Search this site

Malek Hanna, the Brooklyn-born Singer-Songwriter, makes his entrance to the LA music industry with his debut song “Beautiful Stranger.” Malek’s jaw-dropping vocal strength and flawless vocal range take you through a compelling story of the concept of love in between fantasy and reality. Each lyric in this song plays on the strings of your heart and doesn’t let up, building you up fast and letting you down slow. Produced in collaboration with Camela Leierth and Katy Perry collaborator, “Beautiful Stranger” marks the culmination of years of growth and development and marks Hanna’s first release on his upcoming debut EP, releasing later this year. The single release of “Beautiful Stranger” coincides with the launch of Nadia’s Kids Inc., a non-profit organization created to honor his Aunt and Uncle who passed of COVID-19, in their home of Aleppo, Syria, after having lived through the harrowing civil war of the past ten years. In “Beautiful Stranger,” it’s evident that there is passion behind every lyric and every note within; both carry a relatable message that resonates with each listener. Questioning and examining the different elements that love has to offer, this song and video displays a fine line between fantasy and reality and the type of love Hanna is searching for. Continuously soul-searching through different examples of couples and their love for each other, Malek Hanna is wondering if he’ll ever experience the future romance he yearns for. This past year was a challenging year for musicians, but Malek Hanna shows us he’s more inspired than ever to deliver fresh new music throughout 2021. We were taken back by your powerful voice and passionate sound in your debut song “Beautiful Stranger”. Where did your inspiration for the song come from? Thank you for the kind words and for having me on your platform! I am so happy to hear that my song resonated with you and your viewers. My inspiration for the song came from the need to connect; to be able to understand the power of love and all its forms. I was also craving a different sound that is not present in today's music scene; music that is nostalgic of the late '80s and early '90s but with a contemporary twist, fusing old and new sounds, instruments, and melodies. I was tired of the current music scene and wanted to create something more heartfelt and meaningful. The need to express and question love's place in what sometimes seems to be a harsh and conflicting world was important to me. I was inspired and felt called to share these thoughts in song to provide some sort of healing and connection with something that we can not always articulate in speech. The desire to fuse different sounds and build a universal bridge of understanding for all that crosses boundaries and borders was one of my main inspirations for creating this song. In “Beautiful Stranger” your lyrics take the listener through a story of examining the concept of love “What is this thing called love?” what was the writing process like and where was most of it done? The writing process for this song was very reflective and cathartic. As a child, I would love to write poetry but never thought that my writing can translate into a song. I remember waking up one day and thinking, it is time...It was the need to express and the thought that" I will see this song through from beginning to end," was very strong. Since that day, I woke up with a sense of urgency and purpose but did not have the confidence I felt I needed as a songwriter. For a few weeks, I would jot down words, ideas, concepts and try to tie them all together. I then got inspired to reach out to a friend and fellow contestant on the voice, raed saade who has a master's in music. He was quick to encourage and help me see this song through. We set up a writing session in my studio apartment in Hollywood at the time and started putting it all the ideas, words, concepts together. Before I knew it, we had a rough draft of a song in about an hour. The next week, we met again at my place and tweaked some words and it just felt right. It was a great feeling seeing something come to life from an idea and a desire. As a young soloist, you had the opportunity to perform in front of the Pope at the Vatican. How did this monumental experience affect your passion for writing music to then someday perform on live TV on shows such as The Voice, MTV & The Ellen Degeneres Show? My experience singing for the pope at the vatican was monumental in affirming my desire to take my singing and songwriting to the next level. My passion was ignited and fueled further, especially after getting blessed by him personally. I remember feeling very nervous and in awe by my surroundings. It was a very special and unforgettable time in my life. Unique and Rare Magazine named you “An artist to look out for” and it's obvious why. Who were some of your biggest artist influencers that you admire? Wow- there are so many but a few that come to mind that are the biggest artist influencers that I admire are: Stevie Wonder, Luther Vandross, George Michael, Whitney Houston, Elton John, Queen, Simon & Garfunkel, Pavarotti, Michael Bublé, Josh Groban, Pink. What can we expect to see next from you? Superstardom! Ha - I am in the process of collaborating once again with former Swedish pop star and Katy Perry collaborator, Camela Leierth on my EP that is set to be released sometime this year. While working on the ep, I have some really cool and exciting film projects and announcements in development, where I will be seen acting and singing. Stay tuned for more to come! Instagram #BUZZMUSIC

Fresh off the success of her previous single, ‘Trick or Treat,’ Jasmine Ortiz is ready to hit the ground running with the sweet resonance of her latest record, “Cherry on Top.” Devoted to expanding her sound as a Pop sensation, the multifaceted artist before us tackles her songwriting and self-production to capture the divine sounds she puts forth. Teaming up with Multi-Platinum Producer Trackdilla, the sultry vocalization of Jasmine Ortiz swoops over us in heavy waves as we gravitate towards her effervescent pull. “Cherry on Top” trickles into a realm of mesmerizing buoyancy within the lively dynamism of the top-notch production quality. With a larger than life dreamscape that drips in the flirtatious essence of witty, sweet treat related lyricism, the songwriting offered by Jasmine Ortiz illustrates vivid imagery that fills a blank canvas in mere moments. The animated Pop escapade, “Cherry on Top,” touches on themes of the playful aspects of dating someone new. The vulnerable and cheeky stages that dip into getting to know one another are brought to reality as Jasmine Ortiz was inspired by an eclectic summer hairdo that was reminiscent of Neapolitan ice cream. Trackdilla outdoes himself once again as his producer credits elevate him to levels that some can only dream of with collaborations such as 2Chainz, Rick Ross, Flo Rida, Lil Wayne, French Montana, and many more. We must say that we are head over heels for this enigmatic performance. The manner in which the talents of both Jasmine Ortiz and Trackdilla come together in unity sends us into a blissful utopia of up-tempo goodness. We’ll take three scoops, please. Congratulations on the release of, “Cherry on Top.” We are obsessed with the honeyed sounds offered up in the lyrics conveyed! Could you please take us into what it was like working with Trackdilla in order to bring this song to life? Working with TrackDilla has truly been an amazing experience. He is so talented, humble and kind. Having recently moved to Los Angeles, Track has served as a role model and mentor for me in the industry; helping me get connected with studios and engineers that have allowed me to have a space to complete other projects as well. We are currently working on a collaboration between myself and TrackDilla as he is also an amazing artist. If you could pick your favorite lyric in, “Cherry on Top,” what would it be and why? I really love all the lyrics throughout, because I worked really hard to insert ice-cream/cherry related puns, or references and double meanings; but I have to say some of my favorite lines are in the bridge. The lines, “Babe let’s go non dairy//Netflix and chill’d//I got that Tyler Perry” stand out to me because they relate to another line in the bridge “I got that Ben and Jerry’s”, and because “Netflix and Chill’d” is a flavor that Ben and Jerry’s makes dairy-free. Also, because Tyler Perry has some of his work on Netflix so it all ties in together. You are the queen of fun outfits! Do you find that your personal style corresponds to the music you create, and vice versa? I would definitely say that my personal style directly influenced the development of this song. Specifically, because during quarantine I did what any bored 20 year old would do, and I dyed my hair. I did it myself in my bathroom with temporary rose-gold spray-on dye by Kristin Ess (available at Target if you wanted to know). Originally I wanted to dye my whole head pink, but at the time I had this super long butt-length bleach blonde hair, and I only had enough left in the can for half of my head. At first, I was lowkey so embarrassed I hadn’t judged the amount correctly but after styling it I really loved the half pink/half blonde look. When my dark roots started growing in, I had brown in the middle and felt like Neapolitan ice cream. From there, I photoshopped a cartoon cherry onto my head from a selfie I took, and then the idea for “Cherry on Top” was born. What has been the best piece of advice you have been given through your musical journey? Honestly, I would say that the best advice I’ve been given is to trust the process. No matter how you interpret that it’s still true - either in the process of writing/recording a song, or the process of releasing it, or the process of growing a fanbase - things can only come in time. I firmly believe that anything is possible with the right amount of planning and hard work to follow through. If you’re doing everything you can on your end, at some point you need to let the universe guide you and let it come to fruition. What can we expect to see next from you? I am very very excited about the next few releases we have planned. We are currently in the editing phase for my next music video for a single called, “Omerta” produced by CesarDaEmperor. There is also a single in the works to be released even before that one comes out. Cesar is also working with me to develop my debut project - either a cohesive EP or album, set to be released in the next 6 months. I am so grateful for my team, and all the amazing opportunities they have secured for me; ensuring that I can keep making music and doing what I love. I also have some film projects coming up that work hand in hand with my music career, so many things are on the horizon, and I can’t wait to share them all with you. Instagram #BUZZMUSIC

Hailing from North Carolina, the up-and-coming country artist and singer-songwriter Brian Self releases an enthralling and emotional sophomore single, "Forget Her." After discovering his passion for music and singing while performing in church choirs, Brian Self later uploaded his covers to Instagram, which garnered the attention of Nashville-based recording studio Off The Row. With both of his released singles being recorded at Off The Row Studio, Brian Self is ready to introduce his music to a larger audience. Through his latest soulful single, "Forget Her," Brian Self touches on an incredibly emotional story of moving forward from someone he thought he'd never have to. It would be an understatement to say that Brian Self is demonstrating his vast talent on this single, as he stops us dead in our tracks with each captivating and poetic lyric that depicts such grueling emotions. Opening Brian Self's single, "Forget Her," is a heavily soulful introduction through layered and twangy electric guitars, down-tempo drums, powerful piano melodies, and a gripping bassline. Once Brian Self begins singing his woes of feeling as though every day is a Monday, he continues on this melancholy note and captures us in his poetic lyrics like "When her shadow went walking right her next to mine, and the moon's got no reason to shine." The supporting instrumentals perfectly complement the soulful and emotional tones of Brian Self's performance, as a spirited organ makes its appearance and sends us into choir mode, chanting Self's lyrics alongside his brilliant performance. With a blistering electric guitar whaling its way to the outro, we can feel Brian Self's trembling emotion pour through each aspect of this mesmerizing piece. Don't miss out on the emotional and fascinating experience that is Brian Self's sophomore single, "Forget Her," available on all digital streaming platforms. We can't get enough of the soul and raw emotion you've placed into your single "Forget Her." Why did you feel compelled to create such a moving single like this? Man, I am so glad this single is so well received! I actually didn't write the song, it was written by Jon D'agostino and Anthony Krizan. I was compelled to record it as it reminded me of something one of my heroes, Luther Vandross or Al Green, would have recorded. The melody gave me room to use my range and R&B roots that are a part of my style. Was it challenging to write such vulnerable and emotional lyricism for your single "Forget Her"? How did your songwriting process go about? Again, I didn't write the song, but we all have experienced heartbreak and not being able to let go of someone we love, so the lyrics really hit home for me. Did you collaborate with any fellow artists or producers to help execute the instrumentals for "Forget Her"? Yes, my producer PT Houston at Off The Row in Nashville is incredible, and he saw my vision, and together we created magic in the studio. He used the best players in town, Matt Bubel, Danny Parks, and Mark Prentice. With only two released singles, how can listeners get to know you and what you stand for through the music you create? I stand for truth and understanding in all that I do. I am real and honest, what you see is what you get. I want to blur the lines between all the genres. Growing up I listened to everything, country, pop, rock, rap, and soul - I don't want to have to ever try to fit in a mold. I want to create music that touches my soul and the listeners. What can we expect to see next from you, throughout 2021? I'm headed back to record 4 more singles with my Producer PT Houston at Off The Row. I am co-writing now with my team of writers, Erin McCaffrey, PT Houston, and Sarah Morey. There is a music video is coming too! I'm excited!! Instagram #BUZZMUSIC

From Anchorage, Alaska, the up-and-coming singer-songwriter and alt-pop artist Ristlynn sets quite the bar for himself with a trailblazing debut single, "I'm Going Down." Taking influences from Prince, Panic! At The Disco, Bruno Mars, and Maroon 5, Ristlynn brings a unique and charismatic commercial appeal while also getting gritty with his bass-work through inspirations like Metallica and Nirvana. After band-hopping California, Ristlynn couldn't shake the idea of a solo career his entire way home. Finally, in the studio and releasing his debut single, "I'm Going Down," Ristlynn introduces us to his funky and edgy pop-punk fusions, demonstrating his artistic versatility from the jump. When asked about the single, Ristlynn stated, "I'd burned out and reignited several times over a short period; I'm Going Down is a reflection, one which will undoubtedly resonate after the collective experiences shared during 2020." As we submerge ourselves into the alternative stylings of Ristlynn's debut single, "I'm Going Down," we're met with a brilliant blend of heavy, organic basslines and 80s-inspired synths that sink to the depths of alt-pop. Once Ristlynn makes his vocal appearance while singing with incredible charm and allure, he offers us sanity through his relatable lyricism that sings of seeking self-acceptance internally rather than through others. Through the song's energetic and bouncy instrumentals, we're feeling nothing but eager to get to know more of what Ristlynn has to offer. Reaching the outro, a sublime and ethereal production breakdown floats us into sonic tranquility with faded drums, a haunting string section, and softened background pads that drift through the high-end. Introduce yourself to the rising alt-pop headliner Ristlynn through his dynamic and relatable debut single, "I'm Going Down," as he offers pieces of his reality for us to solve the puzzle. Congratulations on your captivating debut release, "I'm Going Down." Did you begin thinking of ideas for the single while band-hopping in California? I was still deep in the harder styles of music at that point, so it took some time for me to get my bearings when I realized I needed my own playing field, which required the use of more various styles. When I got out of band-hopping and started hanging around different types of musicians there, that’s when I really started writing a lot of my songs and materials. I quickly found out what sounds I liked, and what I didn’t. For “I’m Going Down”, which came later; I came back to my hometown to find that I didn’t really have friends back home, and I had to start over. I would go out and party all the time, which is actually where I made a lot of my good friends now. I just did that so much, eventually, I had to realize I wanted something other than that. That’s when “I’m Going Down” started. What inspired your reflective and empowering lyricism within your single "I'm Going Down"? I kinda like to blend the shallow with the deep, it paints quite a distinct and fun picture, and I never really know what I’m going to write next. I think that keeps both of us on our toes. That and the experiences and circumstances I go through, or sometimes even what those around me go through… It’s a little hard to take anything seriously when everyone around you is some level of sloshed, haha. Did you work on the production and instrumentals solo for "I'm Going Down"? How did you navigate the sound and feel of the single? It definitely took some time. I went through multiple changes in quality of gear. I first had a scratch drum track and some obnoxious synths. The lyrics and melody were already worked out at this point, and then out of nowhere, I came up with this grinding bass line I loved. I put that at the front. I actually sang the original vocals in my truck with a portable interface/mic setup… while it was still running. Reworked it later in the booth and thankfully, that's not what we hear today! At this point, it was at the demo stages and I got in touch with Trey Vittetoe in California (who’s worked with Selena Gomez, Miley Cyrus, etc.). He really brought out a lot of the magic on the table with this song. We've noticed that you also created a music video for "I'm Going Down." How can your audience get to know you better through your performance in the music video? The idea hit me out of nowhere and we were pretty rushed to jump into filming it. I felt like it was a crime not to film that. Fast-paced guitars, skating, cruising, smoke billowing off our boards… I’d have had to try that even if I didn’t play music! We literally filmed on the last possible two days out of the year with good weather, and after that, winter quickly set in. The filming was intense, and a blast. Anyone looking forward to future videos can expect that I’m going to do everything to make it fun and unique, whether it’s the whole concept or even specific shots. What has been keeping you inspired to create music? What message do you hope your listeners take from you and your music? Learning and improving new and old skill sets, and whatever situations I happen to be in or create at the time. Capturing a feeling on audio and bouncing it off another. Just writing about life can get you a plethora of inspiration to feed on and make something cool off of. Something I hope my listeners can take from my music… and I’m sure this will sound cliche… is to just be yourself. Find yourself. Know yourself. I mean there’s an art to that, and it’s important not to go too fast, or not at all. Don’t give too much credit to stigmas or what others want you to be. And if things get too boring, find an excuse to try something fresh and exciting. Instagram #BUZZMUSIC

Hailing from Spring Valley, New York, the 21-year-old hip-hop artist, rapper, and instrumentalist Fat Westbrook takes us through a culmination of his experiences with a thorough debut album, 'Exit 11.' When speaking about his debut album, 'Exit 11,' Fat Westbrook felt incredibly proud of the project that takes note of his city, heritage, and each other experience that helped shape his being. "Everyone is a kid from somewhere, and we know hometowns aren't whole. But we stand by them. Exit 11 is mine," states Westbrook. Diving into the album with the introductory track, "1999 (Intro)," Fat Westbrook opens the project with a sample of Prince's hit single, while voices overtop yell at each other in Haitian Creole, depicting what it was like growing up within his household. As Fat Westbrook starts his car and flees, we shift into the album's title track, "Exit 11," opening with a jazzy hip-hop beat. Listening to Westbrook's bars, he reflects on his past while seeking a better tomorrow, giving thanks to his hometown that shaped his every way. Moving into the next track, "What Happened to Your Hair (feat. Grant Cammock)," we hear an incredibly organic instrumental. At the same time, Grant Cammock sings from the perspective of Westbrook's mother, asking questions surrounding Westbrook's hair and appearance. An interlude meets us at the next piece, "Mark's Message," where Fat Westbrook's friend offers a few ideas surrounding where the album should flow next. Spicing it up with the next track, "For the Weekend," Fat Westbrook offers his vision of a good weekend, inspired by his family vacations and Haitian heritage. Jumping into the next track, "Caren's Brother," Fat Westbrook spills an upbeat vibe while rapping about being known around his hometown with help from his sister Caren. Softly moving into the next piece, "Put it Smooth (to you)qq.m4a," Fat Westbrook offers a shift within this interlude and delivers incredibly raw emotions to gear us up for the album's second half. Speaking on the next track, "Don't Rush Now," Fat Westbrook fuels this piece with the emotions he felt while building the album and feeling pressure to execute it properly. Opening the next track like a daydream, "I Can't Let You Know" takes the cake as one of our favorites. Fat Westbrook filled this song with the pent up emotions of the previous track, finally accepting the pain and joy that this album expresses. Taking us back to the album's story with the next piece, "15moreseconds.m4a," Fat Westbrook reveals a lighthearted interlude of his friends freestyling in a car and gearing up for a jam. Getting quite poetic on the second last piece, "Trees ROUGH (Outro)," Fat Westbrook offers an ode to the trees who've waived and swayed in the wind and watched him grow into the man he is today. Ending the album with the last track, "Oh, You Gotta Love It (Bonus Track)," Fat Westbrook ends the album off with a bang through this song's energy and life. Referencing other tracks in the album to end it off, we love the versatility that Fat Westbrook has displayed the entire way through. Discover Fat Westbrook's debut album 'Exit 11,' on all digital streaming platforms, and experience the thorough concepts and diverse stylings of Fat Westbrook for yourself. Congratulations on the release of your debut album, 'Exit 11.' How long was the album in the making? When did you begin creating ideas for the project? Thank you, and I'm honored to have made it this far with my music. I can recall working on the first song, Exit 11 from when I was 18. I'm 21 now going on 22 soon, so it's been about 3 years in the making. It's crazy to think, I was 19 when I posed for the album cover of this song. It's wild because my music and I have grown so much since that 19-year-old kid stole his mom's fancy dining room chair to pose on the side of the highway. It was an interesting process coming up with ideas. I left my hometown of Spring Valley to attend school in New York City. Even though I'm from New York, people were clowning me for being a black person from "upstate New York" joking that my experience wasn't the "authentic black experience." And I think jokes like that forced me to be retrospective and really look at where I'm from and the experiences that made me who I am. Those ideas were there from the start. I drew from stories that I had growing up: my relationship with my hair, my relationships with my family, my own emotional well being. The ideas were kind of there, but it took some self-reflection to turn the ideas into a song. Seeing as your album 'Exit 11' shares rather personal lyrical content, which track was the most difficult to create in terms of emotion and vulnerability? It'd be easy to say Don't Rush Now was the most challenging song to write to, but writing For the Weekend was the most difficult. Originally I was supposed to have a guest verse in the middle of the verse. All is good, and we were writing our verse. Mans calls me and says that he won't be able to record his verse in time for the album to be released. He tells me this the day before I'm supposed to go to the studio. Sure the album features personal lyrical content, but I had time to meditate on what I was writing about. But writing 16+ bars in less than eight hours on the debut album was stressful. But one thing I had to do with myself and my writing was that I couldn't always take myself so seriously. I genuinely just had to have fun with it. I was in the studio that day, and I just wrote what I felt, and completed the verse in one take. And it worked out. That verse on 'For the Weekend' was mostly freestyle and the result of last-minute stress. Did you work with any musicians or producers when formulating the sonics for your album 'Exit 11'? Or did you create your sonics solo? I had help creating the sonic from a few music producers I had been fortunate enough to meet. Buddy.not.bud is a producer out of Denver, Colorado who produced Exit 11 and Don't Rush Now. We went to school together, and he was the first person I reached out to. I just pitched him the idea and he was all in, and he created the nostalgic sound I was looking for. Tommy Eldrege aka slamtard produced the beat for Caren's Brother. He added personality and color to the album. We also went to school together. Just through the grapevine, I ended up working with some amazing producers, who helped me create the sonic and find my sound. Lastly, I met Malik Wilfalk through a friend of mine who also produces. Though he is from Tampa, I swear he sounds like Chicago the way he mixes beats. He produced What Happened to Your Hair? For the Weekend, and Oh, You Gotta Love it. He sent me a 20 pack of beats the first day I met him, and those songs were born out of that relationship. Lastly, I got help from my good friend Grant Cammock (who I also went to school with), who lent his vocals on What Happened to your Hair? He sings the perspective of my mother, and he killed it. My singing just wasn't hitting for this track, but he came through and delivered. What I love about everyone who worked on this project, was that it all came together naturally. That's God at work right there. But there are also sections of the album that I worked on by myself. Those parts of the album, although I sacrifice audio quality, make the album timeless for me. It sounds like I made it at home, just as much as it sounds like I made it in the studio. It's cool to have mp3 audios alongside professional studio cuts. We've heard that "I Can't Let You Know" is your favorite track off of the album 'Exit 11.' Why is this so? What makes you so drawn to this piece? For sure I Can't Let You Know is my personal favorite piece, because it was the most rewarding. I promise I went through about 3 iterations of this song. Three times over, I wrote different lyrics, constructed different beats, all in order to fit the type of feeling of acceptance. I wanted the feeling of acceptance for the feelings I can't express all that well. I had the idea of "I Can't Let You Know" and when I found the beat, I had finally put the words together and was ready to go to the studio and chop it up. Studio sessions for me are like catching lightning in a bottle, and when I went to record this piece I honestly had no idea what I was gonna walk away with at the end. For an artist, that equally a terrifying and exciting feeling. Certain elements present in that song were completely improvised, and I was so elated when it all came together. Weeks after the session, I'm taking another listen to the track, and my producer mentions that the second chorus sounded like I was saying "I CAN let you know." And for me that just added another level of appreciation to the song. It was like, at first I couldn't let you know..but now I can. And the fact that I did that without even realizing it made it even better. Seeing as you fueled your album 'Exit 11' with themes of your life experiences, what did you want your audience to take away from the album's concept? Everyone is a kid from somewhere, and we know hometowns aren't whole. But we stand by them. Exit 11 is mine. I said this in the original email, and I think this sums up the album pretty well. I understand that my experience isn't typical. Spring Valley's a bubble of Haitian, Jamaican and Hispanic immigrants in a county full of suburban bliss. Exit 11 may be a bubble, but the experiences it's given me aren't foreign to the listener. A rapper's hometown influences their sound and creative direction so much. I thought it was appropriate that my first work as Fat Westbrook be an ode to hometowns. But I ask the listener to really listen to the lyrics and stories this album has to offer. Share these stories, because commonality can always be found in experience. Laugh, feel, and celebrate with this album. Instagram Twitter

Back and ready for action, the alt-pop duo RAINNE drenches us in a modern pop ambiance with their latest punchy single, "Monster." Weighted in darkness and emotional catharsis, RAINNE has shown us time and time again that they're not a duo to take lightly. Compromised of singer-songwriter Annie Dingwall and saxophonist/engineer Justin Klunk, the two classically trained artists merge their sophisticated stylings with pop prowess, offering more of a sinister and ominous sound. Touching on their latest release, "Monster," RAINNE takes us through incredibly dynamic sonic elements that sweeten our speakers while also sinking deep into the low-end with hard-hitting kicks and powerful bassy synths. Not to mention Annie Dingwall's passionate performance, she sings highly conceptual lyricism that keeps us locked into each magnetic breath she takes. "Monster" begins with plucky electric guitar melodies and Annie Dingwall's luminous vocal stylings. As the sonics start to expand with heavy drum breaks, groaning synths, and pulsating guitars, Annie Dingwall gets her gears turning and pushes through the hook while singing of exploring the possibility of finding a love that embraces every inch of her being. Around the hook, we're blasted through this tightly-wound and well-produced sonic breakdown through ominous synths and sharp drum patterns, highlighting Annie Dingwall's fluorescent performance as she powers through until the very end. RAINNE keeps us entirely engaged with the heavy vibes and gripping sonics on this single, and we're always grateful for powerhouse alt-pop bangers like this. Find RAINNE's recent single, "Monster," on all digital streaming platforms, and sink into the duo's heavy stylings and meaningful lyricism. We love the heaviness and intricacy of your latest single, "Monster." What inspired your duo to write a song about beauty in chaos? Annie Dingwall: Funny enough, this song actually had a completely different lyrical concept when we started it, and it went through many evolutions to finally arrive on “Monster.” We are not ones to shy away from heavier topics, so this time we decided to confront the fear of rejection many of us have about being imperfect. Life and emotions are messy and chaotic, which is what makes it so dynamic and interesting! But so many of us try to put up a good front and pretend everything is fine when it’s not. There are moments where we all feel like the darker, scarier version of ourselves is going to burst out at any minute but are scared to let those feelings show out of fear that that part won’t be accepted or loved. This song explores the idea that the monster inside is only one part of a beautiful, chaotic whole that is worth loving in its entirety. Your instrumentals and production within "Monster" are incredibly sharp and dynamic. What sort of sonic feel were you initially going for when creating the single? Justin Klunk: Thank you so much! I think from the get-go, we were aiming for this song to be as “big” and dynamic as possible. While Petie and Patrick took the lead on the production process, Annie and Patrick were focusing on the drum groove to make sure the song would never lose that drive while Petie and I searched for textures in the synths and saxes to make the space of the recording wider. AD: We always aim for our songs to be as dynamic as possible! With this song we also wanted to create a feeling of urgency and power to match the sentiment of the lyric. We never want to release a song that just stays at one volume or energy for the entire duration, and since a lot of our band’s focus has been on the dynamics of the live show, we want our recordings to emulate that ebb and flow. The goal was to be able to turn the volume up of “Monster” and be able to dance to it, and I think we accomplished that by the time it was ready to go! How did your duo split the songwriting process for "Monster"? Did you both have a say in the song's lyricism, or did one member handle the songwriting solo? JK: The approach to this song was a bit different than any of us had ever done before. We originally started the song as the 4 of us in the same room tossing out ideas but ended up having to finishing it remotely due to all of the COVID closures. Annie pretty much spearheaded the lyrics on this one and would text me and the other guys when she had come up with new lines to get our input. It was cool to see the evolution of the ideas (and the growing length of the Monster shared note lol) and finally end up with the song we have now. What was it like working with producers Petie Pizarro and Patrick Ridgen for your single "Monster"? JK: We always love working with Petie and Patrick (aka PLAYDED)! We have worked with them on a couple of our other singles (“Psycho Killer” and “Dirty Little Dream”), so we had great confidence in this team to create another song we would all love. While this time was pretty different to the others because of COVID closures, it was so fun to push the bounds of working together remotely. Technology these days is so amazing! At one point, when it came time to record the vocals, Petie actually assumed control of Annie’s computer in Los Angeles from his house in Miami and was able to run the session remotely and communicate with Annie to vocal produce the session. AD: This session was a lot more independent collaboration in the sense that we all created ideas that were then sent and put into one master session. Justin recorded his own saxes in LA, Patrick was producing drum parts in North Carolina, Petie was compiling everything and adding sound in Miami. It was really fun getting the latest mix with the all new ideas in and continuing to build it that way. What can we expect to see next from you? JK: We’ve got several new songs in the works that will be coming out throughout the year. We plan to really focus on creating more songs and videos so that when shows finally come back we’ll have a whole new set to play! Instagram Facebook

From Fort Lauderdale to LA, the folk-rock/blues artist and singer-songwriter D. Marin Perez questions his city's inequalities with a recent single entitled, "Los Angeles." Finding a residence in songwriting, D. Marin Perez invites anyone into unexpected and relatable concepts through his tongue-in-cheek narratives that are nothing but sincere. The Cuban-American artist also serves as a community organizer and minister in Los Angeles. He finds himself compelled to write the snarky love letter and ode to the city's he's gotten to know. Releasing his single, "Los Angeles," D. Marin Perez mentioned that the piece delivers commentary towards the ongoing inequalities between the homeless and the relatively well-off. Offering more of a folky rhythm and blues delivery through his story-like approach and upbeat instrumentals, D. Marin Perez has us tapping our feet with each clever lyric and groovy beat. "Los Angeles" begins with D. Marin Perez's brilliant vocal portrayal, singing what seems to be a cheerful ode to his city, but listening to his lyricism brings more of a conceptual and highly realistic message. While accompanied by a soothing acoustic guitar, warm electric guitars, and mid-tempo percussion patterns, D. Marin Perez starts singing about the troubles our city faces. Describing the city's homelessness problem and wishing to snap his fingers and help make ends meet while also touching on the city's pollution and various other issues, D. Marin Perez brings forward a highly realistic message to get his audience thinking. With the addition of bright brass instrumentals to end the song off with glee, we adore the humorous and blunt statements contrasted by the sweet sonics. Catch D. Marin Perez's snarky single "Los Angeles" on all digital streaming platforms, and allow the piece to remind you of needed change. We truly appreciate the realistic and sound message you've delivered with your single "Los Angeles." What inspired the song's lyrical content surrounding our city's struggles? I was inspired to write a song about beloved LA after hearing “Talkin’ New York” from Bob Dylan’s first LP (1962) – it’s a quirky country song about arriving as a 20 year old kid in the Big Apple, and the hardship some folks go through. I thought, “Hmm, I have a lot to say about Los Angeles.” So I started mining my nearly 4-year experience as a clergy person and community organizer in Downtown LA serving an inner city church, and seeing firsthand the complex and devastating issues people deal with, particularly in Skid Row. Contrasting the realities of poverty, homelessness, and drug addiction with the apathy, wealth, and disconnection I observed among fellow Angelenos made me want to write a song like this. I’ll admit, not everyone’s gonna receive it with open arms. It’s kind of an indictment as much as it is a love letter. I like to say it’s a snarky love letter asking the lover to get their sh*t together. Could you take us through your songwriting process for "Los Angeles" when writing about various issues and having them flow cohesively throughout the song? It just happened pretty naturally and fairly quickly. I’d been dealing with these things in one way or another for the better part of 4 years, so I vented both my frustrations and my hopes. I hit on the systemic issues of housing and homelessness, wage stagnation, income inequality, loneliness (believe it or not, loneliness is a massive epidemic in LA, and big cities in general), and a generally apathetic mood I see among the more stable classes (I include myself there, too). That 13-mile distance between the Beverly Wilshire Hotel and the Midnight Mission in Skid Row might as well be 1,000 miles apart. For as much as I seem to criticize the utopic aims of LA culture and politics, I do believe we can shine our brighter light and turn this thing around. How? Lord knows. Why did you want your instrumentals within "Los Angeles" to offer more of a bright and uplifting feel, contrasting your lyricism? I think part of it is a stylistic choice – I’m a folk and Americana songwriter and I love the way those forms have always lent themselves to storytelling and consciousness-raising. But I think it was important to feel some of that classic “LA glitz” – the contrast between the weightiness of the lyrics and the lightness of the music captures that essential contradiction of LA culture, in my view. Seeing as "Los Angeles" is the first single off of your upcoming album, "Change Is," how does the single prepare us for the forthcoming forward-thinking album? My upcoming album “Change Is” isn’t really a political album; it’s not all about social change. The change I’m talking about has to do with those crisis points in life where the baskets in which all your eggs rest falls off its perch and everything shatters – so what do you do then? It’s about how, to some degree or another, life is about starting over again (and again). How could it not be? Aren’t we always changing? Isn’t the world always acting upon us, molding us and shaping us (for better or worse)? I’d describe “Change Is” as having a clear Side A and Side B – the first four songs are somewhat raucous with full-band arrangements – electric guitars, rock organ, drums, etc. “Los Angeles” concludes Side A, as the fourth song. Side B is much more introspective and acoustic, it has a lot to do with serious heartbreak. What can we expect to see next from you? The next single I’m releasing from “Change Is” is called “When the Earth Quakes.” It tells the story of what happens when an ascendant, prophetic outsider challenges and speaks an indicting truth to the establishment, the power brokers, the powers that be. You know what happens? They get framed and crucified, or they get shot in Memphis, or convicted by a sham jury. “When the Earth Quakes” tells that story, in a loud, dark Americana kind of way. You can expect to see that release by February 17th! Instagram Facebook #BUZZMUSIC

Country rock fused with a honky-tonk dive bar style is exactly how we would explain TruckerBomb’s new track “Mobridge, South Dakota." This Los-Angeles built band demonstrates an emotionally mid-tempo ambiance created through their acoustic guitar, drums, and dynamic vocals to generate a scene of a small-town man watching the world pass him by. Lead vocalist and songwriter, Troy Richardson drew inspiration for this piece as he visited Mobridge for many summers growing up and it was truly a place where nothing really happens. The swaying dynamics and wise vocals created are able to convey these quiet observations while still managing to hold an effortless groove. Known for his thoughtful observations, Richardson and the other members of TruckerBomb give their all in dive-bar grunge instrumentation paired with wise and passionate vocals. “Mobridge, South Dakota” is a timeless piece of music created precisely at a time when many individuals can relate and find their world at standstill. Instagram Facebook #BUZZMUSIC

All The Locals; an Atlanta-based, rock and roll group creates soulful grooves with their heartfelt lyrics in the new single “Blown Away.” The infectious melodies created by this group paired with the soothing baseline and magnetic vocals create an excursion set in their piece where they hope for listeners to make the best of whatever situation life throws their way. All The Locals mentioned in an interview that because of the ongoing pandemic, their single “Blown Away” can apply more than ever as listeners have to find ways to live authentically and apply what they have learned as they continue to move forward. In the end, all the good and bad times get “Blown Away,” which they truly portrayed within their sound and soulful grooves. The infectious and bliss-filled atmosphere exhibited within this track sets it apart so make sure to listen to “Blown Away” by All The Locals to get a taste of Atlanta’s real image and sound. Instagram Facebook #BUZZMUSIC

Tennessee native, Trèvon Slaten encourages listeners to be a part of his musical journey with emotional and engaging storylines. His newest single “Moment”, is able to mix together R&B and pop as his lyricism opens up to the longing he feels for a past relationship. Slaten mentioned this piece is truly a conversation he would like to have with an ex-lover when he finds himself reminiscing and wants to know if they do the same. The serene background vocals enhance the delivery of his powerful and broad vocal range as he sings with a natural warmth and tenderness. “Moment” is a truly raw and vulnerable piece of music and because of Slaten’s ability to create lyrics in such an open and poetic way, this track becomes mesmerizing as the sonic production decreases to enhance his lyrics. When individuals like Slaten are so filled with powerful emotion we can expect some amazing music to come from it so make sure to take a listen. Instagram Twitter #BUZZMUSIC