we've been called "genre chameleons" before & I dig that. I'm even able to sample my guitar now or use my guitar pedals like an MPC/ sampler, which I do on this song & "Backflips" so there are some wholly unique sounds & blends happening in our songs, which goes along with us striving to push ourselves. When we record, we tend to layer shit endlessly, even "ghost layers" no one else would ever know are in the compositions, which I'm especially guilty of when I make my strange brand of guitar goop soup. As our friend/producer/engineer Jeff Yateman / Jemmi Hazeman said to me about mixing our music: "it's not just two fuckin' guitars, bass, drums, keys & vocals - there's a lot of shit in there, it takes time." (LOL) For this song, I wrote & recorded a demo for "Smoulder" with just a simple hip-hop beat & then I looped just that main bassline for the whole thing, so it had that kind of hip-hop / R&B rhythmic groove, but shoegazey & lo-fi with dream pop guitars half in reverse & half sampled, then later I was able to clean it all up & finalize the bass, plus our friend Shane Fleisher played actual drums on it. I'm very much into all types of music, from jazz or chillwave to dream pop and shoegaze & every era of R&B, so my songs end up coming out a little spacey, or perhaps our sound is naturally schizophrenic. Both Dylan & I are very eclectic in our tastes but also particular types of people, & I think that's why we bonded young in our random little hometown outside Flint, MI before we escaped it - we're two totally different dudes but we understand & respect each other. Part of that "feel" you mention I do think is us as a band, part of our "sound" I guess, which may be at its core has always hinged upon the harmonies Dylan & I sing together. Funny, in our very first write-up for "Plain Dream" they called it soothing - even though that is more of an indie-folk-pop song, so maybe we're doing something right consistency-wise, despite genre or style. Maybe we're off-kilter pop. Dylan Caron: I actually pay $2,500 a week to have 7 theremin players nearby to play sinister sounds to me as I splash my toes around in the bathtub. It’s like medicine for my soul and the only way I am able to come up with song ideas. Where did the lyrical inspiration for "Smoulder" come about? How did your group divide the songwriting? Adam Fitzgerald: It's always been 50/50 - Shady Groves truly is Dylan & I. It started with just the two of us, when Dylan brought me the song "Plain Dream" I was blown away, so I helped him finish it, and from then on we've just been helping each other finish songs. Sometimes I'll write an entire song like "Smoulder" and Dylan will add his angelic vocals and then the harmonies will be what makes it for me, or our friend Colt adding the Moog synth. Or Dyl will write a song like "Like You" & I try to do whatever I can to help. Or we write songs from scratch together, like "Pocket Knives" - so, we actually write songs separately & together, collaborating in person or via email, sometimes over oceans like when I was living in Edinburgh. Sometimes Dylan & I trade verses, then sing the choruses together, or we just back each other up. Usually, we both play guitar & both sing on every song, plus whatever. As for the lyrics for "Smoulder" specifically, I think it taps into a similar mentality/pathos as the entire album - trying to make sense of the end of the world - how does romance or life, love, addictions, etc. function during these times? It's a love song for the apocalypse, about choosing the right things over the wrong shit even when everything's falling apart. Dylan Caron: Although I didn’t write any lyrics for this particular song, I saw a hawk flying over the peak of O’ryans Crest at the time, which made me go into a deep deep state of meditation. I then got the most organic smoothie Tropi-Kale Smoothies has to offer and used my telepathy to send brain activity to Adam. Seeing as your group offers deftly-produced sonics, what was the creative process like for "Smoulder" when finding the right sounds to complement the song's lyricism? Adam Fitzgerald: Dylan said something the other day along the lines of, when we're writing songs we try to find words that feel like the music. I like that because I think that seems right. Sometimes we slave away over songs, changing lyrics, chords, particular instrumental parts, etc. Then sometimes they come together fast like this one kinda spilled out of me quickly. Obviously, a lot of it is what you're feeling at the time, it comes out in one way or another, musically or lyrically, we just try to align the two - but I also think it comes from the vibe that became encapsulated within this entire second "Dreamboat" album - shakey notions about human ideals, like - what is happiness? What is the ideal partner? The ideal life? What is your "Dreamboat" to sail away from this hellish reality? Even though the world will smolder, we're growing older, etc. maybe it doesn't matter. (Another idea that has become cohesive to the album - as a similar lyric is in the refrain of our other newer song "Backflips" also on this record - "it doesn't matter" = https://soundcloud.com/underflowrecords/backflips-by-shady-groves ). Thank you for your kind words, I would say our former member & current engineer Jeff Yateman is responsible for the deftness of our sonics because he has the golden ears as we say - we've recorded & produced this entire album "in the trenches" alongside Jeff / Jemmi Hazeman but he's the one really engineering it, mixing & mastering it (in those trenches), then we are releasing the album through our collective Underflow Records. Dylan Caron: I heard an audio clip of Billie Eilish brushing her teeth and it hit me like a ton of organic bananas. I knew: ‘this is how my guitar tone needs to sound’ so it’s supposed to sound like Billie Eilish brushing her teeth... How do the released singles from your album 'Dreamboat' help listeners know what they should expect from the forthcoming project? Adam Fitzgerald: Good question. I hope the singles we've released so far show people that we're not a "one-trick pony" so-to-speak. Again, Dylan & I write together & separately, so our songs are all over the place in all sorts of ways. Sometimes it's just him & I on the tracks, plus a drummer like Sage or Shane or Jeff, or sometimes our friends like Jamie (bass) or Colt (keys) might add some stuff, but for the most part, we work well together because we aren't too precious about it - we take our music seriously but we don't take ourselves too seriously. There's too much ego in music, so we try to be as egoless as possible. We always try to do what's best for each individual song, we're not worried about who does what or how it happens or credit or notoriety or percentages or blah blah blah. Dylan & I try to go with the flow. Whenever we talk about music or art we just do it and try not to get our hopes up because we've been making music together in some form or another for a decade or so. It's like that quote "happiness is reality minus expectations" or whatever. Dylan Caron: They can expect a laser production, created entirely from video clips of glow fish. Instead of sounds; we are making music for the eyes. What's next for you? Adam Fitzgerald: Our third album. Somehow Underflow has grown into this proper international collective & brand, so in a way, I'd like to believe that motivates us, even more, to keep releasing music, even if we feel like no one cares half the time or shows aren't happening anymore or whatever. When I was in the UK & Dylan in the US, we never stopped writing - together & separately. As Dylan said the other day, we have songs that have been in the works for years now, and some of these are finally going to surface on our third record. I'm as excited to get "Dreamboat" out to the world as I am to properly record these songs for LP3 because I think they are some of the best we've ever written - together or separately! I'm also going to finally release some other songs & beats I've been working on alone over the years as Quells. Plus lots else through Underflow we're really excited about like a new collaborative Jemmi Hazeman & The Honey Riders album, and new music from Pesky Kid, Jeb Busch Lite, A.R. Laidlaw, Golden Spine & more. Hopefully, one of these days I'll actually get the first book in my series published also... Dylan Caron: I’m thinking of dropping all the music stuff and becoming either a Nascar driver, astronaut, or a cowboy... just some old cowpoke no big deal sort of thing... people see me and think, "Wow, there’s a guy that’s got it all figured out. Also, he’s wearing spurs, which I respect and admire. I wanna be his friend. And then I take a photo with them, just some "ok cowboy going about my day at the saloon” type stuff. Instagram Facebook BUZZMUSIC

A prolific writer and performer, Julia Klot hails from Brooklyn, NY as a singer, songwriter, and pianist. Julia Klot's musical manuscript reflects a storied youthful life just beginning. Her original compositions create melodic and intricate piano parts accompanied by her dynamic vocal range that throw it back to singer-songwriters such as Carol King and Elton John. With her most recent EP, 'Ghost,' Julia Klot places her undeniable knack of pairing lyrical story-telling with striking instrumental arrangements. In the songs that she brilliantly brings forth, she allows harmonious stories of growth, love, loss, and happiness to touch the listeners emotionally. To commence the collection of the five carefully crafted songs found on 'Ghost,' Julia Klot sends anticipating chills down our spine with the introductory track that also acts as the title track for this project. "Ghost" emits an enticing soundscape of delicate keys creating a sonic whirlwind of emotion to fill your soul. Depicting imagery of past memories flooding her mind, the tantalizing tones sink into our headspace a bit deeper as the arrangement of this melodious composition progresses in an intense liveliness. Julia Klot sprawls her striking vocalization of this track as she exudes various vocal ranges that make up her talents as an artist. Seamlessly fluttering over the prevailing story that catches our inner sentiments, Julia Klot establishes the intriguing hues that are cast out onto this EP. As we delve into the second song on the tracklist, we are opened to the universe of "Temporary Tattoo." Taking this sonic voyage to a place of deeper resonance, the raw emotion that is offered in this song remains a vulnerable dreamscape of elusive recollections infiltrating your mind. The deluxe lyrical motif of, "My worries are inked on my body, but I hope it's just a temporary tattoo" runs as deep as ink in the skin as Julia Klot reiterates the earnest meaning to her audience. Haunting harmonies approach before the final performance of the chorus sends your heart into overdrive. The authenticity that Julia Klot delves into has us shook to our core. "Picture in a Frame" slows the tempo down as we welcome ourselves into the open invitation that Julia Klot has set out in this heartfelt ballad. Focusing our attention to the heavenly timbres that she radiates as we get a taste of nostalgia, Julia Klot takes this moment to pay homage to Tom Waits' original version of this song with her inimitable rendition. There is something so breathtaking about the passion that Julia Klot places into this masterpiece. This desire runs profoundly through the depths of Julia Klot as an individual and artist, even if this is your first time tuning into the musical creations she casts out. Pulling us into her warm embrace, we admire the fluent offerings as she conveys a message of love. "Time to Miss You" adds a buoyant essence to the otherwise melancholic theme of the fourth single on "Ghost." The display of Julia Klot's songwriting techniques jumps out of the speakers as she breaks a piece of her heart off to transmit this beautiful message dripped in luxurious harmonies. Reminiscent of Taylor Swift on the album 1989, Julia Klot truly sparkles bright with the manner in which she exudes her euphonious vocalization. Wrapped in the embodiment of less is more, Julia Klot is singing proof that a deep massage and hunger in the way you move will take you to places that you've never been. As we reach the final piece on 'Ghost,' Julia Klot takes us to the most intimate sector of her yearning sentiments. Through this sonic expedition that has carried us through innumerable feelings, the ambiance that gently trickles in, "I've Cried for You," implodes upon impact. With a minimalistic approach to the ethereal atmosphere that the instrumentation provides, it gives us a chance to fully take in the lyrical hues of Julia Klot's soul-infused messaging. As we end this EP with a more reflective mindset, Julia Klot has outdone herself in allowing us to feel the music more than it is heard. Welcome to BuzzMusic, Julia Klot! We are loving the sounds that you offer up in, 'Ghost.' Could you please share what the creative process entailed when structuring the tracklist for this EP? ‘Ghost’ very much tells a story in the way that it shows the progression through a relationship. The EP starts off with “ghost” which is about a past love that comes back to haunt you; “temporary tattoo” which is about the anxieties that come along with entering a new relationship, and wondering whether those anxieties are permanent or only temporary; “picture in a frame”, is my rearrangement of the Tom Waits original about unconditional love; “time to miss you” is about being apart from and missing the person you love most; and “I’ve cried for you”, the last song of the EP, talks about a person who you know so we that they push you away. The tracklist for my EP is actually organized in the order that I wrote these songs, and I feel like when I sat down to compose, I unintentionally wove a story that didn’t quite make sense to me until I was thinking about the significance and meaning behind the EP. A lot of artists have a hard time finding the finishing point when creating such intimate pieces of work. At what point did you know that the project was completely finished? 'Ghost' is very different from any other compilation of work that I’ve done in that it feels much more intimate, vulnerable, and mature. There came a point in the recording process for this EP that I had about 3 of these songs finished composition-wise, and I was feeling stuck because I didn’t want to end the project there-- it felt like an incomplete thought. At the time, I was feeling super inspired by the beautiful simplicity of the song “Picture In A Frame” by Tom Waits, and I wrote my own arrangement to it. I ended up loving the sound I created and I felt it fit very well with the vibe of the EP. Shortly after that, I wrote “I’ve cried for you” and as soon as I finished that song, I knew that it would be the last song of the EP. “I’ve cried for you” feels like a closing track to me because of the experimentalism of the sound and the sincerity of the lyrics. It’s definitely my most vulnerable track on the EP and I felt it was only right to finish off by saying something that felt important to me. Out of the five songs that you offer listeners, do you have a particular song that resonates with you more than the others on this EP? I guess I already somewhat answered this in the previous question but “I’ve cried for you” resonates with me the most. I wrote this song about a close friend who I care deeply about. The song addresses this friend saying, “You say you don’t feel pain, I know that’s not true/Don’t you know how many times I’ve cried for you”. A constant throughout this song is the reminder that I’ve cried for this person, that I’ve felt actual pain because I only want the best for them, but that they continue to push me away because I know too much about them. I really tried to reflect the somber tone of this song with the soundscape-- every time I listen back to this song, the synth pad and eerie layered harmonies speak to me in a way that no other instrumentation on this EP does. In your own words, what does the body of work, ‘Ghost,’ mean to you? To me, “Ghost” is a vulnerable expression of intimate feelings and anxieties that we tend to usually overthink and hold onto. Instead of holding onto these feelings, I decided to channel them into my music and share them so that other people can feel less alone in their thoughts. What is the main message that you’re hoping your listeners take away from your music? A message I would like for listeners to take away after listening to my EP is that it is okay to be sad and to have anxieties that make you question the significance of love and relationships. However, it’s always worth thinking through these anxieties to uncover true feelings/how you really feel about certain situations. Writing this EP helped me think through feelings I didn’t even know I had to deal with, so hopefully, people can relate to what I have to say. Instagram Facebook #BUZZMUSIC