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From Springfield, MA, the Singer/Songwriter, and Rapper Myles Jéh releases his melodic and emotional single, "Excuses." While fusing R&B into this warm single, Myles Jéh offers immense versatility through his sweet vocals and conceptual bars. Formulating his sound to offer dynamic elements through the sounds of Hip-Hop and R&B, Myles Jéh also provides story-like lyricism that keeps the listener's undivided attention. While performing at events like BET Network's 106 & Park and opening for acts like Shamarr Allen & The Underdawgs, and Kirstin Maldonado of Pentatonix, Myles Jéh is eager to get back on stage and swoon his audience once again. With his recent single, "Excuses," Myles Jéh offers ambiance on a platter through the song's warm blend of organic/synthetic sonics that push an inviting R&B tone. Listening to Myles Jéh's vocals and bars, he goes back and forth from singing with a passion to confidently rapping about regretful themes surrounding a relationship and wishing it turned out differently. "Excuses" opens with soft R&B production that floats with filtered guitar melodies and downtempo drum breaks. While Myles Jéh opens the song with his melodic vocals singing an emotional message, he quickly shifts into his rapping delivery, where he begins to expand on the sorrow storyline that fuels the track. We love the deepness and passion that Myles Jéh has provided with his bars, as he delivers in this low and inviting tone that wraps around the listener like a warm embrace, even though his lyricism strikes an emotional chord near the heart. Continuing to sing of the troubled love he's experienced, the song comes to an end with the blissful R&B production that brings a slice of modernity. Indeed an emotional song that pulls on our heartstrings, we love how Myles Jéh shifted these heavy thoughts into a sonic escape with his single "Excuses," as he serenades listeners while allowing them to form a deeper connection with the song itself. Listen to "Excuses" here. What inspired the emotional and passionate lyricism within your single "Excuses?" Why did you want to create such a reflective piece? When I played the instrumental, the first line “We were just good friends” came out automatically without much thought. From there, I knew the direction of the song would flow with the concept of making excuses for one’s actions. The line in itself has been heard many times throughout history to create doubt when you know the truth all along. Many of us have been lied to or cheated on, and we hear the popular excuses “they ain’t mean nothing babe” or “never meant to hurt your feelings.” Passing the blame is easier than admitting you messed up and apologizing for some and this song reflects those instances. Speaking on the mellow and warm production within "Excuses," did you create the production yourself? How did you create the sonics to offer a heightened sense of emotion and passion? The instrumental was produced by Thaibeats and the track was engineered by Walt Arkain and Angelo Quaglia. I wanted the lyrics to match the production and the delivery to be subtle, yet confident. Although I’ve never been in this predicament myself, I wanted to dig deeper than narrating a storyline and tell the story as if I were involved. Within your single, "Excuses," you go back and forth between your melodic vocals and your rhythmic bars. Is this a staple for your sound? Do you usually create this organic blend of Hip-Hop and R&B? Blending bars and vocals have become a staple but started unintentionally. I loved to sing, but honestly couldn’t at first so I shifted to rapping my lyrics instead. After taking vocal lessons, I decided to incorporate singing into the Hip-Hop image I was developing and continued to keep both genres for my sound. R&B vocals on the hooks of Hip-Hop tracks are common, so blending the two wasn’t far-fetched. What isn’t common is that I’m doing both myself instead of having a featured artist. It's clear that you often place conceptual themes into each of your songs. Why is story-telling so important to you, and how do you develop themes that listeners can relate with? I always took to music that had a storyline, message, or conceptual theme. I prefer to write music that listeners can relate to in one way or another. Some people want to feel like they aren’t alone, others want to enjoy themselves and I cater to both. One thing I’ve seen people neglect to do in music is to realize that listeners don’t listen to one type of music. However, with that said, one thing that has been a staple in the music industry is songs that people can connect to tend to stick around. Do you have any goals with your music going into the New Year? Of course. “Always up to something” is the motto I follow and I will be releasing my EP titled “Mannequin” early in 2021. ‘Excuses’ is the lead single from the EP. I will also be returning to the studio to work on the next project which the majority was written during the quarantine. Facebook Instagram #BUZZMUSIC

As an emerging singer and songwriter, UTE conveys her uplifting anthems to the global stage. She continues to garner attention with her rapidly growing fan base as the world has a desire to be immersed in her inspiring stories and irresistibly infectious records. With the holidays quickly approaching, UTE has not let the challenges of 2020 get in the way of her Christmas cheer and celebratory persona. In her best attempts to spread love to her listeners, UTE releases her highly anticipated single “Santa Knocking at My Door,” which is sure to win the hearts of many. Delicate bells and wistful components exude the spirited essence of Christmas in “Santa Knocking at My Door,” as the instrumentation tiptoes around your cranium. As this slow tempo ballad grazes the speakers, you can’t help but have visions of sugarplums before your heartfelt memories begin flooding in. With a sincere message of tradition and hope, UTE believes that families deserve to be filled with the joys of Christmas as she captivates listeners with the influential and unique resonance that her vocalization offers the composition. UTE carries forth a certain diversity that allows her to stand out from the crowd and almost impossible to box her in. The gentle presence of her voice pulls you into the warm embrace as you hang on to each word shed accompanying the tones of the golden saxophone. Radiating everything you need on a Wintery Christmas night, UTE complements the genres she carefully fuses together as she continues to embark on the exploration of her sonic possibilities. As you prepare to dress your Christmas tree amongst the attendance of “Santa Knocking at My Door,” on full blast, remember to savor the jubilant moments with your loved ones. Congratulations on the release of your spirited Christmas record, “Santa Knocking at My Door.” With the passion we can hear in your performance, could you please tell us; what was the recording session like when getting festive this year? The studio was full of Christmas decorations, which I actually don’t need. I just close my eyes, think of Christmas, the joy, the lights, love for one another, and then I start singing, with my heart and soul. How different is the creative process for a Christmas song versus other records that you create? Not that much, because I concentrate on the message in each song to underline the meaning of the words. But I always smile while singing a Christmas song. What are some of your favorite memories of the holidays that you carry with you? My best memories were the Christmas holidays we as a family spend in the United States with our American friends. It was in Miami Beach or New York. In the big apple, I remember singing with a choir in St. Patrick‘s cathedral. With people, I didn’t even know we share together the joy of Christmas. As an artist in 2020, what has been the biggest lesson that you have learned? I am still learning every day as a singer. People usually criticize me or my music, so I had to learn not to take it personally. And whatever happens in your private life, the show must go on What has been keeping you inspired to create new music in 2020? Nature, other people’s stories, my own life has inspired me and love. Love is the biggest kind of inspiration. What advice would you give another artist who has found it difficult to stay inspired during one of the most challenging years? Don‘t give up, please. At the end of the tunnel, there’s a glimmer of light Do what you love, and you‘ll never work a day in your life. Believe me please, I really know, what I am talking about. What can we expect to see next from you as we enter a new year? Finally, my documentary will be on amazon prime this December called Ute - Music Makes Me Fly. The Soundtrack is already out everywhere. More to come soon. instgram.com/utesworld ute.world

The Nigerian-American Afro-Pop Artist, Rapper, and Singer/Songwriter CliffBado touches on his home country's social and political challenges with his hit, "Rule Us Well." After releasing a two-track EP titled, 'We Move,' CliffBado wanted to capture themes that were heavily prevalent in his life. With the first track, "Rule Us Well," CliffBado offers warm Afro-Pop instrumentals while standing in the heat of the #ENDSARS protests surrounding the Nigerian police force. Through the EP's second track, "Pull Up," CliffBado delivers more of an upbeat party tune to remind listeners that our current times won't last forever. Focusing on the EP's first track, "Rule Us Well," CliffBado also released a visualizer music video for the song that gives listeners a better idea of the challenges that Africans (and, but not limited to, Nigerians) have endured through the unjust SARS unit within their police force. While the song itself offers serene instrumentation and production through the mellow Afro-Pop approach, CliffBado comes through with heightened passion towards his culture while exclaiming the need to come together. Listening to the powerful hit, "Rule Us Well," the track opens with sonic warmth through the uplifting percussion patterns and soft background synths. As CliffBado begins singing with his highly melodic vocals, his delivery allows the listener to experience the song with ease while paying attention to his powerful lyrical message. Listening to more of CliffBado's lyricism, he touches on themes of coming together to end the blatant abuse that the SARS unit has put Nigerian citizens through. The contrast between the mellow sonics and CliffBado's strong lyrical message is quite impressive, as he offers immense texture to the song that keeps us wanting more. We always appreciate a powerful protest anthem, especially towards needed movements like #ENDSARS, and CiffBado couldn't have made his lyrical message any more empowering. We're excited to hear the rest of CliffBado's EP, 'We Move,' and get the entire experience he offers. We love the passion you've delivered within your powerful protest anthem, "Rule Us Well." When did you initially begin creating the song, seeing as the #ENDSARS movement has been well underway for quite some time? After seeing what’s happening, I had to lay my mind out with my music and also use it to support the youth out there in Nigeria who are physically protesting. Within your song, "Rule Us Well," the sonics are incredibly easy-going and mellow. Why did you want to capture this smooth listening experience, even though your lyrics are rather powerful? Just like the beat was melodious I had to pinch in some powerful lyrics, so that people who are truly passing through brutality can relate. Speaking on the music video for your song, "Rule Us Well," how did you come up with the powerful scenes within the video that depict the struggles that Nigerians are facing? Well, been able to live in Nigeria for some time and seeing videos of people on Instagram news and other platforms been harassed kind of gave me the idea and also with the help of my crew and Video director. Within your recently released EP, 'We Move,' why did you want to capture two songs that are rather different in themes? Before the end sars began I dropped a single JOJO. So pull up was next to drop then the whole situation began and I recorded Rule us well and decided to drop it as an Ep. What has been keeping you inspired throughout 2020? Staying safe and family, and also the good vibe and people around me, and I love what I do. instagram.com/cliffbadoofficial

The 28-year-old Dublin-based Pop Artist and Singer/Songwriter Nathan Mac pull us in tight with a heartfelt story through his latest single, "The Boy Who Learned To Fly." After seeing incredible success through the first release "Better Off Without You" off his upcoming album "Start of Something Blue," Nathan Mac has garnered a whopping fanbase across Ireland while gaining the attention of international audiences as well. When speaking about his music, Nathan Mac stated that it's his job and joy to portray the complicated lives of complicated people. Through his upcoming album's second release, "The Boy Who Learned To Fly," Nathan Mac offers listeners all the warmth to settle down this winter. He ties in a heartfelt and personal lyrical message surrounding inner-vulnerability and growing alongside loved ones who breakdown from time to time. Through modern Pop production and organic instrumentals, the song offers bliss and peace from all aspects. "The Boy Who Learned To Fly" opens with soft chimes in the background similar to a lullaby. As Nathan Mac's smooth background vocals take the stage accompanied by the serene production, he begins singing with clarity and heart regarding a personal story that's being told from his father's perspective. Moving towards the second verse, Nathan Mac switches up the time-frame where he's now 10-years-old and realizing the world for what it truly is. The surrounding instrumentals offer heartfelt acoustic guitar and a low string section, while the supporting production powers through with uplifting tones through each modern element. Ending the song off with lyrics like "you will grow into a man, and it's okay to cry," Nathan Mac has captured lyrical brilliance within his piece "The Boy Who Learned To Fly." Through each emotional turn and shift in perspective/time-frame, Nathan Mac has come through to strike an emotional chord within every listener. Can you tell us more about some of the experiences you've had working on this tune? Was this a relatively new experience you chose to write about or has this been in the works for a long time? That excitement is something we share, thanks for having me. Working on this song was a completely new process. The song itself was written in a weird moment. I had gone through a pretty rough breakup, my Circus/Music show had finished and I left my job at the National Leprechaun Museum (which was an amazing job). This combination of loss and empty space in my life sent me down a dark road. I found this song, amongst others, along the way. The production of this song was completely the opposite mood. Producer Brian Dwyer and I had never worked together. We had met only once, but very quickly we found a brother in one another. The writing helped me mourn the loss in my life, but the production helped me to celebrate it. You're no novice to working the scene and performing live. Can you tell us about some of the most memorable experiences you've had while touring or performing live? The most memorable moment… that’s a tough one. During my Circus/Music show “The Boy Who Learned To Fly” there was a moment. The crowd wouldn’t stop clapping and shouting, and I couldn’t get a word in! So I just stood there, center stage, and let the sounds wash over me. It was a love I had not felt as a performer before and that unconditional support brought me a kind of peace. There was this other amazing moment in London. My friend and guide Ema had told me about a bookshop, on a barge, along the canal. (It’s embarrassing how many of my boxes this ticked.) It was such a wonderful little shop too and on such a sunny day. I stopped outside, dropped my suitcase, guitar case, and struck up a conversation with a man sunbathing on a deck chair. He asked me if I was there to play on the boat… so of course, I said yes! I took my guitar, stood up on the book-barge, and sang my heart out to about 500 people enjoying the sun by Kings Cross canal. It goes without question that some of the most compelling features of your compositions are your lyrics. Is there a specific inspiration you try to draw from when sitting down to write? Is this a person, a place, or a feeling? Lyrics I could talk about for years so I’ll try to be concise. My friend/mentor Trisha O’Keefe told me once that songs can be sexy, sweet, or anything in between, but they have to be intimate. That’s what informs most of my lyrical decisions, but there’s more... You want to acknowledge and confirm someone's life with your music. I want to hear a song and think “they know how I feel”. In ‘Better Off Without You’ there is a line, “I feel ashamed because I broke a smile today.” Countless people have told me that they have lived this moment. That’s the power of lyrics; they are from songwriters, but they are for everyone. One tangible inspiration is Khalil Gibran. An amazing poet and philosopher. Like all good writers, he confronts us with truths that are tough, and real. In this song, I say “nobody told me that boring was easier”. It’s my favorite line because it’s true, even though we don’t want it to be. This song is not about the harsh reality, but a boring one… ‘you’ll be fine.’ One more thing! I think lyrics like mine should be rooted in the physical. When I create metaphors they need to make sense to people, physical sense, or else they just float away and mean nothing. So trying to physically imagine the scene or metaphor really grounds the truth in reality, and that’s what we share. So when I say “your sweaty fingers try to hold my mental state”, this connects our physical world(sweaty fingers) to our concepts of the world(mental state) in a way people understand. Okay, I’ll stop there…. That’s my TED talk. Thank you so much for being here with us, Nathan. It's been a pleasure, and we're excited to feature you again sometime in the future. Can you tell us a little bit more about your forthcoming project, "Start of Something Blue?" Again, thanks for having me. It’s a nice opportunity to air out the ego. There are some things I can tell you, but I can’t go into too much detail. “Start of Something Blue” is a series of singles. My background in Circus has given me strange freedom to mix and match every form of art and call it a whole. There will be more and more songs of course, but there’s a children’s book in the pipeline, and some collaborations with Musicians, Circus artists, Dancers, Painters, etc…. This project is really my first opportunity to show off everything I’ve learned and I’m going to throw everything I have at it. This project is what I can do when I’m surrounded by supportive, talented, and loving people. What can we expect to see from you throughout 2020? 2020 is definitely a mystery for all of us right now. My Irish and European tours have been essentially canceled, but I can guarantee more music. I can guarantee more amazing collaborations too with artists from all around the world! Every day I’m learning about new ways to connect to people that are listening, and I’ve been learning a lot from listening to those people. A lot of big questions are floating around my mind these days… So if there’s something you can expect from me in 2020, it’s growth. I’m still in the process of coming to terms with who I am, as a person, a man, and as a musician. In that order. Instagram Twitter #BUZZMUSIC

Based in Leeds, UK, the captivating Pop duo neontown releases a fresh and hopeful piece with their recent hit, "Neverland." Consisting of Singer/Songwriters and Producers Jac and Aure, they always deliver warm pieces for their audience to listen to with ease. While coming from Italy, neontown decided to finish their university studies in the UK and reside there from now on. While the boys bring fresh Pop songs to the table, their sound can be easily described as nostalgic too, as their music tends to grow and expand alongside the likes of neontown. Through their recent single, "Neverland," we hear neontown go full throttle towards passion as their lyricism depicts fairytale-like love and wanting to fly away and find a place for themselves to be alone. With the song's upbeat and modern production, we feel a warm Pop atmosphere shine through while elements of Electronic push through and offer the track a heightened sense of sonic passion. "Neverland" begins with bright and uplifting piano melodies that are accompanied by a warm Electro-Pop beat. As neontown's Aure enters the song with his melodic vocals, he starts singing a passionate story of feeling too old to believe in fairytales even though he's living one with his lover. As the song continues, we must note the dynamic production that sends the song forward with energy and hope. Continuing through the song, we love the lyricism that neontown delivers, as they paint incredibly clear images of unhindered love and wanting to settle down with someone special. Ending the song off with the same uplifting and bright sonic tone, we genuinely love the warmth and contentment that neontown brought with their hit, "Neverland." What inspired you to write such a passionate and uplifting single with "Neverland"? What sort of lyrical concepts did you want the song to offer? Neverland was originally composed quite a long time ago, we had the melody, the instrumental, and the general concept but not the full lyrics. During the lockdown, we were feeling homesick and had not seen our family and friends for a while, so it all started flowing very naturally. We wanted to write a song about a timeless place, where nothing ever changes and it feels like home every time because that is what we're missing the most. Just the feeling of going back home and finding that place of comfort that is usually forgotten in our everyday busy lives. Seeing as Jac handles the vocals/songwriting and Aure handles the production/instrumentals, what did your sonic creative process look like for your single "Neverland"? How did Aure create the sonics to be so bright and warm? This song was originally composed by Aure. he had the instrumental in his archives and he made me listen to it. I loved the sound, loved the concept and I really wanted us to write the lyrics and record it. So we did! It only took us a few hours to write it and we instantly had a very good feeling about the track. While I was putting down some words, Aure would just add final touches to the instrumental and make it sound a bit more current. It felt like it fit in really well with what we were going through in that period and that a lot of people could relate to it. Would you say that most of your music tends to run under the Pop stratosphere like "Neverland"? Or do you experiment with other genre elements as well? Our music is very diverse. We are inspired by so many things and different genres. We are finding it really hard as independent artists to make this kind of pop music and connect with fans as it is very different from what Indie fans would listen to, but our melodies definitely have more of a late 90/00s vibe, as that is the music we grew up with. But we like to experiment with current dance/pop trends and there will be more of that in the next official single that we are releasing early next year. What sort of lyrical themes does your duo usually touch on within your music? What should listeners associate your music with? We don't have a specific theme in our songs, we just talk about different situations we have been through in life or different ideas and perspectives of the world that we have. We like the idea of writing songs that everyone can relate to and feel empowered and inspired by. What can listeners anticipate to hear next from you? Bops. LOL. We are planning to release songs that are really different from the ones you heard so far. Our next single will be very high energy, dance vibes, but quite dark lyrics. We are writing and recording more songs now that show a more vulnerable side of ourselves but still keeping the high energy beats and synths and a positive and empowering message throughout. Instagram Website #BUZZMUSIC

Often known as The Big Electric Orchestra, Astral Voyage has recently hit the ground running with the much-anticipated release of their debut single “FIYA!!!” Available on Spotify beginning December 4th, the flavorful ensemble introduces their own contemporary spin on the funk genre. Founder and Creative Director of Astral Voyage, Jason Faust originally recorded the track in Spain with an 8 piece band. After meeting New Orleans singer, arranger, vocal coach, and choir director Josh Kagler, he knew he found the right soulful vocalist for the song. Comprised of the efforts of multitalented musicians from a total of four different countries, “FIYA!!!” is a representation of the musical potential AstralVoyage truly has. Fans are immediately immersed in the song’s exquisite engineering from the very beginning with a chorus of euphoric trumpets. Soon after, a bass guitar is paired with a groovy beat that will have the listeners shaking their hips to the rhythmic sonic experience. Astral Voyage continues to incorporate trumpet lines after certain verses for a dramatic emphasis. The lead vocalist showcases his intrinsic vocal talent as he effortlessly transitions from a soulful serenade to a higher-pitched, passionate belting of the chorus. Astral Voyage easily lures in the listener with their zesty atmosphere, created by the intricate orchestration and production. Combining flavors of funk and disco, “FIYA!!!” keeps the energy level at a high throughout the whole track. For those die-hard lovers of natural instruments, Astral Voyage shares their appreciation for the organic beauty of music with North Carolina’s alto saxophonist and electronic producer’s soul-shaking saxophone solo. The fact that “FIYA!!!” includes musicians from a total of four countries makes your music collective extremely unique! Can you tell us a bit more about your collaboration and recording processes? Our collaboration involves a melting pot of cultural backgrounds. The team that brought FIYA!!! to life are from the United States, Europe, South America, and India. We recorded the foundational elements of the song in Spain while we were all attending graduate school, which is where we met. While we had the privilege to record the majority of the track in a world-class recording studio, the vocals, and lead trumpet were recorded in a small bedroom with one simple microphone in New Orleans, Louisiana. At Astral Voyage, it is our goal to bring people of many different backgrounds together to create no matter what circumstances are present and what resources are available. Why did you choose to include the saxophone solo in “FIYA!!!” Our Creative Director Jason Faust, who wrote FIYA!!! was influenced by the music of James Brown to add a saxophone solo. James Brown’s funk music overall was a huge impact on the creation of FIYA!!! and a wild saxophone solo smack dab in the middle of the song only brought more of the wildfire to the track. “FIYA!!!” is your debut single as an international ensemble. Can you tell us about your plans for your next release? Absolutely! We are releasing our first album entitled Our Heart in 2021. This album takes the listener on a journey through the essence of the human condition within a massively exciting audiovisual experience. It features Astral Voyage: The Big Electric Orchestra, a 40 piece Electric Big Band! Can you tell us about your inspiration for “FIYA!!!” What genres inspired you when producing this song? Jason Faust, who composed and produced the song along with Wyldephyre was inspired by the electric feeling one experiences on the dancefloor surrounded by close friends and good times. Jason’s wild times in New Orleans with trumpet player on the track, Michael Christie, greatly inspired him to write the song. Various styles of music that Jason listened to growing up like funk, soul, gospel, R&B, EDM, and Jazz were major influences on the creation of FIYA!!! What has been keeping you inspired throughout 2020? Despite the global crisis that everybody is facing, such challenges provide Astral Voyage with an outlet to express our values more than ever before. This emphasizes the spreading of positivity, love, and self-empowerment through each individual regardless of geographical location or cultural background. Astral Voyage reflects what it means to be human. The Astral Voyage Community is a global environment that supports each other through the power of music without discrimination. As a collective, our primary goal is to spread messages of love and passion. We strive to connect with a global audience and act as a vehicle of healing for people around the world. instagram.com/astralvoyage instagram.com/jasonfaustmusic instagram.com/vocalfool

As much as any budding Singer-Songwriter, Josh Kroehn depicts the multifariousness of his musical catalog with the notion that no one song follows any restrictive blueprint. A multi-talented guitar-virtuoso from Southern Australia, with most of his youth spent in Adelaide, Josh grew up listening to as much timeless and eclectic music he could find in his parent's stash-box of records. He's honed a distinctly sullen take on indie-folk and mood-drenched poetry for the past decade, unfolding from the fractal motions of his fingers over his bewitching guitar for a bid at spotlighting the secluded despair and tragedy found in his debut record; it's an assortment of crafty indie binds with a natural bent toward definite catharsis. It's this approach that defines 'State of Devotion.' The album's ethos—a biographical confession, a proclamation that all his songs come from the heart, and in their most authentically pure form—feels like a large plate to fill. Still, the numbers themselves articulate with considerably more refinement and nuance, wailing "maybe I'm meant to be alone," and reminding listeners that music is the most solemn form of expression. The record's melancholy is rooted in Josh's history, the vassal of most of his L.P.'s aggregates, and its unique guitar segments, making even the moodiest tracks feel like a clandestine mantra for the fleshiest parts of emotional release. Because while the Australian born songwriter has long acknowledged his doom-festooned mindset, singles like "As Clear As Day" and "After All" are a direct acknowledgment of that approach, they land in a place of resolution; ultimately presenting like a tenacious rebellion against submitting to the forces of depression and despair. To that point, Josh Kroehn's tunes typically feature a reverb-drenched guitar part and the pursuance of a particular dejected spirit. The album starter, "Never Found," gives insight into Josh's inner-looking musings and his search for inner-solace, expanding from an appetite for making songs that speak universally to anyone with feelings of existential angst. The retro-futuristic "Don’t Mind Me," a piece superficially inoculated with a punchy backbeat about Josh's social anxiety is a forward chugging production centered around the weaving and bending of a saturated guitar and the rich vocals of this heart-wrenching songster. The result is a simplistic but catchy rendition of a nostalgia-drenched, dismal-reflecting drive; think King Krule singing a dance number from the back seat of an Alexandra Savoir music video, with scintillating guitars affixed. It's a welcome contrast to the rest of the dooms-stricken record and a highlight nonetheless. However, "State of Devotion" is at its most potent when it gets rowdy and confrontational. On the track, "Undergrowth," Josh Kroehn's vocal wails gush all over the introductory half of the way, leaving the next share to erupts into a radical racket that would seem shocking to anyone unfamiliar with the sounds of shoegaze or distortion. Before the outburst, Josh sings the final dismal words, "sent back to the undergrowth, away from what I loathe, I'm not alive, all I do is survive," and it sticks to the bones like adhesive. "Turning Clocks" follows closely behind. It's a furious run of a number, driven by a spacey and arpeggiating guitar melody that mirrors its grim anecdote, which speaks to Josh's comprehension of what his life has become and how he got to where he is standing now. Even as the clocks keep spinning, he's still living life to his fullest: "I may be lost, but I'm still turning clocks, doesn't matter if I die, that's the beauty of my life." He sings with a throbbing spirit, as the rumbling of his bombastic drums accentuates his heightened resoundings. It's an anthemic tug that extracts the damage of thinking too deeply about what life bestows unto you, a reminder that it's not always fair and not always soaked with a sun-drenched outlook. Or maybe it's just an exaggerated romance about the strength you need to carry on, enunciated to your depressive confreres who are going through similar existential conundrums. Whether it genuinely arrives at a topical meaning is mostly irrelevant because of how consumed you'll find yourself in Josh's immersive instrumentation. Other songs, like "Numb Legs" and "As Clear as Day," operate with ominous dissolution. Featuring gloom-stricken lyrics and echoing guitar parts that dissolve back into the voids from which they came, like a natural change of the season: slowly evolving and simmering in its own emotionally pinched destitutions. "As Clear As Day" is the ennui-laden sister to "Numb Legs," in the same way "Undergrowth" is the ardent big brother to "Turning Clocks." Both pairs juxtaposing each other with similar shapes in terms of instrumentation but ultimately landing someplace original in the broad panorama of profound sentiments that Josh disperses with every brush and stroke of his guitar. The final moments of 'State of Devotion' finds Josh Kroehn holding on by his last aching hand's grip, doubling down with a soft-tethered ballad, festooned with a sullen guitar and a resounding voice that widens the expanses of his introspective testaments with a silver-tongued fashion. He taps his guitar to produce subtle harmonics and gruels within the booming echoes of the room he's within. Josh explains that even though at any given arms reach, there may be a shoulder nearby to hold onto, but regardless, he still feels secluded. He decries the state of his mind and festers in the dismal sorrow that his final words bequeath: "I'm surrounded but still alone, only a coward, after all, I have everything that I need to own, but I wish my mind would go, I wish it would go." He wants his doom-sunken mindset to get up and leave forever. The final relinquishing blow comes in what feels like a "part two" of its predecessor. "Back In Time" is a reminiscent fountain that pours out the final heavily weighted sentiments that Josh has reserved for the parting bits of his soul-searchers campaign, and with a few surprises attached. Instead of ending with a solemn fade out in an emollient tinged haze, Josh opts for a bombastic boom and a disorienting howl that leaves a flushing after-glow. "If I could take us back in time," he sings, as the drums come trolleying in for one last send-off; he's denoting the immense solace he finds in thinking about the past, and the better days listeners can all relate to. As Josh marks the end of his debut, 'State of Devotion,' parts ways with fans over a distortion-wreathed up-swell, contradicting his introduction and diving right back into his comfortable common-places: the introspective soundscapes of his mind; a genuine and authentic representation of the person he has become. The present version of Josh Kroehn has grown from his essential flesh-and-blood tools—the guitar—and buzzing harmonic escapades that come attached. The influences that shaped him are still enduring, but his perspective has gone through enough turbulence to account for a fresh, odyssey of emotional intensity. This is the introduction L.P. to come from the home-grown Australian, and it's a feature festooned with a multiverse of profound effects, to say the least. He hasn't deserted his most distinctive sonic ingredients, like the poignancy of his guitars—a tribute to shoegaze bands of the '90s, as well as his mesmerizing reverberations and voids-calling echoes. And while he may have scattered most of his most vulnerable points over thirteen songs, 'State of Devotion' is by far Josh Kroehn's most cohesive production to date, with extensive and memorable ballads to match every clear-cut pronouncement of his internal conflicts. With decades of making music attesting to his experience, he sounds more potent than ever. How did you find the strength to highlight some of the deep-rooted and profound emotions on 'State of Devotion'? I’ve always had a deep-seated emotional connection to music and composing/writing has always served as a catharsis for me. It wasn’t so much about finding the strength, it was more about the necessity of letting go of past events and experiences through my passion of music. Are there any songs that hold a special place in your heart on 'State of Devotion'? Were there any songs that presented as a challenge in including in 'State of Devotion,' fear of being criticized for them? All of the songs are really personal and have a special place in my heart really, I see the album as a collective and the flow of the record was very intentional from song to song. It’s a chronological timeline, that reaches its breaking point in the track Undergrowth. That song is definitely one that I think could garner criticism perhaps, due to its abrupt dynamics and sheer ferocity in contrast to the melancholic, moody opening of the first few minutes. What's been a significant musical influence and inspiration for the aesthetic and sentimental themes found within 'State of Devotion'? Do you see yourself following down this path for your next releases? I think aesthetically I’ve always been engaged with ambient textures heard from the likes of Godspeed You! Black Emperor, Sigur Rós, and Talk Talk. In terms of the sentimental themes, records like Ben Howard’s I Forget Where We Were and Noonday Dream, as well as Radiohead’s A Moon Shaped Pool definitely, gave me the confidence to go to darker and more introspective places with my songwriting. I don’t see myself making another record exactly like this one, I’ve been playing more acoustic guitar lately and writing songs more in the same realm as Never Found, which is the opener on the record. If you could list three emotions you were trying to convey to the audience throughout most of 'State of Devotion,' what would they be? Are these emotions something that you think will become common-place in your next musical ventures? I always compose according to how each individual song makes me feel, which always comes from the instrumental first and foremost. I write my lyrics according to how my guitar riffs make me feel and the events in my life that they remind me of. If I had to pick three emotions, I would go for alienation, anger, and regret. I might touch on these again in the future, it all depends on what transpires in my life and where I’m at. If you were to prefix the rendezvous of emotion that is 'State of Devotion' in your own words to prepare listeners, what would you feel the need to say and why? I would feel the need to say that I’m the happiest and healthiest I’ve ever been in my life at this very moment, and these darker themes come from a past that I’m not ashamed of, but have learned from. Instagram Facebook #BUZZMUSIC

In a world full of darkness, a light radiates at the end of the tunnel and he goes by the name, Trenten Priest. As one to solely promote love, positivity, and change in the world as we know it, Trenten Priest emits a bright ambiance when you listen to this emerging artist's empowering creations. Reigning from Dallas, Texas, his latest record “Work For It,” is a collaborative effort between himself and Hip-hop sensation hailing from Empire Records, N7. With “Work For It,” garnering major attention from streaming platforms. Using a variety of worldly influences as his muse, your ears instantly fall upon the diverse elements in the production. Huge basslines and trap-infused atmospheres dominate the instrumentation as the sounds created are larger than life. Trenten Priest delivers hard-hitting verses with the dynamism in his lyrical adaptability pulsing through each moment the speakers bump. As a composition, this piece flows smoother than butter as it holds numerous trademarks of a hit record at hand. Acting as an anthem, “Work For It,” transports you to that hustle mentality as you turn this song up a few decibels and work for what you want. Driving home the essence of working hard for what you have, this record is showered in confidence that speaks volumes. The collaborative effort between both Trenten Priest and N7 is unmatchable. Each artist brings their own flair to the dinner table as they eat up the beat and leave a clean plate for those who are following behind. With swag in their performance and undeniable radiation of chemistry, it’s safe to say that Trenten Priest and N7 put their best foot forward as they continue to make their way to the top. Instagram #BUZZMUSIC

Sob Sister is the glorious sonic development of California based Singer and Songwriter, Caden Gray. His second album, 'How I Do My Hair Now,' Sob Sister prides itself on being an emotional alt-rock-pop-folk epic told in two acts. Caden Gray uses the superficial element of hair as a metaphor for growth, change, age, and expression as he examines the patterns of adulthood he is entering into. We can hear Caden Gray showcasing his skills through multiple instruments as well as his extensive vocal arrangements throughout this fifteen track sonic experience that is epic in scope. The diverse creation of this album comes four years after the release of his first album, Pansy, and displays a more polished and shiny version of Sob Sister’s theatrical bedroom-rock sound. We start 'How I Do My Hair Now,' with the title track and lead single from the album, “Freeway’s End/How I Do My Hair Now.” This record happens to be songs one and two fused together. Gracing us with the artistic versatility in a harmonious introductory as we hear the acapella radiance of Caden Gray’s vocals. We are enthralled by the tantalizing resonance that grasps on to us like an auditory hug. The larger than life array of melodies delivered to us before the deep embrace of acoustic guitar strums cascade with the reverberations with ease. This record was launched by Hedwig and the Angry Inch’s, John Cameron Mitchell on Rain and Summer Phoenix’s podcast LaunchLeft, and serves as the thesis of the album. “Shooting Hoops,” conveys the deep essence of sorrow across a somber progression of the instrumentation that allows us to descend into the atmosphere as we take in the storyline. Reminiscing on a series of false promises, weak moments, and fallen memories we hear this piece laced with delicate concords emitting poise as the vocalization floats upon the composition. Caden Gray offers the delicacy of artistic creation as he serves us the goods on a silver platter dressed in pure emotion. Next on the roster, we have the enticing creation of the record “Man Weekend.” This piece clocks in at under two minutes but delivers enough passion to last a lifetime. The cosmic quintessence of the memorable chorus that rings upon your head top long after the record is over presents a spatial atmosphere that you can fluently drift away to. Lyrics such as, “They’re taking over soon, I can feel it in the wind. They’ve always been in charge but now we’re through,” propel chills down your spine as you attempt to place yourself in the headspace that Caden Gray created during his composition. “Alison, Possessed,” carries an up-tempo ambiance as the tight drum patterns have you feeling the ultimate grooves conveyed. We are immersed in the suave and divine vocals from Caden Gray and his colossal harmonic range fitted in bliss. The electric components add a certain edge and punch that picks up the pace of this masterpiece as we listen to a story about Alison and the dark side she faces as the world can be ever so cruel as the judge from the outside. In the end, she is burning inside. The political piano ballad we have come to, “Assistant to the President,” is the sixth song on “How I Do My Hair Now.” This narrative reflects the uncertainty of living in a world ruled by an unfeeling, plastic elite. A striking assortment of keys is played embellishing the arrangement that drips in a passion-fueled performance. Dancing upon your mind, you feel an exhilarating rush take over your being as you capture the captivating principle of this record. “I’ll Believe This One,” addresses the defeat that Caden Gray can feel living in an icy world that tends to reign down with misfortunes and burdens. It is hard not to gravitate towards the magnetic pull that is brought from a self-produced record of this caliber. As each song offers up a diverse flair from Caden Gray, we are plunged into a pool of overflowing sentiment as we hear the saccharine sounds of, “I’ve got crystals for eyes, you said that you’re done. I’ve heard every lie but I’ll believe this one.” Coming in eighth on the tracklist, we have “Puddle.” Establishing a pensive tone with relaxed instrumentation. Caden Gray depicts an image of another human puddling around him. Sure enough, we begin to melt as we hear the intricately scripted lyrics conveyed. As we plummet into the depth of our emotions, Caden Gray swiftly takes us by surprise as the pulse obtains an up-tempo rhythm quipped with gentle whistles and we are led to the final words of the song; “These gateway colors surrounding.” As we enter Act II, we are given a taste of “A Fall.” This specific track takes us back down to a level-headed approach as Caden Gray shines a light on the subtle ukulele strums that although gentle, could in fact power a room in this piece. Placed under the spotlight, we have yet another talent from the elite artist. Through his words tracing around finding the faith in faded dreams and his reasoning for not saying goodbye, Caden Gray wins us over with the retrospective lens he offers us to look through peering into his journey of life. “Bangs on Fire” captures the warm moment in which a spark is recognized to have been struck between two people. Having us linger upon those moments, a minimalistic introduction of heartfelt chords being performed allow us to zone in on what Caden Gray is speaking into existence. The triumphant drum explosion that creates an immense flash, allows us to anticipate the faster tempo of the vibrating ambiance that is discharged into our speakers. Pair that with the power Caden Gray holds in his tonal distinction and we have a recipe for desire. “Face Odyssey,” strikes us with melancholy as we apply our attention to the subdued notes that Caden Gray tells in this tale. The unpretentious instrumentation allows the somber vocalization of this chapter to remain a centerpiece as we can hear the sentimental sensation ooze from Caden Gray’s soul. Dominating with the abstract presentation of his lyrics, words such as “Tried my whole life to find the end of me then I could sit back and sigh. No more crying,” showcase the factual core of the meaning within. “Fear of Blondes,” carries forth a majestic ambiance as we instantly feel transported to an atmosphere where fairytales come true. Floating on the perfect image of describing the staples of an independent, blonde goddess who carries herself well, we can paint a comprehensive picture on the blank canvas in our mind with the intangible details that Caden Gray so smoothly delivers to us. Frolicking in and out of musical cues with the utter talent displayed, we truly see how this album is a sonic voyage through the mind of Sob Sister. The thirteenth record that can be found on “How I Do My Hair Now,” is the electric ambiance of “Batting Cage.” Weighing in on two sides of the scale, we hear this more Rock forward track touching on yet another side of the emotion-filled angst that Caden Gray portrays. “Missing someone I don’t even know,” is the stand out lyric as we immediately relate to the feeling of drifting apart from someone we once knew so well. Caught up in the mystery question of how did you not see this happening before your eyes? We begin to feel nostalgic as we recollect our thoughts from this mind-blowing correlation. Second last on the tracklist, we have “Comedian’s Son.” The desolate ambiance that pulls you into Sob Sister wrapping up his second album takes you on a journey through his mind as the enticing instrumentation has you riding the waves of this composition and story at hand. Fueled by power crying and awful lighting, the imagery between the lyrics gravitates towards the dusky side of being in the spotlight and having all eyes on you. Sometimes the only thing you can do is glare back. The album ends with the direct and unwavering “Oh, Brother,” in which Caden Gray confidently claims his space as an individual on this Earth, while still recognizing that regardless of the effort put into gaining awareness and moving forward, bad habits and apathy can relentlessly return to test us. Diving into the final piece, the soft scale of the vision actually hits you heavy as it forces you to look back on the voyage that Sob Sister just provided. Fifteen tracks later, a medley of emotion and the gentle sound of rain leaving us in our thoughts, we have concluded the expedition that Sob Sister has hit out of the park with 'How I Do My Hair Now.' How does this body of work compare to the first album that you released? What are some similarities and differences in the creative process? Thank you! This is a way more expansive album than my first record Pansy. There are more songs, more people involved- it’s a lot more epic in scope. The first album I did mostly by myself and recorded in my final semester of college in Boston. This record took about five years to make from the writing of the first song to the release. I was able to sit with these songs for a lot longer, playing them live a million times before actually recording them which I believe made them a lot stronger. I wanted this album to be shinier and more polished, and also heavily focused on collaboration. I produced the album with two other people, Shiraz Dhume and Joseph Freeman from the band River Gods, and had more instrumentalists playing on it. This new album has all the melancholy drama of the first one, but I think you can hear a more confident and fully realized version of the Sob Sister sound, which I would describe as theatrical-mopey-bedroom-rock-pop. You have a hefty amount of accomplishments under your belt! One is attending Berklee College of Music for songwriting. How has that helped your songwriting abilities? I learned a lot of extensive and valuable music theory at Berklee that I’ve been able to apply to my songwriting. I had a great mentor at Berklee named Erin Barra who really pushed me as a songwriter, and more specifically as a songwriter who produces their own work. I learned and was inspired a lot by her. Going to school for any art form is a nice challenge because you’re forced to create when you don’t always feel like it, which is an important thing to learn how to push through. Out of the fifteen tracks, if you could pick a favorite song on the album, which would it be and why? That is such a Sophie’s Choice question, but I’ll try! I really am fond of the title track, it’s very special to me and serves as a sort of thesis to the album, but I also really love Oh, Brother and Assistant to the President. Can’t pick one. The introduction of the album is actually songs one and two fused together. What was your reasoning for taking that approach? I view this record as a two-act piece (Act I ends with “Puddle”, Act II begins with “A Fall”), the album begins with “Freeway’s End”, an acapella piece that serves as the overture to the album. It’s sort of a welcome-to-my-world moment; it gets you into the drama of it all. Similar to theater pieces, I wanted the overture to launch directly into and be connected with the big production number that is “How I Do My Hair Now”. “Freeway’s End” gets you in the melodramatic mood and then we go full force into the meat of things. What would you like your listeners to take away from “How I Do My Hair Now,” in terms of themes and messages? That’s up to them! From my perspective, this album is all about becoming aware of the patterns present in your life, the ones that manifest and appear as you get older. The final lyric of the album is “I’m a foggy mirror and I wipe it away yet it still comes back again.” Things tend to come back around in different ways and it’s up to you as a person to recognize that and either continue down the same path or break the cycle and change. I think I’d want a listener to relate in some way but most of all enjoy what they’re hearing. I wanted to take the superficial element of hair and use it as a metaphor for growth, expression, maturity, a passage of time...I hope whoever takes the time to listen can get into the melodrama of it all and enjoy it. Sob-Sister.com

From Pennsylvania to Nashville, the diamond-studded Dream-Pop Singer/Songwriter Jordyn Kenzie takes us on a night ride with her emotional and dynamic single, "Night Wears Off." Kenzie's sound can be described as if Lana Del Rey met Robbers-era Matthew Healy for a tonic in a night cafe or a cosmic crossing of Amber Bain meets Boy in Space. Through an explosive self-titled debut EP in 2018, Jordyn Kenzie has proven that her music can and will stand the test of time. Fresh off her glimmering single, "Night Wears Off," Jordyn Kenzie brings a desirous theme to this delicious and melodic dreamscape. Through gleaming production and haunting ghost vocals, Jordyn Kenzie stands in the spotlight and sparkles with her emotional lyricism that listeners can easily relate to. "Night Wears Off" peacefully opens with groaning sub-bass and melodic keys at a down-tempo pace. As Jordyn Kenzie begins vocalizing her longing emotions for someone she misses day after day, she offers listeners a natural connection to her relatable lyricism that lingers in our minds. The song's production is highly modern and celestial, perfectly complimenting Kenzie's dreamy lyricism with words like, "-baby, you're a dream, but I can't sleep." The use of organic piano is crisply filtered to offer the song a slight flair of R&B, not to mention the gradual Pop/Trap drums; the track provides a rhythmic groove that's food for the soul. Overall, Jordyn Kenzie has transported us to a serene and wishful space with her tender Dream-Pop single, "Night Wears Off." Through each longing lyric, Kenzie delivers, she allows listeners to easily connect with her authentic and meaningful words. We love the passion and emotion you've delivered with your single, "Night Wears Off." Was it challenging to write a song based on such a personal aspect of your life? Personally, I feel like the most vulnerable and honest lyrics are the ones that need to be said; they're the ones that reach people and resonate in a special way. Night Wears Off came from talking to my brother about things we could both relate to at the time and so the lyrics came from that very real place which allowed them to happen pretty effortlessly. The production within your single "Night Wears Off" is very dreamy and melodic. What sort of sonic atmosphere did you want the production to offer? Did any Producers help you with the sonics? My brother and I had written the song originally a few years back right after we got a synth keyboard and were just having fun creating dreamy chords and melodies. During some time at home during quarantine, I had sent the song to fellow Berklee student Sean Feth, a very talented producer, who added some of those cool “dreamy”, bedroom pop elements. When I moved to Nashville in August I reached out to Bailey Sample from Support Staff, a producer friend whom I’ve been a big fan of for a while. He really listened to what I was going for and just transformed the song in such a magical way- including some beautiful atmospheric sounds that felt very “me”, and even some hip hop elements to really tie everything together. We've noticed that you've made quite a few changes to your sound with the release of "Night Wears Off." What pushed you to expand outside of Country-Pop and delve into Dream/Alt-Pop with your latest release? Growing up in PA and immersed in a music scene of folk and storytelling styles of writing, I was naturally just very drawn to that. My annual trips to Nashville also had me really absorbing the songwriting and storytelling aspect of music. I had recorded my debut EP in Nashville when I was 17 and since then I’ve grown in so many ways. I’ve had more life experiences that have shaped what I need to say in my music and I feel that my emotionally driven lyrics support these themes more. I’ve also been lucky enough to spend a lot of time being very hands-on in the production process of my most recent songs and through this, I’ve been able to really communicate the sounds and elements I’m drawn to. For listeners and readers just getting to know you, how would you say your music represents you as a person? Do you deliver themes/concepts in your music that align with what you stand for? That’s a beautiful question! So I grew up in a very small town in Pennsylvania, upon a mountain amongst endless woods. As soon as you drive down off the mountain it’s a lot of hills and golden fields. It’s just a very beautiful and inspirational environment which I think shaped my music in a lot of ways. A lot of the dreamy elements in my music have such a nostalgia to them that brings me back to the freedom of exploring my world back home. As far as my lyrics, I will never write a song just to write it; everything I write is something I am saying because I feel like I have to. Emotions are a heavy thing and I feel that sharing my experiences or perceptions of life could help someone better understand why they might be feeling a certain way, and that sense of connectedness that adheres to that is just very compelling. What has been keeping you inspired throughout 2020? What can we expect to see next from you as we enter a new year? 2020 has definitely been an emotional rollercoaster for all of us, and my creative energy has been just as inconsistent. What has gotten me through is spending time with people I love, staying creative, and staying hopeful that it’ll get better in time. In the new year, you can expect a lot more music with a similar vibe to Night Wears Off, more sharing and honesty. Instagram Facebook #BUZZMUSIC