Search this site

The Los Angeles-based Alt-Pop duo RAINNE hits back at the liars and cheats with their empowering single, "Nosebleeds." Drenched in emotional catharsis and darkness, RAINNE consists of the classically trained stylings between Singer/Songwriter Annie Dingwall and Saxophonist/Engineer Justin Klunk. Having had the privilege of opening at the Hollywood Bowl for Taylor Swift, Billie Eilish, Lizzo, Camila Cabello, and more, RAINNE is quickly garnering attention from all corners. Their recent single "Nosebleeds" offers an empowering message of standing your ground. Through high octane saxophones from Justin Klunk and Annie Dingwall's powerful vocals, the single pushes through as a force to be reckoned with. When speaking on the single, Annie Dingwall mentioned, "I wanted to write a song that hit back hard and served as a reminder to always know your worth and never lower your standards for someone else." "Nosebleeds" opens with bright electronic drum patterns and uplifting acoustic guitar strums. As Annie Dingwall begins singing with her layered vocals and serene harmonies, she quickly increases in energy and drops her powerful vocals at the chorus. With her lyrics surrounding being too good for a bitter low-life, we're blown away by the spice and attitude within Annie Dingwall's engaging vocal delivery. The surrounding instrumentals push through with Justin Klunk's melodic and hi-fi saxophone, punchy electric guitar bursts, and fiery drum patterns that blast the song out of this atmosphere. Through RAINNE's quick-witted and empowering lyrics, "Nosebleeds" takes the cake for exhilarating tunes we've heard this year. Annie Dingwall and Justin Klunk have not only provided listeners with a heated groove but a sound reminder to stand firm in your inner-worth. Hello RAINNE and welcome to BuzzMusic, thank you for joining us. Was there a particular moment that inspired the empowering lyrical concept behind your single "Nosebleeds?" Annie Dingwall: I have to admit, that like many songs, this one was inspired by a breakup. Shortly after it happened, I ended up in a writing session with my good friend Nico Collins and we ended up writing this sassy song about reclaiming your worth. Looking back, I realized how much I had let myself lower my standards and get taken advantage of in that relationship and vowed never to let it happen again. We decided to create a song that serves to remind me and everyone else that they are worthy of love and respect at the highest levels and don’t have to take scraps from anyone. Seeing as Annie Dingwall is the group's songwriter, and Justin Klunk is behind the board and on the saxophone, how did the two of you merge your creativity to make "Nosebleeds?" How did your creative/writing process go about? Justin Klunk: “Nosebleeds” has actually been a part of our acoustic repertoire for the past year or so, and we have played it at numerous Sofar Sounds shows across the country. It has been one of our favorites to play since it evokes such strong responses from the audience - laughs or “ohs!” at the witty lines and the sax/vocal harmonizing. When everything shut down, we decided to record an acoustic EP and include our acoustic version of “Nosebleeds” on it since many people had been asking where they could listen to it after shows. Annie reached out to Nico about including it on the EP and that sparked a conversation about doing a fully produced version. Since we are still in the midst of the pandemic closures and social distancing orders, most of this song was recorded remotely or with limited social interaction. We definitely kept a lot of the elements from our original acoustic version in this song, like the hits and vocal/sax harmonization in the post-chorus, but Nico was able to bring a fresh perspective and really drive this song in the upbeat pop direction. We noticed that you also released a thrilling music video for your single "Nosebleeds." How does your video compliment the empowering message within the single? Annie Dingwall: I think pretty much every artist is trying to figure out the answer to this question! If I had to put my finger on one thing, it would probably be that people can tell we genuinely love making music with each other and want to share that joy with others. When creating, our drive is always to make an honest and authentic song that connects to real human emotion and is engaging to perform. Chemistry is something that is difficult to fake, and I think people latch onto the honesty of the songs, stories, and interactions between us and form that connection. Justin Klunk: Listeners are smart and they can 100% tell when someone isn’t genuine, both on stage and record. So we just try to be the most honest versions of ourselves while we create and perform, and we’re happy to say that people have supported us doing just that! We've heard that your duo has had incredible success throughout the country. Why do you personally think that your music has been so successful and well-received? What makes your music so engaging? Justin Klunk: It definitely goes without saying that this year has been brutal to the music industry. But it has also had a lot of unexpected upsides. In a sense, this situation has put everyone on a new playing field and everyone is helping each other figure out how to navigate it. That *socially distanced* camaraderie is really inspiring. A lot of us have acquired new skills that we might not have, and it's ironic that something that’s forced us to stay home had made us more aware of what our friends and colleagues are up to and actually led to collaborations that otherwise might not have come about! Seeing all the ways people have been able to turn this situation around for the positive has really helped keep us going. Instagram Facebook #BUZZMUSIC

How does one describe alternative/punk artists Jenna Leigh-Raine? Well, it's safe to start by mentioning her high degree of eclecticism and eccentrics. Jenna Leigh-Raine is the type of music artist that doesn't conform to a specific style, as she prefers to be dynamically free with her sound. Her ultimate sound can be categorized as gritty, piercing, and potently expressive in its striking execution. All of these aspects get brightly displayed within her latest album release, "KRAFT", which focuses on sharp and rousing performative inspirations. Expressing her true, unfiltered self, Jenna Leigh-Raine unleashes "KRAFT" onto listeners. The album itself has a string of eclectically haunting melodies, all of which work to drive either complete madness or fiery effect within listeners. Jenna Leigh-Raine's vocals within the album are often dissipated, taking on a dynamic approach to keep up with the ever-so-present dark and atmospheric ambiance. The strategic fusion of synths works to create a vast array of enigmas. It's very safe to say that once listening to certain tracks on "KRAFT", you'll realize you've never quite heard anything like it before. That's something that Jenna Leigh-Raine managed to keep consistent on this album---crafting tracks that hold such pure uniqueness to them. The first few songs begin with perplexing rhythms, which are mainly established by an electrical component. The intense base within "Warstripes" will especially have you feeling some type of way, mainly due to its acutely bitter and powerful rage. Jenna Leigh-Raine only keeps it consistent with that approach for the following tracks, and once arriving at "I Feel We're Over" you'll come to terms with the wide-ranging embrace Jenna Leigh-Raine focuses her efforts on. The vocal style maintains its vibrato, and Jenna Leigh-Raine easily manipulates her voice to feel otherworldly. That electronic fusion is still present, making that common atmospheric energy remain so potently. There's rarely a moment where the inertia of "Topic" leaves you, as Jenna Leigh-Raine does a stellar job at keeping that erratic aspect of her album alive. Halfway through the album, you'll most definitely come to realize a common theme that presents itself, and Jenna Leigh-Raine's intentions become all too clear. If you listen deeply and with purpose, you'll hear the cries of Jenna Leigh-Raine and all of the metaphors resulting from it. More than halfway through the album, once coming to "Kraft", we feel a slight shift in the productional styling, as we're exposed to more ethereal melodies embedded within the characterizable sound of Jenna Leigh-Raine. The troubled feeling of the tracks immediately leaves, and it feels as if a monumental shift is occurring. Once arriving at the last couple of tracks on "KRAFT", we sense another pivotal alteration in sound, where more alternative elements come into play and Jenna Leigh-Raine puts more of her focus into uplifting the essence of the purposes of the songs. It's quite apparent that "KRAFT" is divergent from regular albums, as the genre approach that Jenna Leigh-Raine pursues is disparate from any other genre you've heard artists conform to. But, that's all that Jenna Leigh-Raine is all about, creating and manifesting music that sparks attention, regardless of what that attention is on. "KRAFT" ultimately left us restless in many ways, and it's safe to say that we are intrigued by what Jenna Leigh-Raine will manage to conjure up next because we already know that it'll be far from simplistic. Hello Jenna and thank you for joining us at BuzzMusic. How would you describe the essence of your own sound within "KRAFT?" Was there a specific effect you were hoping to impart to your listeners with every track? The essence I was aiming for on my new album KRAFT was a dark reality, reflecting life at the moment on earth; relating to the dark and light energy while always looking for the light, a dark mix of both Sci-fi - almost blade runner type insulation - and gothic fights with faith and religion. Mainly KRAFT is a set into a future world for those who won't escape earth while space and cities grow through the next generations; androids and bots making humans live for their labor paid in sex or life. It's a dark, electronic, rock mix of an analog and digital modern take on real constructed songs or pieces. Were there any moments within the creative stages of "KRAFT" that you felt challenged as an artist? How did you overcome such challenges? In this album I was determined to write, record, and complete within twelve months as the previous album took three years to make. KRAFT started with the recording of the track Connection which, along with Eden Black, are the most epic pieces I've recorded. I think I wanted the album to sound as if from outer space and huge. I produced with the idea that they can be good enough for a blockbuster movie. I had fears that my voice wouldn't hold up in the recording process as I was suffering severe voice and speech loss that I'd been having surgery for since 2015. So I recorded the entire music for the album first, then, is a kind of color by numbers approach, sang the vocals track-by-track in April and mixed in June and July, followed by the final mastering in September. I recorded and wrote the album between trips to London, France, and Los Angeles. What kind of purpose did you feel "KRAFT" had about your life, and also the lives of your listeners? Being born with the gift to see and hear spirit, i.e. dead people, I was aware of how these times were also ones where humans sought for a belief in something spiritual. Dark and light energy live very close to one another. You just decide where you are. I've both seen good and dark spirits. I've been dealing with ghosts all my life. The album title KRAFT is to describe energy at work. Would you say that you're typically inspired by the style presented within "KRAFT", or can listeners expect a wide range of styles to follow this album release for future music? I've recorded albums since 1994 - they seem to float between areas of space, isolation, spirit, machines, sex, light, dark. My music changes between electronic, synth-rock, to punk rock, to an ambient film soundtrack, to sentimental ASMR. I'm actually three tracks into a new album that is more electronic and less guitar so far. Yet, it's mostly written on guitar first, then transcribed to keyboard notes. I would say the new world's futurism with intense sound design as if we're living in difficult atmospheres. I'm never going to write a typical love song in the way you would describe although if given the opportunity, I'd grab the chance and make it darker. Where do you plan on going next with your music and ultimate sound? I noticed recently, and almost not too comfortably, I use sound - or a way of arranging sound into music as a soundboard on which to create a more exciting mysterious offering. I hope though I can get noticed through the pool of men in this field as-is crazy how much as a female you have to fight and keep explaining. There's a lot of hard grafting, so much so I write, record, and engineer all my music. I even take all the album images! #BUZZMUSIC

Reaching fans once again with an immersive emulsion of indie, pop, and rock, Georgia Feroce, the Singer-Songwriter from New England, now based in L.A., flushes out her emotional angst in the latest teaser, "Baby Blue," from her upcoming debut full-length album, 'My Own Head.' The powerful track comes festooned with a backing team that's been turning heads since the Newport chanteuse's 2016 EP, 'Cat & Mouse,' where she corroborated with notoriety Producer Tone Def, who she's called upon for his support on her upcoming debut once again, which is slated to be the most potent opus of her musical ventures to date. Over the latest emollient sentiments found within "Baby Blue," the Rhode Island native presents like a sonic liaison between a hierarchy of profound emotions festering within her from the past. Through her elegist-reflecting verses and the lithe cadence she operates over, something between a waltz and an unhinged sway—she finds herself looking to the night sky, learning from the incandescent light that the floating rock emits, and channels her inner-poet with lyrics that ruminate: "as I flew among the stars the moon said something familiar, wherever you go, there you are, now I know the blue I see is really what's inside of me, every shade, every color." It all starts off as a blithe collaboration between Georgia's magnetic voice, which renders-up saturated but pure, and a melodic guitar, which soon erupts into a chugging riff, enunciating the hooking portions of "Baby Blue," with effortless dynamics, and an industrious-rock character. Over the steadily booming hook ("hold onto something. The worst is still coming for you, deep in the dark in your heart, you know that it's true,") she resounds with a manifold of backing harmonics that land healthy on the heart as she punctuates each thundering line with a down-beat from the bombastic drums, and supporting bass behind her. As she continues, the guitars change their attitude, sinuously diffusing bolstering melodic twangs as Georgia's archipelago of "Ooos" from the edges of the mix purifies the atmospheres from which she's singing like a cascading down-pour of tranquilizing harmonies. By the time the final top-line flings towards the exit, brushing off it's intensified aural trademarks on fans' eardrums and fading back into the open-air, the lines, "it's always blue, it's all blue," leave a distinctive after-glow that simply can't be washed off. Though "Baby Blue" might seem like a dismal emphasis on the emotional turmoil Georgia has experienced in the past, the feeling of hope and catharsis is still somewhere present amongst it all. Whether it be through her infatuating tone, the bolstering instrumentations she decorates her narratives with or the underlining themes of living in the moment and longing for the future, it's clear that not all is black and blue in Georgia Feroce's world. Can you run us through the production process behind "Baby Blue?" What came first, the story and lyrics, a melody in your head, or maybe a rhythm that took hold of your heart? "Baby Blue" was the first song I wrote on my electric guitar. I had the guitar for a couple of months, and since I wasn't used to playing electric, my strumming pattern and time signature were different from what I normally played on acoustic. That difference created this brand new space for me to create, and then the floodgates were open! The song flowed out of me like a story from a book, and it really all came together. It starts, "When you were a little kid," and I really dove into this whole nursery rhyme/Grimm's fairy tale theme with the melody and the imagery in the lyric, and the music video, too, which I'm so, so excited about! I always envisioned an animated music video for Baby Blue, and over the summer I met the multi-talented, Jhariah Clare through a Twitch concert where we both performed. He mentioned he also animates music videos, I was blown away by his portfolio, he loved the song, and that was that! It was really serendipitous, and it's just another magical moment that's part of Baby Blue. I couldn't be more grateful for how it's all turned out. When you think about the emotions you had to channel into to capture the performance on "Baby Blue," which stands out as the most prominent, and why? Do you feel like these sentiments are common-place in most of your work now? When I sing this song, and when I listen to it, there's definitely this deep sense of sadness. Honestly, I feel the lyrics can be taken very literally in this song. There's definitely a dark undertone to the song, but it's not all sad because I'm not all sad, and life's not all sad! Baby Blue is about growing up, and growing up is scary, exciting, and also pretty boring sometimes. I feel a lot of different emotions from this song, but for me the most prominent emotion is love. Of course, right?! I'm always writing about love! Baby Blue is different, though, because it's about self-love. I feel really inspired when I sing Baby Blue. I'm accepting who I was, who I am now, who I'm going to be, and it's empowering. Were there any underlying messages you integrated into the story behind "Baby Blue?" Maybe something you wanted to personally express to help audiences understand something about themselves or about you? At my last live show at Hotel Cafe before the COVID shutdown, I preceded Baby Blue by saying, "I think the message of this song is it doesn’t matter where you are in life, it’s gonna be hard. But as long as you have people that you love, that’s what matters, and that's gonna get you through it… You might not know it from the words, but that’s what I mean!” I was afraid the audience would hear "Hold onto something. The worst is still coming for you," and think that I was threatening them! Everyone laughed, though, and it was a really special moment. I really did feel the love in that room, and, as I said, love is what this song is about. I think as humans we are so much stronger when we learn to love ourselves because then we are better able to love others. It's certainly easier said than done, and I'll be the first one to admit I still have growing to do, but I think just knowing that I am capable of love, is an achievement in itself. I hope that whoever is listening to this song feels that way about themself and knows it to be true. When it comes to working with Tone Def, why do you feel like his production style and skills enhance the creative-musical picture you have set-out for your career in your head? Why do you enjoy working with him, and do you believe "Baby Blue" would impact the same without his support? When I came to Tone back in August 2019 with Baby Blue, I just knew that it was the right decision. He's always so enthusiastic and supportive, and he takes the right steps to really understand the direction I'm heading with my music. We listened to other artists whose sound resonates with me, I sent him to reference songs, we discussed and then we got to work! We finalized Baby Blue back in October 2019 (so this song has been burning a hole in my back pocket for over a year!). It was just perfection. Once Baby Blue was done, we were both like, "Hell yeah! Let's make a record!" And it's been one of the best experiences of my life. There are a lot of talented producers in LA, but I wanted to work with Tone because we've known each other for five years, and that matters because he knows me as an artist and a person. I've grown so much since I released Cat & Mouse back in 2016, which Tone also produced, and I just feel like it's really special for both of us to see the transformation. What has been keeping you inspired throughout 2020? What can we anticipate to see next from you, as we enter a new year? Getting this record done and putting it out into the world! I can't even explain how much of my soul is going into this album. The thing about making music, I feel, is that the more you put into it, the more you get out of it. Actually, that's probably how it is with almost everything, but anyway! Definitely keep an eye out for the Baby Blue music video, which will be out on my Instagram and Youtube channel. I'll probably release another single at some point early next year, and then the album drops in Spring 2021. I'm aiming for late March around my birthday. It seems like a nice birthday gift to give to myself! Instagram Facebook #BUZZMUSIC

The rappers in the Bay Area are known to speak their own language and Chippass is following along this path and we love it! Chippass prides himself on not following the current trends but by sticking to content that truly represents his keen sense of wit. When creating Chippass pulls on inspiration from the books he reads, battle rap, cinema, and sports, typically he uses these muses to write about what he observes. In his latest release “Bluitt,” he showcases a hard-hitting tone balances with his honest words of wisdom to get a strong message across to the listeners. Throughout 2020 Chippass has been able to stay self-motivated and was able to keep doing things that kept him going. This year allowed Chippass to do some great things, as was able to slow down and gather more information on other things to talk about. Be on the lookout for more words of wisdom to come from Chippass in 2021. You can learn more about him here. Instagram

The art-rock festooned psychedelia that festers within "The Grasping Straws," and frontwoman Mallory Feuer shouldn't come as a surprise by now. The band and their industrious founding members have been steadily making a name for themselves in a scene that is as daunting as you'd expect from a musical metropolis like New York City. Still, since 2012, they've captivated the hearts of fans with their trade lysergic-reflecting instrumental choreographies, and in 2015 they'd receive international recognition through their debut full-length release, followed by a successful tour around the United States. The latest endeavors in the realms of art-rock and psychedelia come as an outlier from their previous. It's a compact sonic package designed by the frontwoman of The Grasping Straws, and it renders-up like a testament to the auteur the leading lady of this band has become. On "Quarantine Halloween," Mallory Feuer takes the soloing limelight for a bare-bones acoustic ballad, and though it presents homely at first, the sonic poetry that comes appended manages to hit like a potent dose of subjugating psychedelia. With a run-time of just under two minutes, this eclectic track reaches listeners as a sarcastically jovial discussional piece pertaining to ersatz republicanism and the social stigmas that we all buy into: "for Halloween, democracy is dressed up like money, who's a sheep? We're all dressed as sheep, consuming news like candy." She sings with a nonchalant temperament with her soft-tethered tonality that can be described best as magnetizing. At the same time, a doubling of her electric intonation lingers from the voids of the mix, harmonizing, and accentuates each poetic patter she diffuses over her acoustic guitar, like a half-hearted bard ruminating over the dismal fate we face as a society: "try to find a scary movie, scarier than this reality, I hear the ghost of Allan Merrill, singing "I Love Rock and Roll." When she riffs over her guitar, the infatuating melody takes hold like a sinuous growth of kudzu, latching onto your senses as her fingers slide down the frets to produce an unprecedented sense of cabaret-inspired relaxation, with a subtle dose of that feeling Queens of the Stoneage were creating on "If I Were A Teenage Hand Model," back in 1998: gritty, but assured with its place in the realms of rock, psychedelia, and art. When the final lines land ("quarantine Halloween, be someone else to be your real self, post an Instagram story, so people know you're cool,") and Mallory evaporates back into the hazy voids of her mix, singing about the dismal nature of society, and drawing a spotlight on the uneasiness people attribute to their own skin—using Halloween to dress-up their inner demons—it's easy to see why "The Grasping Straws" are the band New York City has been drooling over since 2015; and with a frontrunner like Feuer, you simply can't ignore it. Can you walk us through some of the inspirations behind "Quarantine Halloween" and why you chose to go about performing this song as a solo-acoustic act? I woke up on Halloween this year with an idea of this song in my head. I spent the day playing around with it and thinking about how with the pandemic virus, the high death toll, and the state of our democracy in America, this is by far the scariest Halloween I’ve ever experienced. I wanted to see if I could write, record, and mix the song by myself in one day, and I think performing it as a solo-acoustic track is emblematic of what musician life in isolation has been like. There are two voices, and they are both my own. What sorts of emotions lead to the performance you've captured on "Quarantine Halloween?" Do you feel like these emotions are a reoccurring influence in your artist process? Why or why not? When I was recording “Quarantine Halloween” at home, I had feelings of fear and frustration with a bit of a satirical misbelief of the ridiculousness of it all. I often find myself writing about situations that frustrate me—I recently finished writing a song about wealth redistribution, and how capitalism is the antithesis of freedom: “what’s free about conformity for money?” Another recent song was about how disorienting it can feel to live with so much less human connection, and so much more virtual connectivity. Writing gives me an outlet through which I can process my emotions and share them with my community. When it comes down to the underlying message and the intent behind "Quarantine Halloween," what were you aiming for, and why did you feel now was the best time to divulge that anecdote? I felt a sense of urgency to create a song that would capture this moment in time in a way that seemed relevant and poignant. I wanted to finish it and get it out as soon as possible so it could be close to Halloween and still evoke the same feelings as it did when I wrote it. If you could say a few words that would enhance the experience you set out for your fans within "Quarantine Halloween," what would you feel the need to say? This song mentions rock legend Alan Merrill, whom I met at the Sidewalk Cafe when I used to work there as a sound engineer. His love for rock & roll is an inspiration to all of us. He was the first person I knew who died from COVID-19, and I think of him all the time. What has been keeping you inspired throughout 2020? Angela Davis, Rachel Cargle, Layla Saad, mantra-based meditation, The Artist’s Way by Julia Cameron/morning pages, yoga, the Mahabharata, intuitive eating, and computer programming have all kept me feeling inspired. Additionally, the artists and musicians I’ve come to know through the local NYC music scene are an endless source of inspiration as they continue to find creative ways to release new content. I’m also super excited about my collaboration with experimental video and performance artist Erica Schreiner- the music video she created for the first single from our upcoming EP literally moved me to tears. The track along with the video is set for release on December 21st. Instagram Facebook #BUZZMUSIC

Lil Jackie is making a name for herself in San Francisco as a Recording Artist and Actor. Initially, Lil Jackie found herself gaining attention from the release of a dancing video done to Beyonce's tracks, resulting in millions of views. She can also be spotted on Nickelodeon and Disney channel with her acting endeavors. Her latest release "Canceled," is a toe-tapping tune that is easily relatable. This song is a blend of punchy production with Lil Jackie spitting her bars with the utmost power and spirit. This song talks about the troubles that 2020 has seen while she brings all the energy and stamina to keep prevailing forward. Her next projects include the release of her next single on Friday the 13th, she will also be part of Nickelodeon’s Top Elf starting the week of November 19th. While Hollywood has kept her busy with auditions she continues to work on new music to release. Lil Jackie’s ambition and drive for success have made her an artist to keep an eye out for! You can learn more about her here. Instagram #BUZZMUSIC

It's been two years since the Toronto-based Singer-Songwriter Matt Kelly diffused some of his trademark guitar melodies and rasp-festooned vocals into the lives of indie-pop fans, namely with his 2018 debut, "Circles." It was a phenomenal introduction to the quaking charm and awe-inspiring groove he presented, garnishing him over two-hundred-and-fifty-thousand plays on Spotify alone. Since then, the Canadian musical doyen inspired by the likes of John Mayer, Alec Benjamin, and Jimi Hendrix, has reconvened his trajectory upwards in the music industry, with the release of "Wait," an infatuating track embellished with Matt's noteworthy voice, and with a production that seldom cuts corners on its way straight to the core of his fans' beating hearts. Opening with a magnetizing verse that comes polished like a veneer on sonic marquetry, "Wait" renders-up with distinguishing morsels of soft-handled guitar strings, intoxicating harmonies that echo from the prismatic voids, and flushing filters that mark each transition. As Matt sings about his commitment to making his love last ("maybe next time that I see you, It will be for more than just a night,") he blooms with an unequaled sense of passion; and while the anecdote behind his swooner-aesthetic might come off as cherubic, "Wait" suggests like a beautiful piece of expert workmanship, designed by a musician with a loaded-heart. It's a song that glides with a distinctly cream-like cadence, bolstered by a saturated low-end and an incredibly steady back-beat that seldom wavers from their warm, nurturing depositions, much like Matt's infatuating voice. The most resounding aspect of this single comes in the form of his instantly catching hook: "I will wait, wait, wait, and I will wait, wait for you." When hearing it for the first time, it's like having a weighted blanket lifted off your chest, a testament to the powerful melodies the Torontonian has been sitting on for the past two years, and a reminder for fans of the dopamine-infused tuned his catalog consists of. If anything is concrete about Matt Kelly's next musical campaigns, it's that he's got a reliable plan in mind, making fans salivate every time he releases a new embellished track into the world; and always featuring a warm-hugging dose of pristine melody, catchy hooks, and incandescent guitar riffs that are to die for. Hello Matt and welcome to BuzzMusic. Can you walk us through how "Wait" developed in terms of production and recording? What aspect of this song came first in your artistic process? In terms of Production, I had recorded vocals and an acoustic guitar. From there we cut together a bit of an acoustic version. I knew that I wanted to build it out more. I was able to find a great producer, 'Save David', who was able to really hear the type of sound I was going for. From there, we made the current version come to life! In the artistic process, the chorus came first. I was playing around with a chord progression and started humming the chorus. It felt good so I built the rest of the lyrics around it. When thinking back to the emotions, you had to channel for the performances you've captured on "Wait," which ones struck you as the most profound and moving personally? For me, the feelings of losing things because of forces out of your control, or not being able to go after things that you otherwise would. The song is really about waiting for someone because, in the near term, there is really no way to ever make it work given distance, and things really out of anyone's control. Is there a deeper implication behind the meaning of "Wait?" Is this a narrative that was derived from some of your own personal experiences? The meaning of "wait" really sparked for me on a trip to New York City. I was actually at a LANY concert in Manhattan when later on I met a girl but since I was leaving town, nothing ever materialized. It's sort of an ode to what could have been. If you could prefix the emotional experience you've set-out for your fans within "Wait," what would you feel the need to say, and why? I would feel the need to say, approach it with a nostalgic "could have been" moment. For me, that was the main driver behind the song, a short period of time where everything was perfect, and giving yourself a glimmer into the fact that you can find that feeling again. What has been keeping you inspired in 2020? What can we expect to see next from you? It's definitely a tough year for everyone - I'm trying to use this time to focus on my craft and write compelling and honest songs. Next, I am hoping to release a second single by the Spring of 2021 and an EP summer of 2021. Instagram #BUZZMUSIC

Alternative artist Galexi Jones has sent shockwaves through listeners with the release of her powerful new music. Raised on Reggae, Soul, and Hip Hop, Galexi Jones has been around inspirational music her whole life, and has recently been able to release long-lasting impactful lyrics of her own. Ever since she was young, the expressive beats and fearless musicians made their mark on her and helped mold her into the artist she is today. After getting her degree in audio engineering, she was able to turn her attention to music give her alternative sound its place. In addition to her love of music propelling her forward in her career, Galexi Jones is able to look at life and see the bigger picture, fighting for what’s right. Through music, wide audiences can be reached and messages of love can be spread. She reminds us of releases like “Crazy” that even the smallest person can make a change and take a step towards a better world. Galexi Jones is gearing up to release her debut EP “POLARIS” this coming February, so be sure to keep your eyes peeled. Check out our recent interview with Galexi Jones here Instagram

Nashville’s own Lori Triplett is making a name for herself in the spotlight as an extremely talented singer/songwriter. Throughout her career Triplett has transitioned into a variety of different genres as well as dabbled in various forms of artistry she has always had a sense of attraction towards the music community. Her most recent release has showcased that she is quite a down-to-earth artist. She proves that she is not afraid, to be honest with herself and listeners, which allows her listeners to connect with her on a deeper level. While 2020 has been a tough year Triplett remains inspired by watching others persevere in the face of struggle with the pandemic. Using the reminder that we are not promised tomorrow has kept her motivated to keep pushing herself to create and release new music while still having the opportunity to do so. Lori Triplett's creative drive and outlook on life are keeping us inspired and makes her an artist to watch for. You can learn more about her here. Instagram Website

What has been a "pinch me" moment in your career thus far? A pinch-me moment. Honestly, I feel there have been so many. It's beautiful to follow our dreams. I think the most rad pinch me moment was when I got the news that I had broken into the top 10 on the digital radio charts (DRT). The week of 10/3/20, I was at #8 between Dua Lipa and Miley Cyrus. Seeing my name right there, I was thinking to myself "It's all happening. It's really all happening." Which is a quote from ' Almost Famous', one of my favorite movies. It is all happening. Do you have any hidden talents? Actually, yes, yes, and yes. Freestyle rapping, reading people's energy, writing mysterious poetry, and improv acting. What song would you like to cover? Last night, I started working on "Landslide" (Fleetwood Mac) & "Out from Under" (Britney Spears). If you could choose anybody to be your next-door neighbor, who would it be and why? Someone who appreciates the depth of silence as much as I do. Also, someone who plays a wicked blues piano. What is inspiring you right now? Oooh, wonderful question. Inspiring me right now is time, relaxation, self-appreciation. I started listening to mainstream pop music again... for the first time in 5 years. I have been hiding out in rock 'n roll land. I am so excited to see what essence this coaxes out of my sound. What are the top 3 things are your bucket list right now? Hug the redwood trees. I have not ventured to see them yet. I am doing so during a trip up the coast to play in San Fran. March 13, Simple Pleasures Cafe. Study with a Healer and learn the ways of the earth. Win a Grammy. instagram.com/kenbunny twitter.com/kenbunny facebook.com/kendraandthebunnies New album: https://snd.click/myqts8u