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Spencer Gonzalez and Roger Rojas Jr team up for their edgy record "Selfish." Reconnecting in the mid-2000s, the two artists began creating together. Whether it's recording catchy melodies, writing deep lyrics, or showcasing their performance skills while touring, both Spencer Gonzalez and Roger Rojas Jr have music running in their bloodline. Dripping in heavy rock elements, this live off the floor performance of "Selfish" captures the essence of both artists' creativity on the spectrum as they sway back and forth between the genres of Rock n Roll on the classic and new wave spectrum. Honing in on their talents, Spencer and Roger execute a brilliant performance in an electric, up-tempo soundscape. This record hits the trademarks of a broken-hearted ballad. The intricately scripted lyrics shed an image on a blank canvas of a relationship gone wrong because the other half chose to be selfish in their actions, a relatable tale that we all know too well. Delivering an unapologetic personality in the vocals shed, we are exposed to the essence of what this dynamic duo brings. Between the psychedelic groove-filled guitar licks and tight drum patterns, Spencer Gonzalez and Roger Rojas Jr leave it all on the table as they share a piece of themselves with their rapidly growing fan base. If this indicates their evolving personas fused into one, then we know that their future content will be equally as relevant, if not more. Hello Spence and Roger and thank you both for joining us at BuzzMusic. Could you please give us a bit of detail on how you and Roger Rojas Jr have come to be the dynamic duo that you are today? Roger Rojas Jr.: We have been around music our entire lives, our fathers wherein a regional band called Brown Sugar Band. From early on both spencer and I have had that tight duo of knowing what one another is going to do musically and that’s what has given us so much dynamics when recording together, we can take a piece of the song and each of us can grow from it dynamically. Spencer Gonzalez: Absolutely our fathers played in the same band when we were kids and always being surrounded by music. That shaped us and when I was making my bones on the road with rock bands on the road I met up with Roger and it just took off from there. We worked on some tours together and have been working in the studio and it has been a blast so far. Was there a specific moment that inspired the creation of this record? Spencer Gonzalez: the creativity and experiences that I had gone through in my life as well as Rogers inspired the material on this album. A lot of life-changing experiences for me and sorrow and pain but that’s the stuff that makes great songs. Roger Rojas Jr: A specific moment that inspired this album has to be taking our roots back. We mixed with our old school roots, solid drums, and amazing leads that make your booty just wanna dance. I know nowadays songs are good and people remember lyrics but nobody ever just hears a song anymore and just wants to dance, that’s what inspired us most about this album just making that good feel dance song. Could you please take us into what the recording session was like for “Selfish?" Roger Rojas Jr: Selfish came together very easy, I put together a very catchy drum beat that leads to an amazing bass line by Gonzalez, and of course, adding guitars and keys just rounded out the song. Personal life lyrics carried Gonzalez thru Selfish, at times everyone can relate to this song cause at some point in anybody's life we or someone we know its gonna be selfish! Spencer Gonzalez: Absolutely yes it was a labor of love, when that drumbeat started I felt like this needed to be funky and powerful. I created a complex baseline key then dropped in guitar chords and licks and a great melody I put together and based it around my personal experiences in my life. What message and themes would you like your listeners to take away from the music that you create? Spencer Gonzalez: We want them to experience the music and feel the story that’s being told in each song from the melody to the guitar solos. To experience the true meaning of the song. Roger Rojas Jr: We really want our music listeners to take away the dance part of music, we wanted to make an album that was recorded in our studios but gave you the live feeling of wanting to dance, Gonzalez has always been magically amazing with his guitar solos, but with this album, he took them to entirely new level of leads & just amazing add lib! What can fans anticipate to hear next from you Spencer? SpencerGonzalez: I always want to push the limits with my craft and go far beyond every time I write and play. For me, it’s an ongoing process to create and never do the same thing twice. Fans can expect me to push the envelope each time I come out with an album. I enjoy every style of music from Rock to jazz to classical as well as country. I simply want to take my fans on a journey with the songs to my guitar playing to my melody and my lyrics. I enjoyed very much putting this album together with Rojas and believe me there is definitely more to come. The new album can be purchased at this link https://sandrmusic.ecrater.com/ Spencer Facebook #BUZZMUSIC

Richard Singleton II is affectionately known as Creative Theory that shares his vocals' sweet sounds with the world. As the name implies, he has a strong appreciation for the totality of being creative. He believes that there's a certain magic in creating a universe for others to enjoy and get caught up in. After his trials and tribulations, he focused his attention on being his inspiration. There was one quote in particular from Alan Alda that resonated with him more than anything else, "Be brave enough to live creatively. The creative place no one has ever been," and this is what encouraged Creative Theory to begin writing music, poetry, drawing and scripting a story about the events that took place in his life. It was in Fenty, Afghanistan, that Creative Theory came up with the idea to combine everything he loved and create something about his battles with depression and getting through everyday life. His debut EP, 'Color Blind,' was born, and he tailored it to be a music video anime series that is, in fact, based on those real-life events. Anime Series is based on those events. "Dream Girl" is the first record we can hear on Creative Theory. Dancing with the striking piano keys and delicate synths that the instrumentation holds, Creative Theory sheds harmonious melodies and soothing vocals that float upon this composition as he sings the sweet and affectionate resonance of his dream girl and all that she has him feeling emotional. "Dream Girl" acts as a letter that bounces in and out of your mind as you gravitate towards the powerful performance that Creative Theory gives his listeners. Next up, we have "Mahogany." This song carries some decadent ambiance as 90s R&B seems to be the central theme. Fuse that with the relaxation of Jazz vibes and a lounge-like feel, and we start swaying from side to side as we hang onto each word that Creative Theory depicts. Singing in the deep and soothing passion that is showcased, we can hear the expressions of an abstract storyline that touches on an unforeseen future that drips with the many shades that life has to offer. Third on the tracklist of 'Color Blind,' we have "Colors." Taking a deep dive into some bass-heavy components that gently graze the speakers, we can hear Creative Theory's brilliant vocal performance sift between carefully crafted lyrics and soft humming reverberations that add a textured dimension to this piece. The prevailing saxophone lays heavy on our head tops as we are transported to take it all in during the solo. Melodically speaking about the effect that colors have on our moods, we are reminded that all themes in life have color if you take a moment to look a little deeper. "Not Only on Valentine's" slows the tempo down as we groove to this nostalgic ambiance that is set in place for us. The harmonious elements in the foreground and distance make for a pleasant listening experience. We begin to craft our picture to this record from our imagination running wild on the canvas that Creative Theory offers up. This song holds very few words, but the fact that Creative Theory allows his pitched down vocals to repeat the title over and over spaciously through the track leaves us fully satisfied. The fifth track on the roster is "Black n Mild." This time Creative Theory has recruited King Marino to feature on this heartfelt track that carries some heavy Pop meets Contemporary Hip-hop meets Creative Theory flavor. The soft and buoyant execution adds a different essence to this project, kicking it up a notch. The captivating hook, "Blow smoke, blow smoke in the air," has us fully committed to this track. King Marino delivers his vibrant energy transmitted through the lyricism he lays down with his perfectly timed cadences and magnetism. This song is all about getting faded and the laid back vibes you get from a night out with the crew. The final track on 'Color Blind' is titled "Freedom." A record that features the second collaboration on this project but this time by Demika. The pizazz and grooves that are radiated as we press play make this a solid outro on this EP as we hear the Pop aroma ring weighty bells in our ears. Creative Theory paints a picture within the empowering embrace of his talents about going out and living your life on your terms in order to have a life full of fulfillment and ensuring that freedom is vital in all the moves you make in your lifetime. The heavenly vocals accompany him that Demika offers upon this single in a triumphant finale that this dynamic duo serves. "Color Blind" is a true sonic creation as we voyage from track to track with a lifelong message divulged in each piece. The collective works create a solid foundation for the start of Creative Theory's musical career, and we can eagerly say that we are ready for what's next to come. Congratulations on the release of your debut EP, 'Color Blind.' You truly fuse together a lot of elements to bring this piece of work to life. Where did the inspiration for the title 'Color Blind,' come from? I chose to title it "Color Blind" for a lot of reasons. Just like my name, Creative Theory, the title is a concept….. an idea, if you may. We, as people, tend to solicit our perspective as if it were fact when in reality we really have no idea how or why we are. Things are always changing...what was acceptable 5 years ago doesn’t meet today's standards and vice versa....most of us just go along with whatever, for the sake of social survival. My music represents an unbiased array of colors. To be honest, even in how I'm answering this question, it’s just a "theory". Out of all the songs on this project, do you have a favorite? If so, why does it resonate with you more than the others? My favorite song on this EP is "Colors". To piggyback off the first question, it really embodies the idea of my thoughts around life. “Colors” represents us as people and how we are forever evolving. When you hear me sing "Sapphire Sun where have you been" it’s a representation of wondering where our values and our integrity went. They're structures that make us strong, invoking imagination/innovation. Opposite of that I sing "Blue Crescent moon I’ll keep you in mind". No matter how bleak things look, there's always a rebirth. Also, the sound...jazz fusion like elements, speaks to me. Experimental brush strokes. On the fourth record, “Not Only on Valentine’s,” you decide to take a more instrumental approach. What was your reasoning behind that? I chose to go instrumental on “Not Only on Valentine’s” because, for one, but I also love “Love.” I love writing about it. I love singing about it. But I wanted to create something that felt like how love works. If you listen to it, there's nothing major going on, but as the song progresses and gets towards the end, so many things are going on. It’s a musical for all the stages of loving someone. What was the creative process like when structuring the bodies of work for your EP? Could you take us into what that entailed? I have an anime music video series going on right now called "Theory". The majority of the music on this EP is tied into that series. But the creative process on each body of music for me was healing. Dealing with fighting depression; finding someone special who inspires me with their art. It all helped with the collage. "Mahogany" for instance, was a painting with sound. Hearing the ocean waves as the sunsets, and an interpretation of finding peace. Or "Freedom" letting people know it’s never too late to reach a dream. No matter what you've been through, dust yourself off, embracing your uniqueness. What is the main theme that you would like your listeners to take away from your EP, 'Color Blind?' The main theme is Creativity. A detachment from social constructs to a genre. If you feel it.....Letting that unknown source do its thing. The main intentions were to inspire, not looking for a number 1 hit. Being true to myself in hopes that listeners can feel what I'm bringing to the table. Instagram Facebook #BUZZMUSIC

Denver, Colorado is home to the emerging Pop sensation Wendy Shu. As an emerging singer and songwriter, Wendy Shu has a scorching love of telling stories through the melodies that she intricately crafts. Growing up, music always played a significant role in the life of Wendy Shu. From learning piano with her mother to creating with other creatives in a college band, she has always managed to keep music around her. Now all her past musical experience has culminated into the work she is able to produce now. Wendy Shu has recently released the vivid likes of her debut single, “Makin Love to the Night.” However, this is just the beginning for her. Creating lyrical prose that swiftly takes you into the world of Wendy Shu, she fashions a shared space of experiences for her listeners. “Makin’ Love to the Night” exudes the effervescent, feel-good Pop essence that Wendy Shu conveys to listeners as she transports us to an unforgettable night on the town with her friends; a memory that many of us haven’t been able to experience in quite some time due to the winding road of 2020. Ravishing guitar riffs drown the speakers as the sparse and perfectly timed drum hits add that extra oomph to drive home the Pop power radiating from the intoxicating sounds of “Makin’ Love to the Night.” Wendy Shu immerses us in the sweet resonance of the wide vocal range that she showcases in her performance of this hit record. The mesmerizing hook takes you on a journey of the escapes of the evening as Wendy Shu manages to deliver a detailed version of her night on the town as she sonically conveys the enticing tale scripted. The lavish vocalization cascades with the instrumentation in an effortless manner that has you hanging on to every single lyric Wendy Shu delivers as she makes her debut in the rapidly growing Pop scene. Future projects are in the works for Wendy Shu as she indulges her listeners with the emotional connection that her blissful soundscape generates. Congratulations on your debut release, “Makin’ Love to the Night.” You have definitely made a bubbly statement with this debut! As an emerging artist, could you please tell us a bit about yourself and your craft? Thanks so much! Yeah so my name is Wendy and I’m 23 years old, currently based in Denver. I’ve been very involved in music my entire life. My mom was a piano teacher so from a very early age I was thrown into it but as I got older, I started picking up other musical forms like singing, guitar, and I even played the saxophone in the band from middle school through college. I was inspired by Taylor Swift in my early teens because I loved the way she wrote from her heart and created really emotional music that connected with her audience and that was something I really tried to emulate as I started writing. It wasn’t until this past year I think I really started writing the way I wanted to and found some maturity in my style. Where did your inspiration strike for “Makin’ Love to the Night?" Makin’ Love to the Night is inspired by some of my closest friends who all live out East so I haven’t seen them in quite some time now, largely due to the pandemic restricting travel. The song is really just about a pre-pandemic time when we could hit the town in our best outfits, having the time of our young lives. One of the friends that this song was inspired by has these little sayings that I incorporated into the song and “makin love to the night” is one of them, so I definitely have to give him some credit here as well! But I’ve always loved this phrase because it really is such a romantic and simple way to describe just being young and crazy and staying up all night with the people you love creating memories to last a lifetime. Since this was your first recording experience, could you please take us into the ambiance of your first studio session? I wish I could’ve actually gotten into a studio to record this song! But with everything going on, I decided to do all of the recordings remotely. I connected with a producer, Kate Malone, and I sent her my bare-bones recording of just me and my guitar. We just went over what sound I was going for with this song. She was able to produce that amazing track for me and I did the recording in my home studio. It was definitely a lot of back and forth trying to make sure everything sounded just right but it was such a fun experience taking a song I had written just me and my guitar and turn it into full-scale production. What themes and messages would you like for your listeners to take away from the music you create? I hope people just find some happiness when listening to this song. This year has been so hard and I’m sure there are lots of people out there that are in a similar spot to me who haven’t been able to be with their loved ones in quite a few months. Maybe it’ll take them back to a time when they were with their friends making love to the night or maybe it’ll give them something to look forward to down the road. Regardless, I just hope it brightens someone’s mood and maybe even get them dancing along a little bit. What can listeners anticipate to hear next from you? I have so many projects in the works right now and I’m so excited to get them produced and put them out into the world. With this first release, I wanted to go with something more fun, commercial, and relatable but some songs I have coming up are definitely going to be more emotional and hopefully show off that more mature writing style I was talking about. There are no set dates yet but I’m aiming for my next single to be out in early 2021 so definitely keep an eye out! Instagram #BUZZMUSIC

The Miami-born Artist and Singer/Songwriter Casely offers listeners a conceptual project to be played in any order they choose with 'The Mutt - A Palindromic Album.' Casely mentioned that the project is titled 'The Mutt - A Palindromic Album' due to his cultural diversity from Trinidad, Panama, China, and Jamaica and his eclectic taste in music from R&B, Broadway, Pop, and Singer/Songwriter. Creating a Palindromic project is rather challenging, yet Casely allows listeners to play the album from top to bottom or bottom to top, and we're just as equally engaged. Through the album's first track, "Rude Boy Summer (feat. Braveboy)," the song opens with an infectious percussion beat that lets listeners get down with the Afrobeat tone and feel. We honestly couldn't have asked for a better track to start (or finish) the album, as Braveboy and Casely offer a heated atmosphere with the deftly-produced beat and their exhilarating performance that brings us back to the heat of the clubs. The contrast between Casely's higher-pitched vocals and Braveboy's low and deep tone offers the song a dynamic flair that's highly engaging. Moving on to the album's next piece, "Never Be Alone (Acoustic)," the song blissfully opens with peaceful and mellow acoustic guitar picking. As Casely makes his vocal appearance and delivers a different approach than the track prior, he stops us dead in our tracks as we bask in the warmth and tenderness he provides through this song. While singing of someone he holds close to his heart, Casely reminds them that they'll never be alone as long as he's in the picture. This piece offers a sweet switch up that adds emotional and lyrical depth to the project. With the next Afrobeat inspired song, "Airflow," the song opens with a prominent and textured beat that takes us to the warmth of the islands. With help from organic instrumentals through airy keys and bright acoustic guitar, the song's atmosphere truly offers all the heat we need to stay warm nowadays. Through Casely's upbeat and energetic performance accompanied by the blistering production/instrumentals, we can't help but get down with this fiery banger and dance away with it. We can truly feel the life and exuberance that Casely offers in this upbeat and lively hit. Through the album's fourth track, "Annabella," we hear more of a mid-tempo R&B banger that steams through our speakers. As the song opens with textured percussion patterns and warm background sonics, Casely comes in to sweep us off our feet with his melodic and delicate vocals. While singing lyricism surround "Annabella" and her mysterious yet intriguing ways, we can feel the passion that Casely holds for this character as he delivers his conceptual lyricism with the utmost heart and desire for her. The soft production and delicacy of the track genuinely make it a heartfelt and passionate experience. With the next track, "Dreams," the song opens with droning and haunting synths, background pads that keep the track afloat, and incredibly soft instrumentation. Listening to Casely's lyricism once over, he begins singing an introspective and reflective tale of losing sleep, not wanting to eat, and endlessly waiting for his phone to ring. We must note the delicate lyrical content that Casely has written crashes into our days like a wave on the shore, pulling us in deeper to his immense emotions that linger in his mind and body. The melodies and poise that Casely offers truly allow the listener to take in each heavy lyric he delivers. Moving on to the next track, "Risk," we hear another soulful and emotional acoustic by none other than Casely. We're head over heels for Casely's in-depth and emotional lyrical content that pulls us in closer to the album, primarily through his poetic and wise words in this piece. While playing sole acoustic guitar and serenading us with heart, he sings a story of watching someone have this unhealthy hold over him and realizing that the only risk is to stay put. With profoundly compelling tracks like this, Casely is evidently well aware of how to create a project with incredible and vast texture. Spicing it up with the next track, "You Know," the song opens with a fiery Hip-Hop/Trap beat that sounds like it came straight out of Tay Keith's studio. With a vibrant organ that haunts up the song's background and offers incredible melodies, Casely quickly jumps in and stands in the spotlight with a desirous message. As Casely delivers more of a melodic type of delivery while still slapping his bars across the track, we're highly engaged in this sweltering banger that gives the album a whopping low-end through the meticulous and heated production. Reaching the album's last track (or first, if you listen to the project backward), "Kerosene," we hear one of the most eclectic and broad sounding pieces of the puzzle. We hear Casely go into a relatable lyrical space while he sings of the pain his past lover caused him while also wishing for them to return and ignite his fire with their natural kerosene. The song moves gradually with warm piano melodies complimented by the surrounding airy and celestial production, bringing us all the love and passion we desire. Ending (or starting) the album on a reflective and deep note, we love each twist and turn that Casely has presented. We can't help but feel naturally moved after listening to Casely's entire album, 'The Mutt - A Palindromic Album,' as he fuels the project with sounds like R&B, Hip-Hop/Trap, Pop, and Afrobeat while coming through with lyricism that strikes a chord in any listener. We're head over heels for your entire album, 'The Mutt - A Palindromic Album.' What inspired you to take on this palindromic approach with the project? Thank you so much! There’s so much life inspiration woven throughout this album. From the songs, to “The Mutt” title representing both my mixed-breed multicultural heritage and the sonic influences you hear throughout. Music is life for me and I aim to create art that not only resonates with people but also brings an experience to their life. With my new palindromic approach, the listener gets a multi-layered experience with The Mutt where, when listening from end to beginning, a different mood and gut response is felt. We’ve listened to albums one way since they came into existence so it’s time for something new. How did you arrange your tracks on 'The Mutt - A Palindromic Album' to tell a story from bottom to top and top to bottom? Was this a difficult process? As a kid, my dad and I would create mixtapes and, with his DJ background, he would explain the importance of laying out music a certain way for a crowd (in this case the father/son mixtape) and what a good flow in terms of different tempos feels like. I suppose that from that point on I looked at sequencing albums as part of the art. It dictates feeling and vibe. The Mutt is untraditional in that when listening from beginning to end it opens with high party energy with BraveBoy almost acting as the Master of Ceremonies bringing me on stage “So what you feel like Casely?”, and then suddenly shifts to an intimate setting (Never Be Alone) before picking back up again. In my opinion, it’s almost jarring and so sudden that you’re forced to lean into the intimacy of the acoustic guitars of “Never Be Alone” that much more and then continue the ride into “Airflow” to let you know party boy is still here. I love emotion - I love to dance - I love expressing the full spectrum of energy through music. Now when starting from the end of the album with “Kerosene”, you get, in my opinion, a darker and more cinematic opening before transitioning to the more aggressive and swagged-out “You Know” which brings along different mental images. It’s as if when going out the night started with a different mood altogether and develops differently. I’d love to know what stories come to mind for you and everyone so please paint me your picture on my socials! Seeing as your album 'The Mutt - A Palindromic Album' covers rather heavy lyrical themes within a variety of tracks, what inspired the overall concept behind the project? I was having a conversation with my team about how my cultural background is so all over the place (Trini, Panamanian, Chinese, Jamaican, St Lucian) that in school it was hard for me to know what group I was supposed to claim or belong to. Being mixed, I was called, I like to think endearingly, a mutt in school. Mutts don’t have a singular identifying quality. This project is about owning who you are and it goes for everyone. We’re all mutts in some form, if not culturally, then with our tastes; our fashion even. With so many choices at our disposal our tastes, generally speaking, have become so varied and eclectic. I bet your Spotify or Apple Music playlists look pretty mixed. We’re all Mutts! Within your project, 'The Mutt - A Palindromic Album,' you capture sounds like R&B, Pop, Hip-Hop/Trap, and Afrobeat. Did you have any help when creating the production for your album? Why did you want to offer many different sounds and approaches? It was important for my team and I to establish myself as not just an artist but as an engineer and producer. I record myself at home as well as produce and mix the music. I have my trusted collaborators that I work with that you can especially hear on Airflow and Annabella. Bill Meyers, a friend who arranged horns for Earth, Wind and Fire and strings for Madonna, Ariana Grande, and others worked on the strings for Annabella and brought out a Henry Mancini-Esque nostalgia that I wanted to capture. In July, I brought all my studio equipment to a hotel and set up shop for a few hours where I filmed the creation of “Airflow”, “You Know”, and “Kerosene” from scratch. This project was about me stepping out of my comfort zone! Is there a piece off of your album 'The Mutt - A Palindromic Album' that's your favorite? What makes you so drawn to the song? It changes from time to time but “Dreams” is one that I go back to often. I wrote it out of a place of anxiety because time seems to be gunning a hundred miles per hour and thoughts of all that I feel I still need to accomplish would keep me up at night. I’m still in pursuit of those goals so it still hits home. “Got to light the stage ‘fore I say hello to the grave. I’m a man on a mission. All through the night my brain keeps tickin’”. Back to work I go! Thank you so much for having me. Instagram Website #BUZZMUSIC

The San Diego home-body performing under the cognomen "Marc Creek" has an ethos that revolves around helping others actualize their artistic intuitions. Whether it be through media, or composition, or sound, he's had the opportunity to blossom as notoriety in the world of production through these supportive means. With a plethora of instrumental talent at his disposal and a nomadic travel history that's seen the budding producer in LA., NYC, and Australia, Marc Creek is more than just committed to the Music Industry; it's part of his essence as a creative facilitator. His latest EP, 'Acres,' is an indie-folk daydream encapsulated in a seven-track archipelago of sonic passageways and features collaborators of all characters and aesthetics. This is unsurprising since Marc Creek believes that music is the most reliable mechanism for collaborating with others; he has his hand in countless global projects and continues that trajectory with this latest release. With his latest EP, 'Acres,' Jonah Levine—the mastermind behind the well-garnished moniker—is continuously pushing to develop his diverse and embracive catalog, featuring more budding and individualistic artists than ever before. The inaugurator track, "Valley Fire," is like a meditative mantra that dissolves into reality as quickly as it fades, hugging you like a long warm embrace from an old friend before chaperoning you into "Lanterns," a phenomenal track that sways with a cadence that anyone can get behind. With the soft-tempered incantations from Natalie Brooks laden amongst a multifarious soundscape that features; earthy percussion, crystalline guitars, and a deep bellowing bassline; this track starts to feel like a thick and foggy daydream. Throughout the slow-breathing nature of this warm-hugging single, Brooks croons with an elegist-like style, never wavering in the face of her dismal melancholy, and presenting her sung libations with a silver-tongue: "hide your food inside your throat, give it to your brother's ghost, sleep inside a bed of salt, free your legs but never walk." What comes next is a kaleidoscopic glide into a river of folk-resounding sonics titled, "Unfamiliar." It's a track that gains momentum from the dusky meanderings forming a marching beat across robust drums and silky cymbals. Here, much like its predecessor track, a welcomed guest feature takes the limelight—"Gerdie" in this case—who sings with an emollient tonality that resembles something like a half-whisper. It's a fitting overlay as he sings with sullen-tinged backdrops of shapeshifting electric guitars that bounce from left, to the right, and then center, much like the ominous-sounding echoes that diffuse from Gerdie's tired lips. The song comes in waves, simmering with forwarding momentum in the verses and mustering up the strength to inflate in the chorus, where he sings, "weigh with me my dear, oh Max won't you please, capture me, I don't know, I heard it crow. Last night, I thought I was home." "mellow tivings and strings tie shoes to our feet, bada bing, trapeze, jitter shake, that feeling of love." If you were to take an amorous number from Fleet Foxes and combined it with the essence of melancholy from someone like King Krule, you wouldn't be far off with the type of aesthetics and sentiments that you'd find here; it all comes festooned with the fleshy notion of being lost in an unfamiliar place you once called home. As you are chaperoned from one brume of inductive daydream cloud to the next, it's clear that the instrumentals decorating the backgrounds of 'Acres' play a substantial part in the immersive experience behind Marc Creek's record. Songs like "Apple Trees" stand out as a testament to that notion; it glides across the stratospheres of the EP's super-charged air with a distinctive and bewildering statement of perpetual hope; in-laid by the sounds of infatuating guitars that fade just when you start to feel familiar with the intensities they diffuse from their warbling echoes. It's a stratagem to marinate listeners in the fountain of stillness that comes next in "Will." Here, Natalie Brooks resurfaces for another cherubic rendition of a steamy mantra, and this time, it's surrounding the growth that comes through life's turbulence. "Screams will soon be heard, and you will learn, It's the pain that we possess that makes us burn," she sings with a forlorn-hue amongst the soft-landing instrumentation that settles for support behind her. The entirety of the track resembles something like a soundtrack to walking in the woods alone; when you need a moment solely to look inwards for the sake of decompartmentalizing the turbulences related to your own life journey. It's this type of emotional power that Marc Creek embellished 'Acres' with. The slow-burning, mid-tempo breaths that each song takes fills listeners with a sense of melancholy, yet somehow, you come out with a sense of release after each number. The final moments on this EP are the most impressionable in this way. "Shallow" buoyantly collapses inwards like a floating feather falling back down to the earth, building with energy as it falls, and soundtracked by gliding steel-string guitars before the swelling cymbals of the drums explode into the central melody. It features Heavy in Pocket, who commands the microphone as he bellows and croons with rambling lyrics, which still manage to land healthily on your heart: "mellow timings and strings tie shoes to our feet, bada bing, trapeze, jitter shake, that feeling of love." Although it sounds like a love song, it could be interpreted as something more profound, and that's where the instrumentation takes the cake. They arouse and suit your curiosities, uncovering the fleshy bits of your inner vulnerabilities, allowing you to interpret the meaning behind his words whichever way they communicate to you best. The final brush of folk-soaked orchestrations comes in the form of a song titled "Summer." It's one of those cuts that leaves a distinctive after-glow effect when it passes, feeling like it could have stayed for a moment longer before it evaporates. Featuring a diverse array of howling sonics; horns that mourn, guitars that fester and rouse over their revelations, and cymbals that wash over the atmosphere like a monsoon downpour; this song is a farewell, a call to take what you have heard, and to interpret it the way you please. If there's one thing that's true about Marc Creek's 'Acres,' it's that it will make you feel something. Whether it's sadness, hope, relief, or a sense of haze and confusion, this record has the innate ability to take you on a journey that leaves a notable impression. From tunes that feel like a slow inflating air-balloon to wafting feathers tumbling down into an amalgamation of strings, reverbs, and saturations, 'Acres' finds a cohesive path and seldom wavers from that route; it endlessly inspires and commingles emotions throughout its steady-paced drift from start to finish. Can you run us through how you managed to find the featured artists you collaborated with for 'Acres?' What influenced your decisions to choose these unique characters? I originally recorded an acoustic version of “Will” and “Lanterns” with Natalie Brooks at Studio West recording studio in 2014 as part of a project. I spent years and years toying with the tracks and trying to figure out how to expand them, but I could never pin anything down. Back in September (of 2020), I decided to have a go with those 2 songs, and came up with some parts and sounds I really liked! “Unfamiliar” was very similar, except the instrumental was recorded in 2015 in my room with an SM57 (all the drums, the guitars, and the original bass), and only recently did I re-record a majority of the parts and add sounds to develop (what I would consider) a much better-finished project. Once I had “Will”, “Lanterns”, and “Unfamiliar” mostly done, I sent to a good mate Luke Davies in Melbourne, Australia to put some bass on them. When I got his stems back, I realized I should really try and write some more tracks to make this EP a little longer. Gerdie (Jason Wallace) and I grew up together in Florida, and have played in many bands together as of recent. Another project I play in and co-produce is called Papamummy. Papamummy consists of myself on drums, Jason Wallace on guitar and vocals, and Isaac Brodsky (Heavy in Pocket) on bass and vocals. I always like to work with as many people as I can, and I generally develop a song's sound or “vibe” knowing who I want to feature on it. “Summer” was written and recorded around the same time as “Unfamiliar”, but was re-recorded and rearranged to work for this project. The interesting aspect of “Apple Trees” and “Shallow” was that I had reached out to a pedal steel player (Jy-Perry Banks) to see if he wanted to lay some parts down for me, and he said yes! But at that time, I only had the three songs that were already wrapping up to be finished. So I quickly wrote and recorded “Apple Trees” and “Shallow” a night before I sent the tracks to Jy and he gave me back the most beautiful parts. I knew I wanted Isaac Brodsky to put vocals on “Shallow” as soon as I recorded it, so it worked out quite well. What were the primary underlying emotions that you found yourself channeling for the majority of 'Acres?' Was that the intended sentiments you were trying to convey to your listeners? I have always loved the sound of Bon Iver’s “Beach Baby” and Aero Flynn’s “Crisp”. I don’t know what it was, but I think the feeling I got from those tracks (among other tracks by those bands) was of the past. Not in a nostalgic kind-of-way, but more like when you have a memory you are struggling to remember. I intended the songs to channel a bit of those memory you struggle to remember, whether good or bad, and to acknowledge that those things happened, and may happen again, but that it will be ok. After finishing the EP, I felt as if I remembered those thoughts, and came to terms with them, and woke up from the dream back into reality. Basically, it is a convoluted way of saying, “It was what it was, and It is what it is.” Where did most of the songs from 'Acres' start? Does your production process commence with a melody, a lyric, a few MIDI notes in your D.A.W., or something else entirely? My production process always starts in Protools or Ableton with a guitar part. If I like the part that I play/record, I’ll immediately add bass to fill out the sound. At that point, I add textures like slide guitar, percussion/drums, horns, and so on. I love to send a song as “finished” as I can make it so that the vocalists have something they can enjoy as an instrumental. Although “Will” and “Lanterns” had vocals recorded first, I found it was best to work those songs out on guitar too. The originals of those 2 songs were different chord progressions and arrangements altogether, so it was nice to re-imagine them into a new sound. Sometimes getting parts back from a collaborator will really inspire the rest of the sound of the song. For example, when Luke Davies sent me some bass parts for 3 of the tracks, I scraped all my drums and half of my guitars and re-recorded them to make them fit with his parts better, and I’m so glad I did. What was the central underlying meaning behind 'Acres' and its cohesive playback as a whole? Do you think the way you curated the flow from one song to the next played a factor in how you wanted to present those anecdotes? Pre-pandemic, Jason, Isaac, and I were going to move to upstate New York and rent a house so we could put together a recording studio and work on projects for ourselves, and our friends. At the time, we were living in the city and had taken a trip with our friend Jack Butler to Shulls Farm in North Carolina to record for Papamummy with our DIY set up. The space we had in NC, compared to the non-existent space of NYC, was incredible. That really inspired the name of the EP. We had acres and acres... As for the flow of the record, the EP is best listened to all the way through in order. It is (in my mind at least) as an 18-minute short story of my feelings when experiencing the creative space (of NC or where I’m currently working in San Diego) and imagining being there forever. If you could give listeners a few words that would act as the prologue to the experience behind 'Acres,' and the way you intended it, what would you choose to say, and why? The best way to experience art (or music) is with an open mind. It is very easy to have thoughts come into your head and distract you. I would hope that the journey of the EP can distract you from all of life's distractions, especially now. I can’t wait to take long road trips again and travel, but if I’m stuck in one place at the moment, at least I can be free in my mind. I’d hope we can all be free like that. Instagram #BUZZMUSIC

Lizzibear is the type of artist that can stimulate a variety of emotions and feelings within her audience. Projecting her own truth and inspiration, Lizzibear always is transparent with her gripping realities and offers listeners a chance to learn from her course of life thus far. Recently debuting her album, 'Endlessly Chasing Butterflies,' Lizzibear proposes a collection of feelings, ranging from lovingly desire, to remorse and even sorrow regarding life and love itself. 'Endlessly Chasing Butterflies' can easily be perceived as an authentic recollection of experiences, and Lizzibear doesn't miss an opportunity to embolden her listeners. "Butterflies" opens with a warm piano melody that transcends into the luscious tones of Lizzibear's vocal sound. A somber and delicate embrace is taken on within this particular track and establishes a comfortable and calming serenity for the rest of the album. "Butterflies" speaks heavily on many affectionate feelings, and focuses on promoting feelings of love. Venturing through the various emotions that can arise from such affectionate feelings, Lizzibear ultimately strives to outline the peace that surfaces from soft passion. Moving on to the album's second track, "Because of You", we feel immediately tranquilized by the gentle grasp of Lizzibear's voice. We're continuing with the theme of passion and love, but taking on a different perspective with the feelings that are associated with such passion. We get a realistic view of the thoughts attributing to finding love, and the insecurities that can also come along with finding true love. "Because of You" is genuinely very sweet, and the melodies are even sweeter, leading us to feed into our own emotional stores of wisdom. A slightly different productional approach ensues with the next track, "Endless", and we get deeper variations of piano rhythms. The innocent component of understanding and conceptualizing love continues to be communicated throughout this track, and this is especially affirmed when hearing impactful lyricism: "You're the sun that wakes me in the morning and the song that sings me to sleep". We feel touched by the true meaning poured into "Endless", and we're easily meshing into the melody of this song. There's something about Lizzibear's voice within "Endless" that feels reassuring and almost sedative. That's one component of Lizzibear's vocal sound that's difficult to shake--the pure alleviation that arises from her own vocal melodies, and "Endless" only continued to confirm that for us. "Meant to Be" is the next song off of Lizzibear's album, and this track picks up the pace with bustling, yet composed guitar rhythms. As a collaborative track, "Meant to Be" brings about a smooth contrast between projected vocals, which easily allows playful energy to arise. When the two artists' sounds combine, it's a fluid and comforting feeling that washes over our listening ears. Similar energy is emulated in "North Star", but with a unique variation. Lizzibear's voice is always so characterizable and distinguishable, and so that element remains quite similar in "North Star". Nevertheless, the fusion of intricate and amiable melodies persist and extrapolate an ethereal listening environment. There's most definitely a theme shift with "Buried", as Lizzibear takes on a more introspective understanding of her own emotive. "Buried, all thoughts of you gone" are sang with vehement passion, and Lizzibear outlines the tough, but realistic realizations of moving on from lost love. There's a very human context taken away from "Buried", and the pain that Lizzibear communicates to her audience is enduring and raw. The production completely matches the alteration in content, and swiftly propels the conversation that Lizzi Bear is imparting to her listeners. Transitioning to "Unalome (Run Through Time)", we find ourselves back at the inspiring melody, backed by impactful lyricism on Lizzibear's end. Breaking through personal barriers, "Unalome (Run Through Time)" represents the interpersonal change that Lizzibear experiences with her insight on life. With zero apprehension insight, Lizzibear doesn't doubt her process in finding her own truth with perplexing emotions, and it stimulates an inspiring discussion. We're back at the soothing rhythms transpired from poised guitar strumming, which creates airy atmospheric energy. Ending off her album with "Invincible", Lizzibear decides to leave on a heavier note, being completely vivid with her communicative style. With assertive affirmations, "Invincible" demonstrates the strength and stamina required with the confusing thoughts and feelings of love, as well as the guidance needed to surpass perplexing emotions. Reminding listeners of facing the truth, "Invincible" offers a meaningful outlook on life that Lizzibear is all too immersed in expressing. All in all, 'Endlessly Chasing Butterflies' brings many emotional qualities to light with the intriguing perspective of Lizzibear, and it leaves us moved by the various conversations that linger as a result of this album. We're left knowing that Lizzibear has offered her layered and powerful sound with genuine honesty, which only inspires us to take on a deeper understanding of life and love. 'Endlessly Chasing Butterflies' clearly displays a variety of emotions and affections. Which track do you feel was most impactful for you, and how does it compare to the other tracks on the album? It’s so hard to pick one that’s most impactful because every song was a step toward more growth as an artist. This album tells the story of falling in love. All the way from the first butterflies to the heartbreak to the moment you rise up, stronger than you were before. ready to chase those butterflies again. A turning point for me to really be raw with my emotions was the track “Buried”. It’s darker than the rest and I feel it will resonate with anyone who has ever survived the pains of heartbreak. I continued along and found deeper emotions in writing “Invincible “ which is about rising from the ashes (so to speak) strong and ready to burn through the pain and find what’s right for you. Scorching your new path and I really hope it inspires people to keep moving forward in life. The pain fades and fuels strength. Were there any difficulties arising from being transparent and honest within your album release? Do you ever find yourself mediating through the obstacle of being openly communicative within your songs? I’ve always found it easy to put my feelings on paper and have no qualms about sharing real emotions, hurts, fears, and dreams. It’s a beautiful thing to be able to share them with the world now and hopefully allow someone out there to know they aren’t alone. That was huge for me when I would hear certain songs. It helped me to know I wasn’t alone. Saved my life! What inspired you to write 'Endlessly Chasing Butterflies', and how do you feel this inspiration was able to be passed onto your audience? This feeling is what inspired me to write this album. I often felt like I was alone as I walked through the mud of depression for so many years. Music is what got me through and I believe saved my life. Chester Bennington of Linkin Park was one who’s words got me to feel like he truly understood my feelings because the words and feelings were so specific. I thought, “damn.. he’s going through something like me or did at one time... look at him now. I don’t feel alone with these emotions anymore. I have to carry on”. My heart shattered when someone whose words saved my life couldn’t keep fighting to stay here himself. I needed to get my feelings and words out there. I wanted to share it so badly and what better platform than music; my love. I really hope my songs hit even one pair of ears that gets that reaction. You’re not alone. Whomever you are. Can you walk our readers through the progression of 'Endlessly Chasing Butterflies', starting from the theme highlighted in "Butterflies", and how it relates to the theme translated in "Invincible?" Listening to this album from “Butterflies” to “Invincible” describes the process of falling in love, breaking up, and being ready to welcome love back into your heart with someone new again. I learned to love myself along the way and I’m excited to hear what the world thinks of my “story." Where do you see the content of your work extending itself from this album? Are there any plans to continue to create music soon? I definitely have plans to make more music and am already working on album number 2! Instagram Facebook #BUZZMUSIC

Coming from the green terrains of Iceland, the 4-piece Rock band KUL takes on themes of our current and soon to be former president with their anthemic single, "Party At The White House." KUL is made up of the rocking stylings between Heidar Örn Kristjansson on lead vocals and guitar, Helgi Runar Gunnarsson on lead guitar and backing vocals, Halfdan Arnason on bass and backing vocals, and Skúli Gíslason on drums. Always fueling their sound with an energetic flair, we're excited to introduce their latest thrilling single. KUL's latest single, "Party At The House," tells an engaging and anthemic story of the jam that's happening at the white house these days. With highly conceptual lyricism that allows listeners to deeply submerge themselves in KUL's sound, the boys offer whopping instrumentals that remind us of our better days on the rise. "Party At The White House" opens with Skúli Gíslason's mid-tempo drum patterns that naturally liven the song right off the bat. As Heidar Örn Kristjansson enters the track with his slightly filtered vocals, a fiery instrumental beat drops with help from Helgi Runar Gunnarsson's punchy lead guitar and Halfdan Arnason's exhilarating bassline. Listening to Heidar Örn Kristjansson's lyricism, we can't help but share a smile as he sings of the party amid the white house, praising democracy and sharing snide remarks of Donald Trump's hypocrisy. Ending the song with an anthemic feel through KUL's blistering instrumentals, we honestly couldn't have asked for a better track to lead us into a new presidency. We highly appreciate KUL's latest smashing single, "Party At The White House," as they tell an exhilarating story that the majority of our country can relate and bang their heads with. It's rather interesting that your band is from Iceland, yet you've taken on an entire track regarding America's politics. What inspired your band to release a single like this with "Party At The White House"? The presidency of the United States of America is arguably the most powerful elected official in the world. The role includes responsibility for directing the world's most expensive military, which has the second-largest nuclear arsenal. So when the elected president shows impulsivity, arrogance, and a tendency to move and think too fast it makes everyone concerned. Your band's sound seems rather tightly-wound and well-crafted, especially through your instrumentals on "Party At The White House." How did you formulate your instrumentals to offer this anthemic and engaging atmosphere? Thank you! For this song, it was pretty easy. It has a strong hook and the instrumentation was easy to wrap around. Svenni, the producer, added some electronic elements to the arrangement and Mark Needham did an awesome job with the mix. Within your lyricism on "Party At The White House," how did you go about writing lyrics that tell such an in-depth, political, and exhilarating story? Usually, the lyrics come as the song takes life but this one was different. The lyric basically wrote itself. It just started with this line “party at the white house” while the song was written and went on from there. Thanks to Trump's presidency it was all too easy. We wanted to have a party at the white house after he was gone. Seeing as your single "Party At The White House" covers a broader theme of politics and positive change, would you say that your band usually releases music that touches on relevant and substantial themes like this? We find it boring writing about ourselves so we tend to write lyrics about other things like politics, global warming, how the media affects people, stuff that matters and is happening in the world right now. But then again, writing about pain is very satisfying! What has been your biggest source of inspiration while creating new music this year? Isolation, stupidity, and pain. facebook.com/kulmusickul

Hailing from Fort Collins, CO, the Alternative-Rock band Holdfast. returns with a one-shot music video for their thrilling single, "I'll Be Waiting For It." The likes of Tommy, Mikey, and Charlie Maddocks are continuously swooning listeners, and this hit is no exception. We've seen Holdfast. release engaging and intriguing singles for quite some time now, and we're always eager to feature the band's sugary stylings. Continuing to broaden their fanbase outside of Colorado, the boys are gearing up to stand out amid the Alt-Rock world and are quickly doing so. Through their latest music video for their single, "I'll Be Waiting For It," minimalism is the name of the game, as we see one four-minute scene of Holdfast. packed in a car and driving around a luscious landscape. While the lead vocalist Charlie Maddocks mouths the words to his own vocals, and Tommy Maddocks rhythmically slaps his knees while Mikey Maddocks bops his head in the back, we love the one-shot concept that the boys deliver. Listening to the song itself, "I'll Be Waiting For It," begins with plucky electric guitar and warm synths, all while the power of the surrounding instrumental throughout liven the Alt-Rock experience. While Charlie Maddocks starts singing of our constant routine and measuring our time in breaks, we feel a chill and a thrill through his dynamic vocals that sink into the track's low-end while shimmering with his bright falsetto at the hook. The deep and gripping bassline by Mikey Maddocks offers intense heat while accompanied by Charlie Maddocks tight electric guitar and Tommy Maddocks fierce percussion stylings. While Holdfast. grooves away to their song within their music video, we can see why they offered this minimalist approach, as it allows listeners to take in every inch of passion that the song provides. Through their uplifting and bright single, "I'll Be Waiting For It," Holdfast. gives listeners an exciting experience while jamming away to the masterpiece they've created within their one-shot music video. You've graced our ears with another textured single, "I'll Be Waiting For It." What inspired the creation of this single? We have been playing “I’ll Be Waiting for It” at our live shows for at least three years. My cousins and I wrote it after playing a gig at the Bluebird Theatre in Denver, CO in 2017. It was one of the biggest venues we’d played at the time, and is one of those gigs that will stick with us forever. Just walking out to a huge crowd that was so enthusiastic about our music was an amazing feeling - and we wanted to capture that in a song. The song is mainly about feeling like you’ve put in all the hard work possible in order to achieve your dream, and you’re just left waiting for your moment to arrive. Mike, Tom, and I started Holdfast in 2011. Our goal has always been to reach as many people as we can with our music and to hopefully play stadiums one day. “Waiting for It” feels more relevant than ever for the three of us, especially with the live music industry being shut down this year. Speaking on your music video for "I'll Be Waiting For It," why did you want to create a simple one-shot video? How does the video compliment the single? After shooting our first big production with “Walls,” we wanted to try something completely opposite for this video. Ryan Frazee directed both videos, and he’s been a blast to work with. “Walls” has a whole story to accompany the song, and took months to put together. With “Waiting for It,” it gives people a chance to see us together as a band. We always jam out to our new mixes in the car, so this was a really fun shoot for us. Ryan really understands the message of our songs from the moment he hears them. We’re comfortable letting him take the lead on what we want to do visually for the music video. With “Waiting for It,” the continuous shot just felt right. We wanted our fans to feel like they’re in the car with us. There’s also something about it that reminds me of how everyone’s felt this year - being cooped up and just longing for things to get back to normal. What was the shooting process like for your music video "I'll Be Waiting For It"? We can see a little bit of the BTS at the end of the video, did you have a team help record and capture the experience? We shot the video with Ryan Frazee, along with his crew, Ben Ward and Becky Donnelly. Ryan and Becky are a couple who’ve been a huge part of the Northern Colorado film community for years. Ryan primarily works as a director, and Becky is a make-up artist, and it’s really cool to see them collaborate on set. Ben is an amazing photographer who we’ve had the pleasure of working with on both of these videos. My dad was gracious enough to let us use his 1991 Honda Prelude for the video. Thankfully we made it through most of the shoot before the car battery died on us! Might we see "I'll Be Waiting For It" on your upcoming album "Stay and Fight" on January 8th, 2021? Do you plan on creating other music videos for the songs on the project? Yes, this song will definitely be on “Stay and Fight.” We initially released “I’ll Be Waiting for It” in October of 2018 as part of our EP “Hard to Blame,” but we wanted to release the remaster ahead of the album. Our friends Randall Kent and Chris Beeble produced and mixed this single, as well as the entire album. We have a few more releases planned for this album that we’re really excited about. What can listeners expect to hear next from you? Do you have any other releases lined up before the end of the year? We’re currently shooting another video for a brand new single that will be out before the end of the year. Be on the lookout for that, and of course the whole album dropping in January! We’ve planned a few socially-distanced release shows for February that will be announced soon as well. Also, our online store will be launching in the next few weeks with some new merch items from “Stay and Fight.” Instagram Facebook #BUZZMUSIC

The divine vocal talents of Alessia Labate and the gifted skills of musician Leonail herald the coming winter with their joint single “Highway.” At the tender age of 12 years Alessia Labate, who reigns from Milan, was first discovered. She took part in an Italian talent show where these steps became her first into the music business. Even before she came of age, she began to compose and write her own songs. This passion led her to a prestigious songwriting school, where she was able to further sharpen her talent. After graduating, she followed the burning passion inside of her and devoted herself entirely to music, and made it her profession. Since then, she hasn’t let her foot off the gas. Leon, affectionately known as Leonail, hails from Germany. He started playing the drums at the age of six. A little later he developed a love for electronic music. As a student, he had the time to perfect his qualities as a producer. He started producing for numerous artists worldwide. With his tracks and remixes appearing on labels like Spinnin' Records, Kontor Records, Sony Music, and many more, he has become an unstoppable force. Together, their single “Highway,” has an optimal balance to function as radio-friendly as well as dancefloor-compatible. Due to its strong topline and the sophisticated composition this track burns in the ear upon the moment it touches down. “Highway,” immediately has us tapping our fingers and toes to this production. Seriously, we dare you to try and not move to this hit. This Pop fueled dance forward bop gets stuck in your instantaneously as the vivid and up-tempo foundation acts as a strong supporting structure for the heavenly vocals that Alessia Labate exudes in this lively performance. Showcasing her wide vocal range, she glistens in harmonious melodies with production components that mold around her vocals in a unified manner. The drop that Leonail has carefully crafted creates a danceable ambiance sizzling with energy, which we can hear playing at every club and bar when Covid-19 restrictions let up. Alessia Labate adds her own flair to this electronic instrumentation as she sings sweet sounds about that heart-racing feeling that you get with that special person. Wanting to drop everything and grab your keys, get the car started, and hit the highway with your ride or die on the passenger side. As we all know those cloud nine, butterflies in the tummy, sky-high feelings, this dynamic duo brings home the essence of the message in this fun-filled package. These two definitely remain ones to look out for as they make their way to the top in their respected craft. We can’t wait to hear what’s next from Alessia Labate and Leonail. Welcome to BuzzMusi Alessia Labate and Leonail, and congratulations on the release of “Highway.” We honestly couldn’t sit still listening to this hit. How did the collaboration between you both come to life? How was it working together? Guys that's the best compliment, we want people to feel happy when listening to the song. I and Leonail have been friends for a couple of years now, he reached out on Instagram to hire me as a vocalist and we became good friends since then! We often share beats and vocals to see if there's something interesting to make together; one day I sent him "Highway" and he was so stocked with it that he produced it in less than a day! It was pretty much ready; Leonail is so talented and is so easy to work with: such positive energy, he's always up to trying new things. I love working with him and we are already working on more stuff. Could you please take us into what moment inspired the theme of this song for both of you? The song was originally written for another artist, I wrote it with my mate Dunkan, and we were inspired by Roadtrips: it just feels so good to leave all the hustle and the chaos of the city to go somewhere far but not too much. In Italy, it's really common to own a place either in the mountains or by the sea (some lucky ones have both) where to go where you need to unwind and relax. Leonail just took it to the next level with his dance-pop Happy/sad production. What was your favorite moment from this experience so far? Making the music video for sure. It was really fun. What would you like your listeners to take away from “Highway,” in terms of the message, the overall theme, and mood? Hope for the future: the pandemic will be over eventually and we'll all be able to travel and physically connect again. What has been keeping you inspired in 2020? The desire of doing, doing, doing: even though my plans were blown off by the pandemic I just did my best to make it work anyway, and it did. Technology is wonderful and I found myself connected more than ever. It was also a cleansing experience: I'm working on myself and my anxiety, and I discovered I can do so much more when I'm just present. Alessia Labate Instagram Leonail Instagram #BUZZMUSIC

Los Angeles-based Wicked Cool recording artists Prima Donna gear us up for the holiday season with a lonesome and soulful single titled "Mistletoe Blues." Prima Donna consists of Kevin Preston, David S. Field, Aaron Minton, and Lights Out Levine. Through the release of their single "Mistletoe Blues," Prima Donna also released another holiday single titled "Gimme Christmas," which can be heard on the A and B side of the forthcoming 45 physical single dropping November 27th. Paying tribute to the classics of Sun Records with their latest single, "Mistletoe Blues," Prima Donna gives listeners a stimulating performance. We can't help but hear a similarly broad and soulful sound to the stylings of Bruce Springsteen and the E Street Band through Prima Donna's bluesy instrumentals the send us on a holiday groove and Kevin Preston's striking vocal performance that powers through with passion and heart. "Mistletoe Blues" opens with bright jingle bells and Kevin Preston's sweet vocals accompanied by his warm acoustic guitar. While he begins singing of meeting someone under the mistletoe, Prima Donna's entire instrumentation sets in with a bluesy and soulful tone through David S. Field's rhythmic percussion, Lights Out Levine's deftly groovy bassline, and Kevin Preston's soulful and gritty vocals. Touching on our note of the resemblance between Prima Donna and Bruce Springsteen and the E Street Band, we can also hear the rocking stylings of Elvis Presley through Kevin Preston's swinging and passionate vocals. Just when we thought the song is as soulful as it can get, Aaron Minton pushes through with uplifting keys while also offering a gripping experience through his spirited saxophone solo that ends the song with soul. We're ready to keep Prima Donna's banger "Mistletoe Blues" bumping throughout the rest of the holiday season, as they sprinkle their sweet and soulful stylings for listeners to groove away while coming together. What inspired your group to take on the release of two holiday singles with "Mistletoe Blues" and "Gimme Christmas"? There comes a time when a band needs to do a Christmas tune or two, and we have been looking forward to this for a while. At first, it was like, “What Christmas song should we cover?” but we went bold and made originals! These two tracks are very different too. With Gimme Christmas, we wrote it together and I feel like there were bits of Slade and the Sweet inspiring us. We threw a towel over David’s drum heads to get this certain tone. It’s a fun loud song produced by Bruce Duff and Paul Roessler at Kitten Robot. Mistletoe Blues, on the other hand, is a smooth bluesy song Kevin wrote that I got to lay my tenor sax on. That’s produced by Bruce Witkin at Unison Music Studio. Speaking on your single "Mistletoe Blues," what pushed your band to pay tribute to Sun Records with the song's bluesy and soulful instrumentation? Did you have any artists in mind when creating the piece? I would say it’s our love of Chuck Berry, Little Richard. I feel like Mistletoe Blues has pieces of Phil Spector’s A Christmas Gift For You, Elvis Presley’s Blue Christmas. I am always inspired by Bobby Keys when I play sax and The Killer when I play the piano. Through your tightly-wound Blues/Soul instrumentals within "Mistletoe Blues," what did your band's creative process look like when crafting the sonics to offer a nostalgic and bluesy tone? It was a new experience putting this together because of the pandemic. For the Mistletoe Blues demo, Kevin recorded himself with just vocals and guitar, emailed it to me, and I added a sax solo. Later at the studio, David and Lights Out went together and tracked drums and bass. Then I went in, and Kevin later. All on different days, so the song came together like that, without us actually playing together. And it went smooth. Bruce Witkin has to get kudos for recording Mistletoe Blues so beautifully. Why did your band want to get rather nostalgic and release a 45 single with "Gimme Christmas" on side A and "Mistletoe Blues" on side B? Why did you want to undergo this reminiscent process? Ever since we’ve been a band we’ve wanted to put out cool 7 inches. We try to have all of our music on vinyl if possible. Part of it is our love of 50’s/60’s music. Our label Wicked Cool Records is all about it. And vinyl sounds better. What can we expect to see next from you? We’re actually gonna release two more songs in the near future, also on a 45 vinyl single and digital. And again on Wicked Cool Records, so please stay tuned for that. I’ll say that one is an original and one is a cover. We also recorded them this summer with Bruce Witkin at Unison Music Studio. With COVID-19, unfortunately no touring. We last went to Europe fall of 2018 and we really miss being on the road. We hope people enjoy these new tunes. Interview answered by: Aaron Minton Instagram