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Emerging Canadian hip-hop artist Yung Lavish releases her new single “Vivid Memories,” which spreads infectious lyrics and emotion. Being born and raised in Toronto, Canada, Yung Lavish embodies a unique personal sound that showcases the various connections she has been able to make in her city while still illustrating distinct respect for her culture. “Vivid Memories” connects Yung Lavish’s focused lyrics with a melodic instrumental that drops strong beats in a way that heightens her drive and personal mantra within the track. Each verse flows together in such a way that captivates listeners and draws them into Lavish’s confidence and powerful energy, encouraging them to act in the same way. Clearly shown in lyrics like “I got up out of these feelings” and “I got an attitude” it is clear Yung Lavish writes her music with a feeling of strong inner purpose that will ultimately lead her to become one of the hardest female rappers in the entire rap game. Connections to The6ix, (Toronto,) have given Lavish the opportunity to produce her music with some of the best producers, thus leading a new distinct female rap culture that is fueled by motivation, passion, and pure attitude. At only 21 years old with this kind of success, we can’t wait to listen to more of her powerful tracks that inspire so many. We really enjoyed your new single "Vivid Memories." What was your influence behind this confident and powerful track? I appreciate that. The influence behind this track is based entirely on my own experiences. Encounters I have had in the past. This is a track that tells a story I’m sure many of us could relate to, and overall it was more about showcasing exactly what I could bring to the table. I wanted to take a risk and maybe influence others to do the same. Why not? You mentioned the importance of Toronto in the creation of your personal sound and production connections. How do you think your background has impacted you as an artist? Toronto has shaped so many stories for young and talented creators. It’s incredible to see where we come from. My background is interesting. I have been around the music scene in this area since I was about two years old. One of my family members is a producer and he first brought me to his home studio when I was 8. Ever since I just knew this is where I wanted to be. Something in my spirit has just always told me ‘I have to work hard, so I can be the best.’ Although there are other multi-successful female rappers in the music scene right now, how are you influenced by them and how are you unique? With all the talent in this industry, it always excites me to see all of the skilled and successful rising women who are emcees, women who are artists who are effortlessly popping off and taking the reigns on the lead, in a sense. It would be impossible not to be influenced by them. I feel a sense of pride—knowing that this is the road they are paving. Amongst the new wave of female rappers also coming into the scene, what makes me unique is I just don’t take my foot off the gas. It’s always something I’m doing to better my brand. I’m an event planner, a non-profit business owner, a charity lover all that. I’m always finding ways to connect, network, and sell myself. So I apply the same mindset, to my music. You mentioned that “Vivid Memories” holds a motivating power and your personal mantra, how were you able to create this while connecting to your other singles? Yes, “Vivid Memories” does hold a bit of weight. Anyone who knows me knows I don’t appreciate false pretenses. If you really listen to the lyrics I just speak about men taking what they want out of a connection and leaving out what they don’t. Instead of just throwing the whole thing away. No sense in stringing anybody along, and there is no sense in disrespecting me when I set a boundary. When it comes to connecting this track to my other singles, I don’t necessarily try to connect separate projects but I guess some could say I follow along the theme of taking risks, speaking your mind, and when people do you wrong the best thing to do is to just keep it pushing & tilt that head up. What's next? Thanks for asking, I just announced on Instagram that I will be dropping my first EP mixed-tape this year. It is going to be the hottest project out the west, so make sure you follow me on everything so you don’t miss a thing. I also have a lot of collaborations coming your way too, so hopefully, you guys enjoy those as well. It’s a whole lot of new shit we got coming in this year. instagram.com/lavish_bby_

The word resilient is defined as, ‘able to withstand or recover quickly from difficult conditions.’ With this in mind, it is certain that many people can relate to the notion of being resilient through the events of 2020. Multi-instrumentalist Dr. Keys, a 20-year veteran of the Toronto live music scene, which has included a six-year-long solo piano stint at Parkdale bar Motel. Having worked live and in the studio with such artists as Shawn Brady, Disco Rebels, QuiQue Escamilla, the Dreadful Starlings, and Felix’s Belt, to name a few, one can say that his latest studio effort, “Hot Takes,” epitomizes the above-mentioned definition throughout the album. Written over a span of two weeks after going through a spell of writer’s block, Dr. Keys had decided the time was right to put out a solo album on his own terms. Adhering to widespread restrictions by self-isolating and making use of his home studio, Highview Sound, Dr. Keys enlisted the help of a few longtime friends to bring this album to life. The sonic result is one that is stylistically eclectic, yet brought together by common themes such as unrest and frustration, moving forward under any circumstances, and growth through learning. With 11 tracks to heighten your senses, Dr. Keys begins the album with the preliminary single, “Quarter Time.” In a Funk filled universe, the reminiscent tendencies can be cripplingly overheard in the instrumentation, as well as the vocalization. Submerging the audience in airy synths, a resonant bassline, and live off the floor drum patterns, the eclectic blend that Dr. Keys puts together brings the ultimate dance vibes to your mindset. Tackling the approach for, “Quarter Time,” in true nostalgic fashion, the composition includes a Bruno Mars influenced breakdown that peaks your interest in the most intriguing manner, without Dr. Keys compromising his sound. The experimental soundscape has you paying attention to each detail emitted as you sink into your seat for what’s to come on, “Hot Takes.” Switching the tempo to a mid-tempo sizzle of Jazzy vibrancy, the intriguing sound of “How Are You,” creeps into your mind through a swift mood transition. Dr. Keys allows the rhythm section to take the foreground in this particular song. Paired with the psychedelic ambiance that the synths conjure up, you’re deeply feeling the infectious grooves saturate your very being as you appreciate each detail brought to life. The raw and wistful vocal performance from Dr. Keys hits home on, “How Are You,” as you become fixated with the manner that the progressive instrumentation bends to mold around the melodic structure. Third, on the tracklist, we’re offered up an alluring approach to, “Corazon Y Alma.” Dr. Keys tends to this piece in a raw artistic manner as he commences the track with a live off the floor performance of the harmonious bliss captured by a 1999 Fisher-Price tape recorder, as seen on the album artwork. Slowly incorporating the full performance with the rise of each fader, the analog feels that we are receiving from the overall body of work that is, “Hot Takes,” conveys a unique offering in the world of music as we know it today. The intoxicating hook, “I must be simping over you,” has us repeating the chorus numerous times; including long after the memorable song is over. As we pick up the pace and the tempo pulses through the speakers, the up-beat environment that, “Premium Spirit,” displays is a bop your head to the vibrations kind of feel. Transporting us to the freeway with our windows down and the volume all the way up, Dr. Keys sets the ultimate tune frolic with the fourth track found on, “Hot Keys.” We adore the use of each sound effect, music drop, and live performance aspect of the realism exuded in the mind-altering fusions heard on, “Premium Spirit.” Welcoming us into his funk-filled world one song at a time, we could get used to the soul-infused grooves provided. Serenading us in smooth Jazz styled motifs, we are fans of the elusive atmosphere molding the soundscape of, “What It’s All About.” The lyrical content that dips into life’s lessons has our thoughts provoked with a fresh-minded appeal to the songwriting techniques that Dr. Keys nails with realistic views. A flowing balance between tranquil qualities and lush bass plucks, have us floating towards the great heights that Dr. Keys has cast as the destination of this sonic voyage. “What It’s All About,” slows down the echoes of the hustle and bustle we face each day, as Dr. Keys sedates us in evocative goodness. “Can’t Get Down,” sends shivers down our spine as soon as Dr. Keys' vocals kick into the wavy instrumentation. The manner in which he sings with a high-spirited juxtaposition is congruent with the minimalistic feel that the arrangement holds. Coming together in a unified structure, the harmonies that seep into this masterpiece add a dimensional flow as we pass the halfway point on the album's offering. Dr. Keys is in an unmatched creative realm that has listeners gravitating towards his eclectic talents. With the proper use of time and space, the vocalization hits even harder, as we immerse ourselves in, “Can’t Get Down.” The melancholy placed into the purely instrumental contribution of the seventh song on “Hot Takes,” acts as the needed interlude that we venerate deeply. “Issatoto,” plays profoundly on the piano performance that Dr. Keys sends out. You feel a storyline developing in the somber examples heard on this body of work. The wind noise assimilated in “Issatoto,” is brought to you by a 1974 Roland synthesizer. As you ease your mind with relief, you’re able to regain focus in a prevailing kingdom ruled by poignant concords syncopated with raw emotion. Shifting to one of Dr. Keys' favorite past-times, “Breakfast Song,” holds a raucous zest that gears you up to get in the morning. With this song being written several years ago, Dr. Keys steers the importance of homemade sourdough bread making the trend of 2020. The lively jive of this track is playful and hones in on the authentic traits that Dr. Keys embodies. There is no denying the artistic talents that this man has. He can sing about anything, and we will eat it right up. Serving us visions of breakfast foods dancing in our heads, we’re ready to hit the kitchen and have breakfast for dinner. We’re at that point in the “Hot Takes,” album where we’ve reached the lead single reminiscent of Sly and the Family Stone’s There’s A Riot Goin On. “Take It Back,” dishes out an unapologetic sound that shines a bright light on Dr. Keys' quirky, and boisterous persona. Right on cue, the vocals contain enough character to fuel an army. His brashness sets a prevailing tone of confidence that you wish you could embody. “Take It Back,” has us effortlessly bopping our heads as we take in all that Dr. Keys emits through his genuine self. We’re urged to keep this one on repeat; we’re sure you’ll want to do the same. Experimenting with time-signatures in the hard-hitting, “Detritus Wrought City,” Dr. Keys uses the song title to play upon KISS’ Detroit Rock City. Although the witty wordplay may be the only similarity, Dr. Keys lets this track live in the thunderous alleys of Rock n Roll. Fixating on the guitar solo that sends a high-voltage surge of energy our way, we’re sure that you’ll feel it too. It’s hard not to get caught up in the exclusive, one of a kind vibration that “Detritus Wrought City,” brings to the table. With it being vastly different from the other songs on this record, we find that it’s the perfect edgy feel as we almost come to an end of, “Hot Takes.” As we reach the final track found on, “Hot Takes,” Dr. Keys takes it upon himself to close off the album with a genre he deems as ‘space-folk.’ A sound that we have yet to hear on the collected works of the album. “Not This Time,” delves into delicate tenors as the instrumentation is navigated by warm acoustic guitar strums. Touching on the theme of disapproving the theory of time travel, Dr. Keys uses these more intimate moments to bring closure to what, “Hot Takes,” has to provide listeners. As you hear the sonic expedition take you through numerous pit stops of emotion, you appreciate all that Dr. Keys and his artistic talents have to offer. Congratulations on your album, “Hot Takes.” With having to adhere to pandemic restrictions, could you please take us into what the creative and recording process looked like for this project? Thank you! Having been laid off from the service industry during the "first wave", I had started to get some ideas together for my funk band Felix's Belt, specifically "Quarter Time" and "How Are You," little knowing that the live music industry would soon go sideways as well. After a few weeks of these ideas not going anywhere, I decided to do something I don't normally do and wrote down point-form notes for brainstorming lyrics. Within a couple of days in self-isolation, "Quarter Time" was completed, and within a week I had six tunes! The week after that, the total number of pieces written got up to about 10. It was pretty crazy as I hadn't experienced such a creative spurt as a composer in a number of years. The craziest part was it felt like songs just wanted to come out. For example, the beat for "Can't Get Down" popped into my head while I was writing lyrics for "What It's All About". A short while later I got in touch with my pals at Highview Sound and we started fleshing out all these ideas, one song at a time. Then I moved into a new place, got called back to work, and started the recording process in earnest. Every song was recorded one track at a time, pretty much learning the songs at the same time, and we worked fairly quickly at each session. Once September ended, my day job also ended, and that's when recording went into high gear. It was at this time that some songs were refined into the state you hear them as they are on the album, such as "Detritus Wrought City" and "Not This Time". I also got into doing a little tracking on my own, experimenting with layering different sounds and using a 1999 Fisher-Price tape recorder among other things. It was not the easiest album to mix, but definitely worth it for the experience. The order in which we hear the songs is the order that the songs were created. What influenced you to place them in this order on the tracklist? Truthfully, "Breakfast Song" was written back in 2013. I had considered kicking off the album with it, but it didn't flow as well. When it was given new lyrics and an updated arrangement, it actually fit better among the newer pieces written around it. I had experimented with a few different track orders, and the one that made the most sense to me was chronological. Out of the collection of songs, do you have a particular song that resonates with you more than others? Why? I think each song on the album resonates with me in different ways because they are ultimately moments captured in time. That said, each song will continue to grow in different ways as time goes by and as more time is spent on them. If I had to single out a recording, it would be "Can't Get Down". There was so much stuff recorded that we ran out of tracks! That song definitely came a long way through all the recording and editing for sure. What memorable moments can you share with us about the making of, “Hot Takes”? The summer of 2020 spawned another project I am involved with called Doctors Without Orders, and I had the idea of making a remix for "Quarter Time" before the original version was even recorded!!! [laughs] Needless to say, that motivated me to get to work on recording it. While I was doing the first session, the drummer on the track came by the studio unannounced, so I asked him if he'd be interested in laying something down on a song no one has ever heard. He said "sure" and after about two takes, we had the majority of what we needed. Happy accidents! Overall, the whole project has been quite memorable as it is different from all the other recordings I have been a part of over the past decade. There are a few moments that stand out more than others. I was doing a take for the vocals on "Breakfast Song", just really getting into it. At the end of the take, I turned around and the recording engineer was literally on the floor laughing! Recording one track at a time on "Can't Get Down" so we could follow the guidelines. [laughs] "Premium Spirit" being recorded entirely within one day also stands out. That was a super-fun session. How have you found yourself growing as an artist from the first song on the album to the final one? Working on Hot Takes has been an invaluable experience for me not only as a recording artist but also as a performing artist. I have been doing live performances every Thursday on IGTV since the start of 2021 and watching playback every now and again, I can definitely see and hear how much I have improved since I started working on Hot Takes. The experience has allowed me to continue looking at music differently and applying different principles to my playing. t1aodrkeys.com

Fishy Folk is a New Jersey psychedelic pop rock group led by singer and songwriter Brandon Bogdan. The messages of their songs consist of concepts such as twisted love stories, abstract expressionism, heartbreak, freedom, and current issues, to name a few. Their sound is rooted in a wavy retro psychedelic Rock presence, while they play upon elements of Pop, Folk, and experimental influences presented in the musical creations they put forth. With their most recent body of work, ‘Then Came the Flowers,’ this four-track EP is a collection of their best songs to date. Shining a light on the second song placed on the tracklist, “Auditory Eyes,” Fishy Folk utilizes delicate themes to introduce the mid-tempo pulse that radiates from their nostalgic soundwaves. Approaching this song in a minimalistic 1960’s approach, the added touch of the harpsichord has Fishy Folk serving up wistful natures with a melodic vocalization. Warm fuzzy tones linger with the vintage psych-rock reverberated vocals. Creating a hazy vibe to transport your headspace, elusive waves sweep over you as you take in all that is, “Auditory Eyes.” The record speaks on the narrative of two people falling in love at first glance, by only using their eyes. Presenting a soundscape that is reminiscent of realms, we admire the approach that Fishy Folk takes towards their creations. Dangling lyrical motifs such as, ‘now I’m looking at all of you, and all of you are looking back,’ Fishy Folk has always been one to interact on an engaging level with their fan base. With the lyrical content being written in 2019, this is a timeless piece with a magnetic charm that only Fishy Folk can integrate. We love the single, “Auditory Eyes,” off of your EP, ‘Then Came the Flowers.’ What encouraged you to make this track the leading single off of the four-track EP? I chose to highlight “Auditory Eyes” because I feel people could relate to the lyrics and the music the most out of the four tracks. People have told me that they catch themselves humming it at a random time, and that to me was a sign that said “this is the one”. Could you please share a glimpse of the creative process for “Auditory Eyes”? “Auditory Eyes” began when I heard the chorus melody in my head one day. I hummed it into my phone and I made sure to return to it because I knew it would be an ear-pleaser. The ending section of the song wasn’t written until weeks later. I was planning to use the ending section of the song for a separate piece, but then I realized that it would fit well with the song I had begun writing. I wanted to create a song of pure joy, a song that could make people dance, sing, and clap their hands. I wrote the lyrics from the perspective of two people falling for each other, but only doing so with their eyes. The lyrics also contain phrases such as “We were speaking without words” and “Sunlight shines upon my teeth”, touching on the subjects of intimacy and happiness. How long did it take for you to create the full body of work before deciding to release the project? Then Came the Flowers contains four songs that I wrote in 2017, 2018, and 2019. The band and I officially formed in 2019, and we decided to record the EP in November 2020. The recording process took a total of 4 days. We moved forward very quickly in the studio because we were very familiar with the songs. What is the main message that you are sending to your listeners with, ‘Then Came the Flowers’? There isn’t really an overall message that the EP presents. The songs are based on personal experiences but somewhat presented in the form of fictional stories. I hope that the listeners can relate to the topics of the songs in whichever way they please. What would you like new listeners to know about you and the music that you create? I would like new listeners to know that if I wasn’t writing songs or making art, my life would be almost meaningless. I feel like my main purpose in life is to have the need to please, and I do so through song. The music I create is made to touch the hearts and brains of whoever comes across it. I try to incorporate melodies, chord progressions, and lyrics that will get the listener to either stop and think about the purpose of everything or sit back and simply relax to the sounds. instagram.com/fishy.folk facebook.com/fishyfolkband

Coming in from Toronto, Canada, the RnB artist and singer-songwriter saintblu wears his heart on his sleeve with a passionate single, "Baby (feat. kamrn)." saintblu has been busy working on his forthcoming EP 'As He Pleases,' dropping later this year. When asked about the project, saintblu mentioned that it's a genreless creation and that he's finally able to create any music he pleases at this point in his career. Residing in the warmth and texture of modern r&b for his latest release, "Baby (feat. kamrn)," saintblu pushes an incredibly desirous message through his sultry and sensual delivery. In addition, kamrn drops a hint of spice and flavor through his rhythmic delivery and equally passionate bars. Listening to "Baby (feat. kamrn)," the track opens with cinematic strings that begin the song with elegance and heart. As the modern and punchy drums start flowing in alongside a plucky synth, saintblu later joins the party and begins singing of not only treating someone with respect but with the passion they deserve. Getting to the hook, we get an incredibly vibrant feel through saintblu's catchy delivery and the heartfelt string section that swells the sonics with passion. Once kamrn makes his way in and takes on more of a dominant and powerful delivery, he spices the track with incredible texture and depth that keeps us hooked the entire way through. Get into the groove of saintblu's latest r&b banger, "Baby (feat. kamrn)," available on all digital streaming platforms ready for you to savor and hold. We love the sultry tones and approaches you've delivered through your latest single, "Baby (feat. kamrn)." What drew the two of you together to collaborate on this piece? What was your collaborative process like? I knew right away after I finished writing the chorus it needed a feature. I thought who better than my online friend Kamrn, who I actually met through Soundcloud in 2019. However, this isn’t the first time we’ve collaborated. The first song that we did together was “luh yuh” which was actually on my last EP, he mixed & mastered that EP as well. I’ve always admired Kamrn’s flexibility as an artist so I knew he would totally eat up a verse on a pop/RnB track like “baby”. We’ve always made a great time, honestly can’t wait to see what the future has in store for us. Did anything, in particular, inspire the lyrical content within "Baby (feat. kamrn)?" I’ve always wanted to release a song on Valentine's day. So at the beginning of January, I started working on some lyrics and came across this beat by VSHY on beats star. The rest kind of came naturally like it usually does. The song is basically about me crushing over this guy and doing the absolute most to keep him interested. What else is new? Did you create the cinematic and modern production for "Baby (feat. kamrn)?" Or did you reach out to other producers/engineers to help with your sonic arrangement? VSHY the producer on the track did it all himself. I’m pretty sure he used Ariana Grande as an inspiration for the track - which is why I loved the instrumentals so much. Ariana is definitely someone I admire as an artist. When I played the track for my friends they were automatically like “If SZA and Ariana were to collaborate it would sound exactly this”. Seeing as your forthcoming EP, 'As He Pleases,' is said to be a genreless piece, what sort of sounds and concepts should we expect from the project? This month I’ve been listening to a lot of Madonna and Britney, but a couple of months back I’ve grown a strong obsession with Phoebe Bridges. So my taste Platte in music has been all over the place. Which I feel like will be poured into “As He Pleases”. The only challenge I face while making this EP is having everything sound cohesive, which is why I wanna take my time with it. What's in store for the rest of the year? More music videos! The next single that comes after baby, must have a crazy visual. I also hope to carry out the storyline from my last music video “DIE 4 ME”. Instagram #BUZZMUSIC

BRIA is a classically trained artist and fresh songwriter who began their exciting musical voyage of artistic discovery in 2016, pursuing music professionally after over 20 years of classical education in piano and violin. BRIA’s creativity and expression as a new artist reflect on more than just a musical talent to offer. Not only does she write, produce, sing, record, and perform her music, BRIA is a self-made entrepreneur who dips into many creative avenues. Exploring a kingdom of heartfelt realizations, BRIA dips into themes of profound exhilaration to put forth the poignant timbres that she releases in “Fight This Fight.” BRIA offers a raw emotional vulnerability from her expressive experiences that shine through each word she delicately pens. As “Fight This Fight” transitions through her classical roots, you’re immersed in contemporary glimmers of the effervescent Pop styles, which are more felt than heard. With the instrumentation relying heavily on the prevailing keys performed, you get lost in the slow-tempo spirits that emit a beautifully crafted story that unfolds right before you. The feathery essence of BRIA’s vocals gently cascades with the instrumentation as they come together for a powerhouse performance dripped in heavenly tones. As BRIA shares a cry for help in the susceptible melancholy that is conveyed, she also allows this message to resonate with her audience, so they know that they aren’t alone in a battle of their own. The dynamism poured into “Fight This Fight” embodies the talents that BRIA’s audience knows and loves her for. Each note pursued discovers a deeper passion that fuels the burning flame within herself. BRIA is determined to have you coming back for seconds. Congratulations on the heartfelt release of your single, “Fight This Fight.” With the deep themes explored, what inspired you to create this melody? I was inspired to create Fight This Fight based on my own personal experience of mental health struggles along with the collective energy of so many of us who battle this daily as well...anxiety, depression, mood disorders, the list goes on. Our thoughts, feelings, and moods can change so frequently each day leaving us feeling so disempowered. In one of my most painful cries literally in the shower (one of the song lyrics), I chose to turn my thoughts into lyrics and used that as an opportunity to go sit at the piano and create something. Not only was it healing for me, but I knew it had the potential to impact others collectively as well who experience the same. Lyrically and melodically, I wanted to balance the real-life, more melancholy verses, and to build the song into something more hopeful with longing, desire, and empowerment where listeners can sing along and affirm day and night I’ll fight this fight, I’ll be alright, I’ll fight this fight. What are you hoping that your listeners take away from the messaging of this song? I am hoping that my listeners will feel empowered to acknowledge how they feel when they are hurting and how normal it is to feel “crazy”. It happens to the best of us. We can feel so helpless at times and I want others to know it is okay to ask for help, to cry out and release emotions. I was asking myself for so long, how can I turn pain into power? It is creating and authentically expressing yourself! That is my message for others. To know that we are not alone in this, that it is okay to be you and embrace your darkness too! It can allow for massive transformation and healing to where we can have the courage and strength to truly fight this fight together. Not only individually, but globally as an empowered community to inspire others by our own healing, spreading love, and being love. You’ve learned the ropes of your talents from your mentor Harloe. How has her guidance shaped you as the artist you are today? I can’t say enough amazing things about Harloe. I have been so lucky to learn singing and songwriting from her and have her as my dear friend and mentor. She has always given me such a great perspective and has helped me to expand my talents in ways I never saw for myself. When I really wanted to polish up my songwriting a few years ago, she said why don’t you just sit at the piano, four chords, and see what comes up? I was only top-lining at the time, so it got me back into playing piano more and here I am writing from a more raw and expressive place that is truly in alignment with my soul. I am so grateful for the instruction and learning from her that has helped me truly gain more confidence in my musical abilities and as an artist. She really has helped me to stop holding back, just release the music and trust in myself, divine timing, and the universe. It is always magic in a session with Harloe! Inspiration comes to you in various forms. Where do you often find the most luck with musical and non-musical influences that shape your sound? I feel very influenced by the music I listen to and grew up listening to. I have always been drawn to ballads, cinematic sounds, songs that make you feel, that build and give you chills because you just get it. I also feel the sounds of nature, walking, meditation, driving, my own personal experiences and others, real-life situations, day to day thoughts all bring me ideas and melodies at random times. I feel like I’m always writing songs in my head! I hear melody and lyric ideas all the time when I’m driving, or out and about walking, they just come to me. What would you like listeners to know about you and the music that you create? -I will always be honest and true. I will not sugar coat. I will get as real as real can get. I will say what needs to be said. What you want to say that maybe you could not put into words yourself. Whether it’s love, loss, heartbreak, I got you! I feel things so deeply, as so many of us do, and being an empath, I feel others' pain too. I will always keep creating music. I live for variety and expansion and exploring new styles and being versatile. I am excited to take my music to new heights! Who knows where it can go! I am here to give my gift of music through my words and melodies hoping that others can relate and allow the music to refresh and heal knowing that I understand you, love you and feel you! You are never alone! Instagram Twitter #BUZZMUSIC

Kaitee Page was never going to write another song. With her extensive background in the Los Angeles music scene under the Electro-Pop moniker of Lunic, she dabbled in the multifaceted ways she knew how also moonlighting as a session musician. Tired of the constant battle faced in the industry, she decided to make her way back to Dallas, Texas to focus on her career in the fine arts. Fast forward to now. Almost 8 years after she retired from her musical ways, Kaitee Page brings back a taste of her creative genius influenced by the pandemic. Placing her raw vulnerability on showcase for her listeners to wistfully absorb, Kaitee Page is fresh off the release of her latest single and music video for, “What Day Is It Today.” Utilizing her extensive growth both musically and as an individual, Kaitee Page places emphasis on her artistic brilliance in the visual portion of, “What Day Is It Today.” Neon lights and graffiti offer up vibrant shots that capture Kaitee Page in a still habitat as she exhausts the themes of her self-reflection through the events of the pandemic. Meshing the quality production with filmed footage from the chaos emitted in the streets during the hectic events that have been accompanying 2020 leading into 2021, the tantalizing vocalization that Kaitee Page radiates fluently matches the docile cinematic relief we receive. We vastly enjoy the soft timbres that are executed, it allows for there to be a more prominent impact in the lyrical motifs that Kaitee Page feathers through the sonic voyage we board on. Our favored scene in the music video for, “What Day Is It Today,” has to be the contemporary footage of Kaitee Page dancing in solitude as she moves to the music in a white dress. It adds a haunting touch that is orchestrated to drive home the strikingly bold concept of, “What Day Is It Today.” We’ll be watching this video a few more times, and suggest that you do the same. Welcome to BuzzMusic, Kaitee Page, and congratulations on the release of the single and music video for, “What Day Is It Today.” At what point during the pandemic did you decide that you were re-entering the world of music to bring listeners this creation? Thanks so much! I wrote, "What Day is it Today," at the end of August 2020 so I guess around 6 months into the pandemic. I didn't really have any plans at that point to formally "re-enter the world of music," but I knew in my heart that I had to record that song in particular because it encompassed so much of what I and the rest of the world were going through at that time. A long-time friend of mine, Julio Arellano, reached out to me with the idea that I should come to Mexico City and record the song with his talented friend and producer, Diego Suarez, and create a music video with Alejo Sarquisse from Mucho Films. We had originally planned to do just one song and be done with it, but the experience went so well and the vibe was so great that the project has now turned into an entire full-length album! I can't wait to see them all again in March & April to finish up the album. Could you please share a look into what the creative and recording process entailed? All of the songs on this album began with me sitting at my piano alone, late at night with a bottle of red wine. "What Day is it Today" came out quite quickly, the chords and lyrics almost at the same time, as if it had been dancing around in my mind for days. In fact, I don't even think I did any editing. I just wrote it that night and sent the demo over to Diego a few weeks later. A good producer can take a demo song in any direction really and turn it into any genre. I knew I wanted electronic production with a minimalist approach, and more importantly, thanks to past experiences, I knew exactly what kind of production I did not want. We did a lot of the pre-production via email chatting back and forth about vibe, influences, mood, the meaning of the song, and goals. We sent reference tracks of other bands, as well, and I was able to add scratch vocals remotely. I fell in love with the first mp3 draft Diego sent over, and it was at that moment that I knew we were a perfect match! I flew to Mexico City in shortly thereafter in October and we recorded the song at Topetitud Studios with David Montuy (engineer). How was the concept of the music video thought of? Was this always the creative direction that you had in mind? Yes, the song is basically about living in a time where violence and rioting seem to be the norm. It's about news outlets inciting fear in the masses as well as a broken political system and the role the media plays in polarizing the population. More generally, it's about history repeating itself; that’s what the lyric, “Does anything ever really change,” refers to. It also touches on mental health and disillusionment as a result of the lockdowns. I knew I definitely wanted to include footage of the recent protests and riots. Julio pushed for the footage at the US Capitol and I wanted footage of the BLM protests as well. I felt it was important to show both sides of the story. Alejo came up with the idea of the TV screens, which I love because so much of what is going on can be attributed to irresponsible news-reporting in various media outlets. My interpretive dance was meant to symbolize censorship, cancel-culture, government overreach, political disillusionment, and a general decline in mental health, among other emotions invoked by the terrible events of 2020. The entire team at Mucho Films did an incredible job with location and lighting. We were on the set for about 14 hours! I couldn’t be happier with how the video turned out! What has been your biggest take away from the events of 2020, leading into 2021? Choose love. Always. Violence is not the answer. We need to come together and listen to one another and empathize more rather than attacking each other or shutting down each other’s feelings and opinions. We are all only human. The key is to find a balance when searching for solutions. What can we expect next? A full-length album! I’m headed back to Mexico City in March and April to finish recording the rest of the album, and we might release another single and another music video this Spring, so definitely keep in touch! Thank you so much for taking the time to interview me. Your inclusion and acknowledgment mean the world. Website Twitter #BUZZMUSIC

Gliding in from Dublin, Ireland, the cinematic singer-songwriter and go-getting artist Fly the Nest releases his blistering soundscape of a single entitled "Old Street Lover." Playing music from a young age led Fly the Nest (Stephen Cooper) to perform in various bands before taking-part in his solo career. When he's not creating his tunes, Fly the Nest produces and composes music for sync, opening up another facet of his creativity into the cut-throat industry. Produced and recorded by Peter Doherty in Tyrone, NI, Fly the Nest's latest single, "Old Street Lover," takes on quite an engaging and emotional storyline. Perfectly complimenting Fly the Nest's raw emotion is the expansive and rhythmic instrumentals that sink us into cinematic perfection. "Old Street Lover" drops a fiery opening with sharp melodic rock instrumentals, almost offering a similar flair to Kings of Leon. Once the driving drums stand in the spotlight alongside Fly the Nest's enthralling vocal abilities and a tight bassline, he begins telling the story of leaving a connection that was ultimately lost. Pushing through the hook, Fly the Nest takes the energy to a high and blasts through with whaling guitars and punchy drums that chant in rhythm. Not to mention Fly the Nest's passionate delivery throughout the entire piece, he takes us by surprise with the west coast feel on the wavy bridge, soaking the guitars in serene reverb and heading full-throttle towards the blistering outro. It's hard to come by such lively and conceptual singles like Fly the Nest's "Old Street Lover," and we're more than glad we did. Find Fly the Nest's cinematic sound on all streaming platforms. We highly admire the sonic and lyrical intricacy within your striking single, "Old Street Lover." What compelled you to create this heavily emotional yet exciting piece? I wanted to write an inspirational uplifting track instead of a 'lovy dovy' song. The emotional content is derived from the feeling after a relationship ended, and wishing only the best for the other person. This is reiterated in the chorus - "I hope you find some satisfaction in everything that you've imagined, I'm backing you right up to the moon and back you know, you've got it you've got it you've got it, I hope you find some inspiration in everything that we've created I'm missing you right up to the moon and back you know, you've got it, you've got it, you've got it!" What was the production and recording process like with producer Peter Doherty for your single "Old Street Lover"? How did he help your creative process? He's an amazing producer and great to work with very passionate and sees where my idea is going and takes it there and beyond, a fantastically talented multi-instrumentalist and he did all instruments on it bar acoustic guitar. I would recommend him to anyone looking to record top-quality content. Seeing as you touch on rather emotional and heavy lyricism within "Old Street Lover," how did you want your audience to feel after experiencing the song's entirety? I want them to know that the end of one chapter is the start of a brand new one without any animosity, it's realizing it didn't work out but appreciating that and hoping the other person will go on and do great things in whichever path they so choose We've noticed that you have a variety of singles released. Do you have any plans or ideas for a future EP or album? I have a lot of material recorded, some for personal release and others for sync purposes but really enjoying constantly dripping singles out so they all get their own spotlight, so the answer is no there are no plans for an ep only singles for now at least although I have enough songs I'm happy with for a full-length album. What is the quote that keeps you going? 'Find something love doing, find a way to make a living and you'll never work a day in your life' Instagram Facebook #BUZZMUSIC

From Israel to Russia and then Central Texas, the self-identified nonbinary queer femme artist and fanatical singer-songwriter ORACLE666 makes her debut with a dazzling music video for her single, "Celadon Haze." It was only until the second half of adolescence that ORACLE666 felt a sense of validation through fellow creatives who helped her feel at home and accepted. "It is never lost on me how lucky I am to live in a place where I can express my gender and sexual identity openly, especially in relation to the countries I come from," quotes ORACLE666. Embarking on her solo career with the debut single, "Celadon Haze," ORACLE666 fueled this song with an ethereal Bjork-inspired trance/pop sound while singing of the loves we can't seem to let go of. Speaking on her accompanying music video, ORACLE666 depicts a contemporary queer love story in the age of Covid-19, jam-packed with the magnetic scenes of ORACLE666 reminiscing lost love. Listening to the single "Celadon Haze," we're met with an ethereal and soothing electronic soundscape that blurs the lines of dizzying trance and iridescent pop. As ORACLE666 makes her warm and tender vocal appearance, we can't help but feel a similar tone to Grimes through her soft delivery and soothing tones. Moving towards the outro, ORACLE666 transports us into this sci-fi and electronic fairytale through each magnetic melody and emotional lyric. Hitting play on the music video for "Celadon Haze," the video begins with a brilliant shot of ORACLE666 emerging from ruins in a strappy rave-culture outfit while moving with the grace of the sonics. Transitioning into scenes of ORACLE666 strolling along with the hustle and bustle of the New York subway, only to find herself in a fantasy accompanied by a serene femme-counterpart who ORACLE666 yearns for. Introduce yourself to the ethereal and shimmering stylings of ORACLE666 through her latest single, "Celadon Haze,' and accompanying music video now on YouTube, Vevo, and iTunes. Instagram #BUZZMUSIC

Swimming in a sound of Alternative Rock meets nostalgic Pop Punk, Toronto-based rock quartet, Deadhawk FM is fresh off the release of their edgy single, “Awake.” If you’re in the market to be submerged in tight drum patterns, affluent guitar riffs, resonant vocals, and a bassline that shakes your core, look no further. The band consists of bandmates Shawn Hawley (guitar), Jay Godin (bass), drummer Carmine Mallia, and singer Stephan LaCasse, in order to form Deadhawk FM. The band has covered the mass appeal for the boisterous persona that the band lives out through their heavy sound in, “Awake.” Staying true to the wistful homage paid in the lush instrumentation, the evocative feel of Deadhawk FM has their infectious energy gushing through the sound waves emitted. Progressing through an arrangement that simmers in angst, you can’t help but tap your fingers and toes as the tempo switches up in sweet offerings of impactful lyrics. Creating thorough messaging in the lyrical motifs they represent, Deadhawk FM paints vivid imagery upon the Rock canvas that dips into hues of 2000’s Pop Punk. There is no area of the song that lacks. Deadhawk FM truly asylums each component in, “Awake,” and allows it to flourish into the full embodiment of a cohesive statement that their audience is dying to hear. As the band thrives in high voltage surges of musical buoyancy, they are known for not only allowing their music to be heard but to have their presence thoroughly felt in the pieces they put forth. Congratulations on the release of, “Awake.” How did the creative process commence when bringing this track to life? Awake is a song we wrote last year over the course of some live rehearsals and quite a few pre-pro recordings until recording with producer Kyle Marchant (Nightwell). We really built the tune around Carm's driving drumbeat in the verses and then that nice open chorus. Shawn (guitar) put a lot of work into the pre-pro side of things and the song went through a few iterations until where it ended up. In your own words, what does this song mean to you guys as a collective? What are you hoping listeners take away from it? It's a bit of a tongue-in-cheek, and glib in spots (like us!). The main theme of the lyrics is sort of a mix of being a bit disoriented from mixed messages from society, but also the freedom and confidence that comes from following your own path, regardless of the opinions of others. As far as the vibe of the song, we just love delivering the high-energy rawness. It's the best outlet and we feel really stoked that we have a chance to keep creating as a band and that somehow we got the timing right to be able to release a song when we're in lockdown. Through the events of 2020 leading into 2021, how have you managed to stay inspired as a band? As musicians, playing and rehearsing live is definitely the most fun part of the process. We miss it so much. But on the flip-side, we've really doubled-down on our vision for the future and have been writing a ton of new songs. We've been doing the Zoom thing too, which is a poor substitute for a proper jam, but still rad in a way. There are a lot of creative advantages to the simplicity of the lockdown lifestyle. The struggle is to stay motivated when it doesn't feel like much is changing around you. We really lean on each other for motivation and that has been a life-saver in so many ways. How have you grown as a band and as individuals from your first release to, “Awake?" We're getting a lot better at writing apart from each other - and overall getting better at the different collaboration tools available for making the most of that lockdown life. I think when we started, the punk influences of our youth were more of what shone through. Now, we're leaning a lot more into our rock and alternative roots and having a blast with it. I don't know if it honestly sounds like as much of a shift as it feels like for us, but going forward it is really opening up new creative possibilities. What would you like listeners to know about you and the music that you create? The thing about DHFM, is that for every song we release, we have 20 that we haven't released. Maybe one day we'll release a 300 song compendium! For now, we'll probably stick to an EP or two a year. Also, we love making videos so be sure to check them out on our YouTube channel! Instagram Facebook #BUZZMUSIC

Independent solo artist MILI MILZ was born in Fallbrook, California, where he would be inspired by a wide range of Hip-hop artists such as Tupac, Bone Thugs and Harmony, Eminem, Ice Cube, and Lil Wayne. Known to conceal his face with a ski mask at all performances and professional appearances, this artist stays far from the shadows as he works with Outta Control Europe and Ray Mitchell Productions. Teaming up with Los Angeles based music producer and beat architect Ray Mitchell, the two collaborators bring the attention garnering single, “NAH DO,” to life. Ray Mitchell began his musical journey at 12, as a bassist in a punk band. His style of music transcends genres, and he is continually pushing himself to think outside the box. Creating the entrancing instrumentation for “NAH DO,” back in 2018, MILI MILZ took this heated record to Papertrail studio to fill out its colossal sound with the multi-faceted studio owner, engineer, and artist CALS. Dipping right into the pocket of unmatched swagger and buoyancy, MILI MILZ assaults the beat with a paramount of composure. Flexing his lyrical resilience through hard-hitting verses, we are offered up a tenacious performance from this skyrocketing artist. The weighty punch of the entire composition as a whole sits at a high standard as we’re engrossed in thought-provoking bars that stroke MILI MILZ’s propensity for wordplay. As CALS graces this certified hit with the mesmerizing conveyance of a hook that stays on your mind all day long, you appreciate the unparalleled vitality that these three creatives bring to the record. Through a vast amount of talent, the liveliness takes charge of your mind as you swim in a pool of incomparable jauntiness exuded on, “NAH DO.” Welcome to BuzzMusic, Ray Mitchell, and MILI MILZ! Congratulations on your latest hit, “NAH DO.” We have to ask, with the creation starting back in 2018, how has the connection between you two come to be? Mili Milz: We grew up together living in southern California. Brothaz from the same Motha. So the bond is heaven-sent. Ray Mitchell: Yeah a lot of people don’t know we are actual blood brothers, due to our skin colors being different. I am the older brother and we have always been close. After I made the transition from DJing to producing, my brother was rapping and learning his craft. I remember he would just rap straight from the dome, he got so good that he could freestyle for hours. So once we both perfected our arts, it was a no brainer to work together. How did CALS end up being recruited for this track? What was it like working together with one another? Mili Milz: My brother blessed me with this track and said it sounds like she is saying "Nah Do". I ran it over to the studio where Cals was. He listened to it- loved it and sprinkled his finesse. We choose Cals because of his reputation for hard choruses that have proven to be top-notch. It is always good working with Cals. He is Family. Same with Ray Mitchell. We all grew up together so it’s a very relaxing, natural/family-oriented environment when we work together. We flow like water. Ray Mitchell: Yeah I was writing the beat and then I found a little snippet of this middle eastern-influenced vocal. The “Nah Do” vox, I was thinking like, “you know how I do”, and then we just made it our saying and it worked. Cals went to school with my brother and they would hang out at our mom’s house on the regular. He seriously writes some of the sickest hooks I have heard, so he was an obvious choice for me as well. Was the inspiration for, “NAH DO,” always the way that you envisioned? Could you please take us into what the creative process looked like when bringing this song to life? Ray Mitchell: I mean for me, as far as the meaning of the vocal, that is how I envisioned it. But as far as the track as a whole, I think music is based on vibes at the time and how you are originally vibing takes shape, and forms the final version of the track. Mili Milz: Yeah I agree, I feel like no track is ever how you originally envisioned it. Once you get that blank canvas and start painting that picture from your imagination, things change. Once Cals put that chorus in, I knew what I had to do. It was magic. As far as creative process nah do, late nights, Henny and lots of trees. Cals came up with the first part of the chorus, “all day on the boulevard trynna get my paper up, these motha f*ckaz ballar blockin". Then I matched the rhythm and altered the wordplay, to come up with, "all night on the boulevard gotta get my fetty up, got them hataz watchin". In terms of themes and messaging, what would you like your listeners to take away from the music that you both put forth? Mili Milz: Keep your grind up, hustled hard or go home, scared money don't make no money, aim for the stars, never give up, keep your eyes on the prize, mask up, no face no case, get your money M.O.B. Ray Mitchell: I think my message would be: you can accomplish anything if you keep your dreams in your sights. Treat your dreams like it’s a business and you’re the CEO, hustle hard, keep learning from mistakes and successes, and continue to grow. Being stagnant is the last thing you want, try to find an opportunity with everything you do. Even if it’s a failure, you can turn that into an opportunity to learn. What can we expect to see next from you both? Mili Milz: Releasing a new single soon that is about our brother who recently passed away. It has a lot of memories in the lyrics and a deep melody in the beat that keeps your hairs up and really hits home. Can't wait to show it to the world. The name of the track is "My Friend" stay tuned! Ray Mitchell: Yes this song shows a different side of Mili that we haven’t seen, it pulls at the heartstrings, the lyrics will resonate with anyone who has lost someone close to them. As far as the piano I was awakened at 2 am, and I believe it was a message from our dead brother, this melody was in my head, and I had to get up immediately and jump on my piano to record it. I knew right after I laid it down that this had to be the basis for “My Friend”, so definitely stay tuned for that and many more in the future. instagram.com/milimilz760 instagram.com/raymitchellmusic #BUZZMUSIC