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From New Jersey to Brooklyn, the sharp-shooting Artist and Rapper Wade Wilson get our competitive gears turning with his latest stimulating album, 'Waderick "Wild Thing" Vaughn: The Mixtape.' The verbally acrobatic, wise-cracking Artist is always one to bring a deeper lyrical message to his music. His previous EP titled "Mood Disorder" took on themes of the seldom addressed mental illness epidemic in Black America. With Wilson's latest album, "Waderick "Wild Thing" Vaughn: The Mixtape," he ventures on to tell a gripping story surrounding the emotional journey of a baseball season. The album begins with the intro track, "Spring Training," opening with a nostalgic radio broadcaster announcing "-a juvenile delinquent in the off-season in his major league debut." We can already feel the heat that Wade Wilson is about to drop in this track, as the heavy Hip-Hop beat blasts through with powerful brass instrumentation and a mid-tempo beat. As Wilson continues to rap with his dominant and authoritative delivery, he opens the album with immense strength through bars surrounding the long and treacherous journey to the top. Onto the second track, "Season Opener," we must note the brilliant production that runs straight through the previous song to this one. As the production begins to switch up with help from Producer Ill Omega, he fuels this song with a nostalgic 90s Hip-Hop beat powered by organic drum breaks, funky keys, and warm instrumentation. Taking a listen to Wade Wilson's bars, he continues to spit with a powerful flair while delivering conceptual words like "five seconds to blow four seasons, three albums two reasons, one MC still breathin'." With the third track, "Summer Stretch," this powerhouse tune opens with a blazing Hip-Hop beat through gripping synths and kicking drum breaks. Wade Wilson begins rapping right from the jump, accompanied by the blistering production that offers scorching effects and minimal electric guitar bursts that explode in flavor. Listening to his catchy and rhythmic bars, Wilson powers through and delivers lyrics surrounding the failed system that has proved injustices everywhere amongst black lives, that are blatantly deprived of the same opportunity as white people. Ending the song with a mighty production breakdown featuring another baseball radio broadcast, we love the strength this track has to offer. Continuing this reflective note with the next track, "Pennant Race," the piece opens with the same radio broadcast where 'Wild Thing" has the crowd on their feet. As the production begins with a mellow down-tempo beat surrounded by melodic piano, light strings, and warm electric guitar, we can feel the natural aspects and authenticity that Wilson infused into this song. Speaking on his bars, Wade Wilson goes deep while explaining reality and the tradition of hatred that the world seems to repeat. The song strikingly ends with the same broadcast where the announcer exclaims the need to get "Wild Thing" out. The same broadcast transitions over to the next song, "Wild Card," where haunting piano melodies and equally haunting ghost vocals steam the intro. As Wade Wilson begins rapping with incredible double meanings and innuendos, we must note the quick and meticulous bars he delivers offer a vast sense of talent while spitting profound messages of inequality. The beat continues on this haunting and eerie note, while Wilson ends the track off with his sharp bars depicting our reality's bittersweet taste. Moving on to the funky-fresh track, "Championship," the piece opens with a nostalgic Hip-Hop beat through scratching records, warm percussion, and a bright piano melody. As Wade Wilson makes his vocal appearance, he begins singing of not caring what others think and paying no mind to others' perspectives that don't seem to matter. The smooth production by Dready Mercury continues to offer heat with each rhythmic twist and turn, complimenting the likes of Wade Wilson perfectly. Wilson ends the song off by tieing in the same broadcast that transitions into the album's outro. The outro track, "Champagne," opens with Al Simmons' blissful production through soft synths and smooth Trap drums, allowing Wade Wilson to flow over the track with poise and composure. While Wilson begins singing with his layered vocals, he jumps into his bars surrounding his continuous journey through life and navigating his way towards new experiences and expanding his horizons. Wilson cleverly gives an ode to Green Day's "Basket Case" by adding a pinch of lyrics from the legendary song that adds a unique flair to this hit. Ending the song off with Wade Wilson's watery and filtered vocals, he captures a highly reflective aspect to the outro that compliments the entire album. We love the journey that Wade Wilson has taken us on with his conceptual and strikingly lyrical album, "Waderick "Wild Thing" Vaughn: The Mixtape." With each track that brings fire and steam through our speakers, Wade Wilson comes through with powerful messages to engage listeners and remind them of the world's ongoing injustices, especially in our country. Listen to the full album, here. instagram.com/wadetech twitter.com/wadewilsonworld facebook.com/theonlyWadeWilson

Molded by his time spent jumping from one rock band to the next and inspired by those truck-stops and mid-western diners that seemed to play classic '70s country on repeat, Troy Richardson, the mastermind behind TruckerBomb, stands as a testament to what an amalgamation of alt-country and Americana sound like when infused with some hard rock temperament. On his latest musical escapades, the Minessota-bred songster and Berklee College of Music alumni looked to his plethora of musical companions for a bid at creating the ultimate team to launch TruckerBomb's debut single, "Irregardlessly." And with great success, he managed to find a talented troupe to cast an audible dose of opaque dive-bar grunge and up-tempo honky-tonk straight into the hearts of anyone who can get behind some gyrating sonics. With Troy Richardson on Vocals, bass, and acoustic guitars, Michael Berthold taking helm behind the electric, Dave Rodway laying waste to the drums, Fernando Perdomo blessing the B3 organ, and Mike Brenner sweet-talking through his Lap steel, it's like the days of 80s country hooks and empowered guitar-driven rock personified in a quintette of skilled southern-kissed maestros. Inaugurating with the salubrious and rousing vibrations of Mike Brenner's lap steel, and a bolstering rhythm section close behind, "Irregardlessly" instantly gives you the feeling like you just walked into a watering hole in South Dakota, where the band is playing loud, you can barely hear the waitress asking you for you drink order, and the dance floor is absolutely jam-packed. When Troy comes in crooning with a buoyant rhythm appended to his subtly saturated and clear-cut voice, it's almost impossible not to feel like you've been transported to another space entirely, where the crowds surrounding you are bumping their heads and swinging their hips without a care in the world. As he sings about unconditional love ("irregardlessly, I love you, and I know you love me too, irregardlessly, we'll make it through this life"), he sets down the bass-line like he's on auto-pilot. As Dave Rodway propels the song's energy forward, you're met with an outrageously catchy top-line hook that comes festooned with Michael Berthold's scintillating electric guitar solo for some added punch. It's a straight-forward rocking jam that has the meticulous attention to detail you'd expect from a group of well-seasoned musicians like the ones in TruckerBomb, and with Fernando Perdomo recording, producing, and filling in the spaces with his subtly gelling organ, it's no surprise "Irregardlessly," sounds like a potent dose of innovative southern-rock that borders on the edges of alt-country and Americana with timeless fashion. How did you go about corraling this team together to perform as TruckerBomb? And what was the recording process like for "Irregardlessly" at Reseda Ranch Studios with your team? Well, it was an adventure. TruckerBomb was performing around town, rehearsing and getting all the arrangements tight in anticipation of recording an album. This was about a year in the making. We booked a studio and about a week before we were going to head in, Covid hit. Somewhere around a month later, one of the guitarists was no longer available. We had everything arranged for two lead guitarists, and since we weren’t playing live, we didn’t have an opportunity to redo anything. The whole plan with that first studio fell apart. So, we had to devise another plan or else we’d be doing nothing for a year. We decided to move the project to Reseda Ranch Studios and do a single. Reseda Ranch is like the Millennium Falcon. It may not look like much, but it’s got it where it counts. That makes Fernando Perdomo the Han Solo of the studio. Or maybe he’s Chewbacca? I don’t know, but the hyperdrive was definitely working. We picked “Irregardessly” to be the first single, since it represented the band pretty well. It’s a rock song with country elements. Instead of lamenting the current state of events, I thought, “What would I do with this song if I could do anything?” That opened the idea of getting Mike “Slo-Mo” Brenner on lap steel and just making the best recording possible. That Fernando is a multi-instrumentalist in addition to being a producer and engineer helped immensely, too. When you think about some of the emotional influences that inspired the narrative behind "Irregardlessly," what comes to mind? Is this an emotion that manifested itself through a personal life experience, or was this a simple fictional tale used to facilitate a tasty country slam-dunk? Well, the first couple lines are about getting older, thinning hair and gaining weight so it obviously couldn’t be from my personal experience. Ha ha ha. One of my favorite songs of all time is “Unsatisfied” by The Replacements. This song isn’t anything like that, obviously, but I was always fascinated by the sort of call-and-response quality those lyrics had — the “I’m this” and “you’re that” part of it. While “Irregardlessly” certainly has an element of sarcasm going on, I hope the honesty comes through as well. It’s kind of my idea of what a successful long-term relationship must be like. How did you manage to fit so many influential musicians into a band and have them curate their musical talents effortlessly throughout "Irregardlessly," without feeling congested? Was this a coached endeavor or a natural flow of occurrences? Each musician involved would be the secret weapon in any other band. I was really lucky to get such talented people. The song came together organically. Michael Berthold and Dave Rodway were playing it live for a year with me, and we got it to where the parts felt natural. When it came time to record, everyone played for the song. Mike Brenner and Fernando Perdomo “got it” right away, almost like they’d been playing with us the whole time. If you could give listeners a few words that would act as the prologue for your intent behind, "Irregardlessly," and the experience they can expect after the initial playback, what would you say? We rarely, if ever, are living our lives thinking, “I’m going to remember this as the best time of my life.” We’re all just living them. And that’s great. Living your life is a great thing to do. The personal disasters we all face are only going to be blips on the radar in the long run. How we let them affect us is what we have control over, although it may not seem like it at the time. So, that’s a little deep for a silly country-rock song … It comes down to this: enjoy life on your own terms, don’t worry about what it looks like to anyone else, and you have the power to make any time in your life the best time. What has been keeping you inspired throughout 2020? What is some advice you can give an artist who might be struggling creatively? It’s been a tough year, for sure. I try to focus on what’s available rather than what’s been taken away. There’re no live shows, but there’s also no commute to work anymore. Take the time to get better at your craft. I still take a voice lesson every week. I added an extra voice lesson once a month with the vocal coach I had in Boston. Read everything you can. Write every day… even if, or maybe especially if, it isn’t any good. Try to write a truly bad song every day… chances are after about five days you’ll fail and start writing a good one. If you can’t be great, be interesting. Be personal. No one has ever seen the world in the same exact way you do. Merle Haggard once said, “You can write a song about a flower, or you can write a song about the person who picked the flower.” I’d say you could also write from the perspective of the flower being picked, you could write about a person who walked by and chose not to pick the flower, or write about an empty spot where a flower used to be. truckerbomb.com

Based in Austin, Texas, the bedroom Pop-Hop Artist and Rapper Breadcouch releases a dynamic project and a treat for the ears with his latest album, 'Canyon Lake Tapes.' Acting as an inspiration for any who choose to follow their artistic drive, Breadcouch fled from a promising career in healthcare software to make his dreams a reality. Molding Hip-Hop and bedroom Pop into a Lo-Fi dreamscape, Breadcouch gains his inspiration from Childish Gambino, Mac Miller, Portugal. The Man, and Portishead. Through his recent album 'Canyon Lake Tapes,' one is bound to be captivated by the steamy likes of Breadcouch. The album begins with the beautiful intro track "Irresistible (feat. Millie Gibson)." A serenely filtered Lo-Fi beat opens the track while mesmerizing trumpet floats with melodies in the background. While Breadcouch begins serenading us with his sweet and tender vocals, he starts singing a passionate message towards his significant other and lets them know every inch of his desire for them. Around the hook, Millie Gibson offers chilling harmonies alongside Breadcouch while going off into her verse and singing with the utmost poise and grace. Solely through the first song, Breadcouch has us locked into his project. The next track, "Better Days (prod. Erth Werm)," opens with incredibly rich electronic melodies through the ambient Lo-Fi production and Breadcouch's sweetly filtered and layered vocals. While he begins singing with his cool, calm, and composed delivery, we can't help but recognize the likes of Childish Gambino and Khalid with each melody Breadcouch offers. As the song continues, Breadcouch provides a highly emotional message where he steadily raps about his inner stressors and finding a way out. The song ends with the dreamy production that drifts through to the next song, offering chills the entire way through. The third track, "Golden Land," begins with electric guitar melodies, a tender bassline, and bright synths. Breadcouch offers a different kind of approach with this song, as we can feel the likes of the late great Mac Miller shine through the warm sonics. While Breadcouch begins singing with his highly melodic and passionate vocals, he tells an inspirational story of leaving your fears behind and starting your own unique path instead of blindly following others. While the bridge offers a sole and slow electric guitar solo full of ambiance and emotion, Breadcouch ends the song with the utmost passion through his warm vocals and sound message. The next track, "So Be That (feat. Well Treated)," takes on more of a Hip-Hop/Trap tone through the intro's trap drums and faint melodic keys. As Breadcouch begins delivering his bars in a low and mellow tone, we must note the incredible versatility we've seen from Breadcouch as he channels such raw and primal emotions within this track that contrasts nicely with the rest of the project. While rapping about the necessity of independence and finding your own dreams, Well Treated begins rapping and ends the track off with his quick J. Cole-like bars rapping of the journey he's endured to land him where he is now. The fifth track, "Majin Buu (feat. Soup the Fifth the Master Plan)," opens with a rainy-day atmosphere through samples of rain, steady Trap drums, and R&B-inspired keys. As Breadcouch begins rapping with his calming delivery, he paints pictures of memories and losing himself in the past. Soup the Fifth the Master Plan takes the next verse while channeling the likes of 50 Cent with his voice's natural depth and charisma. The lyrical message that Breadcouch and Soup the Fifth the Master Plan offer is genuinely emotional, as the serene beat continues to offer celestial vibes, Breadcouch ends the song on a reflective note while reminiscing past love. With the next track, "Jazz Cabbage & Battery Acid (prod. Dajamah)," this piece only lasts a minute yet slaps with immense heat through Breadcouch's versatile flow. With this track, a bouncy and jazzy Lo-Fi beat surrounds our ears while Breadcouch sings a trippy story of getting lost amid psychedelics. Through Breadcouch's low and deep vocals on this track, we can faintly hear the likes of A$AP Rocky shine through the demonic low-pitched background vocals while giving an ode to the artist through lyrics surrounding LSD. This track takes the album as more of an interlude but spills fire the entire minute. The next blissful tune, "Coffee Grounds," opens with serene keys and the bright chirping of birds in the distance. While Breadcouch begins singing of waking up and smelling fresh coffee in the morning, we're taken into a warm and reflective atmosphere as he starts spilling deeper and more introspective bars. Breadcouch is truly the king of warm Lo-Fi, as he packs this song with the most passionate vibes through his minimalist approach. While Breadcouch continues to sing of his inner troubles and navigating his way out of them, he also paints pictures of the exterior world and the chaos we've endured. Moving onto the next piece, "Little People," the song opens with a quicker tempo through organic drum patterns, bright background chimes, and faint woodwind melodies. As Breadcouch begins rapping with even more versatility through his swift delivery, he tells an empowering tale of making it from the ground up and going full-throttle towards your version of success. While also rapping about the continued greed we've seen from billionaires and millionaires, Breadcouch reminds us to stay humbled once success strikes. Ending the song with the sweet and dreamy production, we love the messages and lyricism that Breadcouch has offered listeners thus far. Getting more Pop-infused with the next track, "Growin Up," the song opens with bright synths, natural and organic drum breaks, and soft background keys. As Breadcouch begins singing the troubles of growing up and watching his past catch up to him, he naturally offers this calming aspect to the song that allows listeners to take it all in stride. The production gradually swells with the help of a melodic synth that pushes the sonics out of this atmosphere, while Breadcouch comes back around to end the song on a positive note, which we've seen a lot in this album. We can feel Breadcouch's Mac Miller inspiration come through on the next track, "Love the Way," as the song begins with brightly layered vocals and uplifting electric guitar melodies. While Breadcouch begins singing an incredibly passionate story through his playful and loving tone, the lyricism and bars he presents gives us instant chills through his descriptive abilities and engaging delivery. Breadcouch ends the song on an affectionate note, explaining his remorse for leaving someone out to dry and not wholly appreciating what they have to offer. The next song, "No One Ever Changin," takes on more natural instrumentals through the jazzy electric guitar, energetic drum patterns, and a warm bassline. As Breadcouch begins singing of the continuous cycles humans endure, he also touches on how we never really change; we might want to, but the drive to make changes doesn't seem to prevail when needed. Breadcouch's bars and vocals are highly melodic, as he bounces over the beat with his unique delivery and ends the song off on a sweet note. Reaching the last track of the album with "Ode to a Former Self," the song begins with airy synths and a mid-tempo drum beat. As Breadcouch starts singing of his past self and the growth he's encountered, we must note the incredible lyrical messages that Breadcouch has captured within this project. While he continues to rap passionately about his long journey through life, the serene production offers the cinematic appeal of a choir through countless layered ghost vocals haunting the track, similar to how Breadcouch's past continues to linger. He ends the song off on more of a spoken word approach, reminding listeners that we are our most powerful allies. Through thick and thin, Breadcouch has surfaced to release his intense lyrical album 'Canyon Lake Tapes,' while fueling the project with smooth Lo-Fi production, organic instrumentals, and vast lyrical messages that empower listeners to reach for the stars. We love each aspect of your versatile and dynamic album, 'Canyon Lake Tapes.' What was your initial goal for the album? What sort of concept did you have in mind when beginning to formulate the album? 'Canyon Lake Tapes' came together organically - I didn't go in with the intent of making an album. However, there have been a lot of changes in my life recently, and I noticed that a lot of the songs I was creating worked together to establish a theme of progression. I tried to use those songs to show a journey of progression both on a macro and a micro-scale. What inspired you to write twelve in-depth songs for "Canyon Lake Tapes" that inspire the listener? What pushed you to take on this inspirational and motivational route? Earlier this year I quit my job with the intent of traveling around the country and doing a sort of informal tour. Then COVID hit and shot those plans. I moved to Canyon Lake, TX, to stay with family, and I wrote these songs while living there. The recent change and turmoil in this world inspired the creation of this album, and I hope that it can inspire even one person out there to do what they want and not what they're told. We've noticed that you had various artists and producers come on board to help execute your album, "Canyon Lake Tapes." What was it like collaborating with them, and how did you manage to achieve your vision when working together? It was awesome working with other people! Erth Werm was the first artist I worked with - we met via Instagram - and he has proven to be a great guy and friend, and you may hear more from us later. I met Millie Gibson through Treble and found her jazzy RnB vibe wicked cool and we were lucky enough to collab. I met Dajamah on Reddit - he cooks up amazing Lofi beats, and I had to cop one. Soup the Fifth the Master Plan and Well Treated are both parts of a group, Supa Friends, out of Madison, WI that invited me to my first open mic and got me into performing. They undoubtedly changed my life for the better, and it was an honor to be able to work with them. All of these collaborations were done across the country during a global pandemic which is so unbelievably wicked. It was a blast working with everybody and all of our creative energy definitely meshed together. It always felt like we were working together for a common goal. Throughout your album "Canyon Lake Tapes," we can't help but notice hints of artists like Childish Gambino, Mac Miller, A$AP Rocky, and others. Did you have these creators in mind when formulating your album? Y,o thank you!! Childish and Mac are two of my favorite artists and people who I look up to. I think their music speaks to me a lot, so it's only natural that some of those sounds have bled through. I try to just make whatever feels right at the moment. Seeing as there are plenty of personal and emotional songs on "Canyon Lake Tapes," is there a song that speaks to you the most? Which track is your favorite, and why? My favorite track is Majin Buu (feat. Soup the Fifth the Master Plan). Soup and I wanted to make a nostalgic song, so I whipped up a rainy, chilled cow esque beat and let the music inside. I think we both got pretty emotional and raw. Also, Soup's verse is one of the highlights of the whole project. instagram.com/breadcouch facebook.com/breadcouchqueue

Coming in from the gloomy Emerald City of Seattle, the stimulating Pop-Punk band College Radio releases a treat for the ears with their powerhouse EP, "I Used to Get Messed Up." Making a name for themselves through their catchy choruses, fierce drums, and blistering harmonies, College Radio is here to stay. By blending old-school Pop-Punk with modern Alternative twists, College Radio creates somewhat familiar and incredibly refreshing music. With College Radio's latest EP, "I Used to Get Messed Up," the band offers four powerhouse tracks that grip onto your soul and have you sit and reflect on what these musical masterminds have conjured up. Through sweltering instrumentals and emotional lyrical messages, College Radio has done us a favor by releasing this project. The EP opens with the first track, "Intro," consisting of a short and sweet fifteen-second electric guitar introduction, surrounded by whopping drum breaks and a plucky bassline, gearing listeners for the fiery EP they will soon indulge in. The next track, "Comatose," sets sail with fiery rhythm guitar, whaling electric guitar, a gripping bassline, and bright drum patterns. As the lead vocalist Gordon begins singing of the sour truths of love, we can't help but bop our heads with his rhythmic delivery and unique vocal stylings that offer Punk's prime. As the energetic song continues, the surrounding instrumentals deliver sweet breakdowns that allow the listener to hear and feel the emotion that College Radio has infused into this triumphant track. Moving on to the third track, "Untitled," the boys have recently seen incredible success through this track's prior release to the EP, and we can see why. While starting the song with vast energy through College Radio's entire Punk-infused instrumentals, lead vocalist Gordon begins singing about the jaded world we know today and seeking the light at the end of the tunnel. We must note how versatile College Radio is, as they deliver whopping instrumentals that contrast nicely with their reflective lyricism. Ending the song on that same energetic note, we love what the EP offers thus far. With the project's fourth track, "Shine On," College Radio opens with bright and uplifting Pop-Punk instrumentals through Taylor's intense electric guitar, Gordon's thrilling vocals and equally rhythmic guitar, Mike's whopping drum patterns, and Evan's thumping bassline. With tight instrumentation as the verse continues, Gordon shines through with a saddened lyrical message surrounding waiting for someone who doesn't come around. While also singing of the constant cycle we undergo during our repeating days; College Radio truly powers through to allow the listener to feel seen and heard. On to the last and title track of the EP, "I Used to Get Messed Up," the vocals switch up and begin with Taylor's lower range, totally capturing the likes of Travis Barker. While he starts singing about how he used to get messed up on a night out, the surrounding electric guitar offers tight and short bursts that provide a highly rhythmic sensation. As Taylor and Gordon begin singing back and forth with lyrics of going unnoticed by someone they hold close, we can feel the raw and heavy emotions that College Radio has created this project with merely through their passionate delivery, lyrically and instrumentally. Through five gripping and lyrically emotional tracks on their EP "I Used to Get Messed Up," College Radio is soaring through the celestials of Pop-Punk with their passionate delivery, conceptual lyricism, and blistering instrumentals. Where did your band find the inspiration to create your powerhouse EP, 'I Used to Get Messed Up'? Gordon: Well it came together pretty easy! I and Taylor wrote most of “Shine On” and “Untitled” and “Comatose” in my old garage. Around that time just dealing with the obvious things like hating work and living with some interesting humans. Evan: I’ve kinda rediscovered all this fantastic pop-punk and ska from when I was a kid, and just thought “why don’t I just play this? It’s fun as hell!” and this record is sort of a culmination of that ethos. Like, if it’s fun, why fight it? Taylor: Pretty much what Gordon said, we all kind of took turns writing the instrumentals for each song. I came up with the intro and some of the parts to shine on while Gordon and Evan wrote the other songs. Speaking on your band's blistering instrumentals within your EP 'I Used to Get Messed Up,' do you have a particular creative process and method that works best for your band when creating your instrumentals? Gordon: I’ll tackle “Shine On” and “Untitled." With “Shine On” I really wanted something angry but still, something you could tap your feet too! With “Untitled” really went that old-school vibe palm-muted verses and big choruses. And the leads Taylor created for both really bring out how awesome these songs are! Evan: It felt like we were all thinking the same thing when it came to instruments. We were all very clear on the sound we wanted, and I think that helped make it an extremely cohesive record, despite all the different genres present. We were all on the same page, completely. It just came together so easily that way. Taylor: I and Gordon really took it home when we wrote Shine on. He came up with the catchy verses and chorus while I had the bridge to toy around with, which I ended up creating with a bang! All in all, the song came out just the way we wanted it to sound. Seeing as the vocals within your EP 'I Used to Get Messed Up' consist of Gordon, Taylor and Evan did the three vocalists write the project's lyricism as well, or was this a group process? Gordon: With these songs, it’s pretty split up but we always try and throw ideas. Like if I can’t figure the best fit I’ll see what Taylor or Evan would have in mind. On our newer stuff (not released) we def collab more! Evan: I’m kind of a recluse and a pedant, so I like to endlessly pore over my lyrics before I bring them to the guys (it takes a lot of effort to sound this snotty and aloof!). But at that point, once I share them, it definitely becomes a collaborative process. Taylor: When it comes to writing lyrics it’s usually Gordon and Evan that come up with them. I focus more on harmonies when it comes to recording vocals. Did you have any outside help from producers or engineers when mixing and mastering your EP, 'I Used to Get Messed Up'? Or did your band execute this process as well? Gordon: We did actually!! Jacob Hansen helped produced, engineer and mix, and master this whole ep with the help of Delwrick and our friend Dane!! Evan: These dudes make us sound fantastic, and for that they are heroes. Taylor: We got help from everyone that was involved with the recording and mixing process of IUTGMU that includes Jacob Hansen, Delwrick Nanthou, and Dane Stafford How can listeners get to know your band better through your recent EP, 'I Used to Get Messed Up'? Does the project capture your band's personality and attitude? Gordon: I personally think just cranking our EP up as loud as you can and taking a drive or hit the gym or hanging with friends(when not in a pandemic) and you really get to hear the diverse sound of all of us in this ep and the future songs we have been writing!!! Evan: I think it captures our energy and zazz perfectly. It’s a catchy, fast, diverse album that was super fun to put together, and that really comes through when you hear it. It’s a blast. facebook.com/collegeradiopnw instagram.com/collegeradiopnw

From France to England, the passionate Singer/Songwriter and Recording Artist Orava gives listeners a breath of fresh air with his latest music video for "Going Backwards." Speaking for his generation through his introspective lyricism, Orava tackles the common hopes and doubts that his peers hold. Gaining inspiration from genres like French Touch, Electronic, DnB, and Traditional Rock, one is bound to feel captivated by the broad and talented likes of Orava. His recent music video for his single "Going Backwards" features a beautiful and mesmerizing one-shot process of Orava while deep in thought reflecting on the heavy lyricism the single delivers. With captivating cinematography, Orava's music video truly isn't one to miss. The music video for "Going Backwards" begins with the opening shot of ocean waves while slowly backing up to allow Orava in the frame. As Orava takes a long and reflective glance outward to the ocean, the song's lyrics begin to shine through where Orava spills reminiscent words of an easier past. While Orava starts backing up into the sand slowly, we can notice that the entire video was not only recorded in one shot, but it's also backward and timed perfectly for the song's climax to appear as Orava tumbles upward on a sand dune. A highly reflective outro takes place as Orava continues to glance out to the ocean and bask in the evening sun and breeze. He offers a highly passionate ending to the video while pushing the song's heavily pensive and contemplative theme. We love the heart and reflection that Orava has delivered with his conceptual one-shot music video for "Going Backwards," as he trudges through the depths of his mind all to stand firm in the end. We can't get enough of your deep and pensive music video for "Going Backwards." How did you initially come up with the video's one-shot approach and concept? I started thinking of a video concept after I finished writing the song in 2018. I knew I wanted a video with a lot of reversed shots, long sequences, and a limited amount of elements to keep it as abstract as we could. We ended up blending these ideas to make a reversed sequence-shot. The goal was to emphasize what the lyrics were about: The consequence of time on people’s life and the idea of going backward in order to make better choices. Was it challenging to capture your music video for "Going Backwards" in one shot? What did your shooting process look like behind the scenes? It was quite a challenging one to capture! Wanting the sunset in the video didn’t make it easy, we were given one shot a day. After each tentative, the sun was gone and we would come back the next day at the exact same time and try again. It took us about 5 attempts and we kept the last take. There were a lot of hard things to play: the fall in the sand, learning my text in reverse, or not being swept away by a big wave… Seeing as your video for "Going Backwards" was directed by Gaëtan Delalande and Florian Maillard, how did they help give you direction during the shoot? What was it like collaborating with your directors? This video required a lot of work and preparation. The walk from the dune to the ocean was split and timed in about 10 parts. As I would sing/fall/walk and disappear in the ocean, one of the directors would tell me how long I had to wait before playing the next scene. Working with directors was crucial to get the best out of this idea. We can't help but feel such raw emotions exuded within your music video for "Going Backwards." How did you get into character for the video in order to deliver your lyricism with immense heart and passion? It definitely comes more from the visuals that my acting skills, in my opinion. I think the emotions would have been the same with anyone else playing my part! The mood is set by the location, the music, and the image. What can we expect to see next from you, as we enter a new year? I’ve been working on a lot of songs since “Behind the Wave” got mastered. There are a lot of things to expect, an EP or an album, who knows! I also hope 2021 will somehow give us a chance to hit the stage and play live! #BuzzMusic

Inspiring artist Whysohated recently took a leap of faith in releasing his debut single “Hotspot”, something he had been keeping to himself for quite some time. Always wondering whether he was good enough, the release of “Hotspot” kickstarted his confidence and showed his listeners the kind of fiery and rhythmic music he makes. Whysohated keeps his home of Nigeria close to his heart and intertwined in the layers of his music. He gains inspiration from his surroundings, taking in every moment, and finding a creative spin. His Afrofusion style of music blends many different styles and sounds for an experience that is entirely unique. The music Whysohated makes allows him to process emotions and replace negative energy with something that will leave a mark on the world. There’s nothing like a day in the studio where a good idea starts flowing and just keeps going until you’ve created something worth being proud of. As he gathers more attention in California, Whysohated stays true to his roots and passes on energy that can only be traced back to his childhood home. His debut African style single was Whysohated’s comeback into the world of songwriting and shows what can come from just a beat and a spark of creativity. Discover more about Whysohated here. Instagram Facebook

Jonas teams up with The Scratch Professor on a seven-track, out of this world eclectic THE REMIXES EP, "4ward Fast To Future." Multitalented award-winning, Jonas Rendbo has been praised by media all over the world as the Godfather of Scandinavian Soul. This Danish artist, producer, and songwriter has been garnering attention worldwide with this heavy title, which hints at the importance Jonas Rendbo has had, as a contributor to the genre, over the past few decades. Jonas holds an exclusive sound that he sprinkles his unique flavor on; he has remained consistent with releasing the quality content he put forward with music and touring. With a burning desire to pass the torch onto promising artists to come, Jonas is extremely devoted to the projects he invests himself in. '4ward Fast To Future' REMIXES is the captivating new release from Jonas and is a collaborative effort with the British producer and songwriter mastermind, The Scratch Professor, who many will recognize from the work he has done with his brother, British Soul music icon Omar Lyefook. Together, Jonas and The Scratch Professor carefully crafted a handful of songs, which became the beloved REMIX EP '4ward Fast To Future.' The first track that we have is "What's Cooking (Soulrebel Remix)." Soulrebel happens to be the alias of the marvelous Swedish producer and multi-instrumentalist Daniel Fridell. On this organic remix, you can hear him showcasing his talents by playing all of the instruments delivered on this record that create a warm embrace for the heavenly vocals filling the speakers. The production elements are so clean and concrete with each sound you hear, but they manage to make it sound effortless in how it all blends together as a full piece. Following this, we have "What's Cooking (Dadson Remix)." We are immersed in the fusion of Pop meets Reggae on this light and up-tempo remix. As the name Dadson proposes, this specific remix is the result of a striking collaboration between the father and son duo, Mogens Palsbøll and Marcus. Once again, the instrumentation pairs gracefully with the soothing vocalizations of "What's Cooking." The bubbly and bright auditory voyage on this remix transports you the feeling of the warmth of the sun beating down while your toes are tapping in the sand. You can't help but be captivated by the careful placement of each element while the melodies at hand soothe your soul. The third remix displayed on '4ward Fast To Future' is "What's Cooking (JVC Remix)." Highly respected DJ John Vincent is a progressive DJ and producer from Copenhagen, Denmark, that tours nationwide with Hip-hop and R&B talent. He blesses this record with a sped-up tempo that helps you lean into the danceable ambiance associated with it. The way that this specific version of the song takes over as a ballad has you swooning over the striking vocalization of the lyrics in a different manner. What isn't to love when you're given enough heartfelt material to last you a lifetime? "What's Cooking (The Scratch Professor Retwist)" is the fourth and final remix of "What's Cooking" on the EP. This specific version is a trademark remix by the one and only, The Scratch Professor. Heavy bass, Trap drums, and manipulated samples are the main ingredients in this recipe for success. All components of the signature sound that The Scratch Professor hones in on. The approach that is taken on this remix is vastly unlike the others displayed on the EP. The instrumentation is delivered in a way that you don't know which way the song will turn. Gradual elements are constantly introduced or subtracted to leave the anticipation high. The perfect way to end the four "What's Cooking" remixes we have been graciously presented on this project. Andreas Laustsen is one of the amazingly talented up and coming producers that Jonas has been collaborating with. This take on "Pick Me Up" offers a fresh direction paired with an old school R&B ambiance. Suddenly your mind is transferred to the 90s music video montages that we can see playing on nostalgic MTV. The elements of Funk and Jazz ultimately have this remix bending genres and fusing together components we didn't know we needed. The solo at the end of "Pick Me up (Andreas Laustsen Remix)" is by the one and only Daniel Fridell on the Würlitzer. The second installment of "Pick Me Up" is "Pick Me Up (Tony Ozier Remix)." We are immediately drenched in the sounds of a live floor Soul performance by Tony Ozier. Such a soft and delicate compliment to the vocals that Jonas Rendbo submerges us in expressing a wide vocal range and his ability to have us melting through the headphones. Tony Ozier and Jonas were introduced in a video-chat with UK DJ Taxman. The two soulful artists clicked instantly with various projects in the works. This remix is their debut project together. Tony Ozier takes the lead by playing the majority of the instruments heard with a little help from his uncle on the bass and drummer extraordinaire Tyrone Henrix. The final song on the '4ward Fast To Future' EP is, "Let's Fight (Soulrebel Remix)." We are hit with another Soulrebel remix, and this time we get elements of gritty soul-funk courtesy of the Swedish Doctor himself. Back with yet another organic performance, all the instrumentation gracing us is by Soulrebel. Jonas manages to showcase his artistic versatility, proving that he sounds good in any genre thrown in the mix. His delivery is equally profound and sensational as the soothing likes of his vocalization fill up your mind. To top it off, the eclectic synth solo at the end is one to have you talking for quite some time after the project is over. There is no doubt that Jonas and The Scratch Professor are a force to be reckoned with. With an EP that delivers a little something for a vastly broad audience, there are clear signs that the success they will be seeing is excellent. We can't wait to hear what they have in store for us in the future. Congratulations on the release of, '4ward Fast To Future.' With a project that carries a delectable medley of sounds, we would love to know what this EP means to both of you as a collective and individually. Thank you for reaching out. We truly appreciate your support, and for giving us a chance to talk about our music on your platform! Scratch and I have a special relationship. It’s somewhat like a telepathic spiritual thing. We finish each other's sentences - verbally and musically, I think. I live in Copenhagen, and he lives in London, so we don't get to do meet up and work on music much these days. The songs on the “4ward Fast To Future” EP were all old songs, we had in the drawer, that we never got to finish. So when we all got isolated at home, because of the corona, I decided to finish up these 4 songs and make a release out of it. I did the production on all of them, but they are all based on the versions Scratch produced when we wrote them initially. During the creation of the EP, we were in close contact, and I would constantly send stuff to Scratch, to get his input. We’re both very happy with the result, and that the songs finally get to be released and have a life. Now we want to do more! Were there any studio sessions that stood out to you in the creation of this project? What were the vibes like? When we wrote the songs, we were meeting up at Scratch’s studio in London, and would usually finish writing and recording a song a day. We are very good at vibing off each other, so creating is always easy and a lot of fun. With producing this EP, I had set up a studio at home in my living room, recording when the kids had been put to sleep. I had a lot of time, and it was a nice relaxed way to work. Then I would the horn parts sent from my friend Thomas Edinger, and additional keyboards and stuff from my friend in Sweden Daniel Fridell. Adapting to the corona situation, when we were not able to meet up in real life. But it worked really well. Recently you released the REMIX EP '4ward Fast To Future (Remixes)', with 7 new versions of the songs. Out of the tracks on the REMIX EP, do you have a favorite? If so, what is your reasoning? It’s hard to name a favorite, cause they are all so different. But the remixes were all done by close friends, that I have been working with on other projects, and one of them Scratch did. Also, one was done by my new friend Tony Ozier, who did an amazing version of the song “Pick Me Up”. He got Tyrone Hendrix to play drums on it, plus his uncle on bass, and nephew on percussion. So cool! I’m hoping that Tony and I will also collab on other things in the future. What goes into your creative process? Did you use a different approach for any song in particular? My greatest motivation and joy in creating music is always to collab with interesting people. In the process, I try to always challenge my approach, and learn something new. The creative process can be approached in so many different ways, and it’s always an opportunity to learn if you’re open. I’m extremely blessed with so many talented people in my circle, that I’m able to work with. And I try not to limit myself to a certain style or genre, but to draw from everything I like and know, and always new landscapes. I also like to travel and meet new people, but unfortunately, that’s not possible at the moment. What would you like listeners to take away from, '4ward Fast To Future?' Hopefully a warm feeling and a good vibe. I guess you can hear a lot of old neo-soul in the music, which is what I come from. Hopefully, some listeners will be able to relate to the lyrics. I always think that once I have released my music, it doesn’t belong to me anymore, but to the rest of the world. If anyone can use it, then it has served its purpose. Besides the joy it gives me and friends creating it. How did you decide which remixers/producers to work with on the remix project? Well, as I said, they’re all close friends. And they are all producers that I respect, who have an understanding of the music I do, and who I thought would be able to give the songs a new interesting twist. They were all completely free to do whatever they wanted with the remixes, and I think that shows in the way they are so different. Who are your major musical influences? I have always listened to so much different music, which has all inspired me. From hip hop to soul to r&b to reggae to punk to heavy metal to jazz… and everything in between. Some of the great artists that have inspired me are Stevie Wonder, Ray Charles, Prince, Bob Marley, D'Angelo, Kanye West, Nina Simone, Miles Davis, Lenny Kravitz, Dr. Dre, Omar, Sade, and the list goes on. What are your listening to now? Artists like Gabriel Garzón-Montano, Kendrick Lamar, Lucky Daye, PJ Morton, Anderson.Paak, Tom Misch, Deante’ Hitchcock, Saint JHN, Jacob Collier, and others. How did you and the Scratch Professor meet and decide to work on a project together? We met through Scratch’s brother Omar Lyefook (the Godfather of UK soul), who I have shared management with at some point, and also been working and touring with. My wife is from London, so we were living there for about 3 years, when we got married. And Scratch and I just had an instant connection when we met and started creating music together. 3 of the songs we wrote together in the beginning, ended up on my album “W.A.I.T.T.”, and now some of our other songs on this EP. We are now working on new songs, but I can't tell you when they will come out. What is next for Jonas? I’m constantly working on so many different projects, that it’s even hard for me to keep track of. Sometimes it’s my own solo stuff or projects that I’m featuring on as an artist. But I’m also writing and producing more and more for other artists. I have my own label called Jonas Music, where I have started releasing some of the artists I’m working with. The next release on my label will be my old band from when I was a teenager, called Först Til Sidst, which is hard rock in danish. Then there’s a new EP with the project Cumbiasound by multi-instrumentalist and super-producer Daniel Fridell. And then a debut EP by Denmark’s best soul singer Jonas Winge Leisner. And then the 2nd EP of my worldwide tribe project called People On The Hill, which consist of musicians, artists, and producer from all over the world. And finally, I’m working on my own release, which will be an EP named 'All Systems Go' coming out early next year, if all goes well… You can follow all of it on my website www.jonasmusic.dk Website #BUZZMUSIC

Hailing from Charlotte, North Carolina, the 28-year-old multi-talented artist and rapper, Grim Chiefa, defines growth and versatility through his artistic creations. Getting into music around the young age of thirteen, he quickly began writing his own music and experimenting with his songwriting abilities through his niche of modern Hip-Hop and Trap music. Grim Chiefa makes it hard to look away from such a prominent, stable, and intriguing sound. Stating that his life and past experiences influence and inspire the majority of the melodies he puts out into the world. After releasing six studio albums and a handful of singles, he is determined to make listeners swoon over the depth he reveals in each authentic and textured sound Grim Chiefa offers up. 'Hot As Hell,' is no exception in this twelve track album that gives a better look into who Grim Chiefa is as an upcoming artist and individual. The first record on 'Hot As Hell,' is “Heat.” A perfectly fitting intro for an album of this caliber. The simplistic yet hard-hitting instrumentation of the beat powers through with a heavy bassline and some stringed components that add a great counterbalance to the flavors offered. Grim Chiefa has a solid execution with his emcee like deliveries touching on old school Hip-hop roots with a modern twist. His elevated rhyme schemes express the total self-confidence that he radiates in this record and his lyrics talk about bringing the heat - no matter where he is. “Stain,” is the second record given to us and it carries such an unmatchable cadence for Grim Chiefa to approach and exceed. Known for his heavy lyricism, the tonal distinction in his vocalization about being on a mission and not stopping for anything or anyone conveys such a powerful message as this track could double as an anthem and offers you everything you could possibly need with “Stain,” being under two minutes. That just means, this is one to hit replay on. “Bandwagon,” has a wavy, dystopian ambiance crafted in the production of the composition. The enticing drums keep you swaying from side to side as you’re pulled into the depths of Grim Chiefa’s intoxicating performance. Approaching this record with more of a modern flair to his high impact delivery, it carries mesmerizing to a whole different level as he tells a real-life abstract story about women hopping on the bandwagon just because they see his success. He doesn’t know who is real and who is fake, but the truth will tell in due time. Next up, we have “Bottom.” With a slow tempo and captivating rhythm that keeps this record on your head top long after the song is over, “Bottom,” is under a minute and holds some sharp one-liners as he gives you sixteen bars about coming from the bottom. Grim Chiefa has a distinct way that he transports his message through and through. Each magnetic delivery allows you to see a different side of him that you come to know and love. Leaving you anticipating what’s next. “Off Hand,” is the fifth record on 'Hot As Hell.' The enticing hi-hats and memorable claps set the tone that this track is going to deliver at a high voltage. The upbeat ambiance has Grim Chiefa’s performance landing heavily on our minds. The methods he uses to space out his well-crafted lyrics are refreshing as a lot of the time Hip-hop is about the number of words you use and rhyme. His expression of being able to do this all in his sleep and run circles around anyone who tries to step to him immerses us in the confidence we need to take with us every day as we tackle our goals. “Scar,” is next on the roster, and can we say, catchy. Automatically the components of this instrumentation carry a far from average, eventful feel to it. However, the way that Grim Chiefa rhymes to this vivid beat in such an effortless manner, has us floored. Once again exuding the type of self-assurance that we long for, Grim Chiefa flexes the fact that it doesn’t matter who you are, he is not stepping out of the way. So if you’re ready for it, he’s ready. As one to always give his all, this comes as no surprise to us. The seventh record we have come across is “No Hope.” With a smooth and slowed down tempo that reigns with a bassline that should have its own weight class, Grim Chiefa is offering up yet another side of what makes him unique. With an intellectual story about how he used to have no hope, this can be considered one of the more conscious songs on, 'Hot As Hell.' The well times ad-libs create an otherworldly dimension to this particular track. They draw you in with a magnetic force field. The gravitational appeal that is within “Solid,” has you tiptoeing around your surroundings to the delicate yet powerful composition set in place. Grim Chiefa’s ability to take a beat and use it as a blank canvas in which he paints upon with the words he pens is an enthralling quality that we come to admire more and more as 'Hot As Hell,' progresses. This particular number is about the lack of trust that he holds as he makes his way up in the industry. He notes that nothing is solid these days but if he can rely on anyone, it’s himself. “Attic,” is the ninth track on 'Hot As Hell.' This song instantly unravels the creative thought behind it as Grim Chiefa’s faded persona in the clouds takes any challenge regardless of how lifted he is. He knows exactly what’s going on at any given moment. The winding atmosphere acts as a utopia for everything Grim Chiefa. The crafty wordplay and rhyme schemes are given to listeners for a track that is just over a minute, holds high on the totem pole as we near the completion of 'Hot As Hell.' Coming in on the tracklist at number ten, “Pollen,” delivers us speedy and catchy emcee like abilities from Grim Chiefa that shine a light on his artistic versatility. The message in this song reiterates the fact that he is not here to play around. He wants to establish his name and build an empire all while doing it in his sleep. The fact that Grim Chiefa’s lyricism gives us something unique to commend him on, doesn’t surprise us one bit. After listening to this sonic voyage, you’ll see exactly why for yourself. “Bury Pain,” begins with an enchanted tone to the instrumentation that has us quickly anticipating which approach Grim Chiefa will take this time. Soon after the mind-altering drums come in, we’re hooked. Grim Chiefa paints a picture of constantly taking wins over losses but never discrediting the times he loses because it only makes him stronger as an individual and artist. As he gains another win, he doesn’t have time to celebrate because he is far from leaving his long-lasting impact on the world. The final song Grim Chiefa leaves us off with is, “New Chingy.” Coming in with an ominous appeal to initiate the record, this one stands out as vastly different once the up-tempo rhythm comes into play. The dominant influence of his conveyance sends chills down our spine as he uses clever metaphors about the durag he flaunts having him feeling like a well-known Hip-hop artist, Chingy. We found that this track was in the perfect placement to leave listeners wowed at the collective works from 'Hot As Hell.' Just like that, we want to click replay and add our favorite records to our queue. 'Hot As Hell,' truly showcases Grim Chiefa as a top contender in the up and coming new age of Hip-hop. With each song on this album sprinkling a different flavor, we can’t wait to see what’s in store for this artist as he progresses through his musical career. Welcome to BuzzMusic, Grim Chiefa, and congratulations on the release of 'Hot As Hell.' With an album of this caliber, we would love to know; do you have a favorite song that resonates with you more than any other? I honestly like every song on the album, but if I have to pick one that resonates with me the most I would have to go with “Bottom” it’s just a dope little song that pretty much defines me, in like a cool defiant way. What is the meaning behind this album as a whole? Suffering from your flaws but having fun at the same time Could you please tell us a bit about the creative process that went behind the making of 'Hot As Hell?' To put the whole thing together it took about 3 months. I would get inspired and make like 5 songs in a week but then would lose inspiration, go live life and make a song here and there. How long did it take you to record the collected works? I usually would record all the lyrics in one sitting. and just take my time mixing the songs day by day. I like to mix a song and then listen to it in different settings and just go back and make adjustments to the things that didn’t sit right with me What would you like your listeners to take away from this album? It’s ok to be who you are and have fun with it. Instagram #BUZZMUSIC

The artist/music services company Artist Formula announces an exciting new venture with their organization, releasing the first installment of a quarterly sampler project featuring artists of a particular genre and format. The first installment of Artist Formula's new quarterly sampler projects seems to begin with the Country-Rock genre. The project features highly recognizable artists ready to participate in this venture, as Artist Formula is continually creating new projects to highlight the likes of talented artists. The first quarterly sampler project features the likes of Drivin N Cryin, a four-piece hard Rock band hailing from Atlanta. One might recognize the musical stylings of Drivin N Cryin through their well-received singles, "Fly Me Courageous" and the Darius Rucker cut, "Straight to Hell," garnering 18M views. The project also features the prolific Singer/Songwriter John DeNicola, who's written hit singles "Hungry Eyes" and "I've Had the Time of My Life" from the legendary motion picture Dirty Dancing. The Charleston hailing Singer/Songwriter Finnegan Bell is also featured on Artist Formula's first quarterly sampler project. Finnegan Bell has supported vast artists like John Paul White (Civil Wars), Will Hoge, Marc Broussard, Jars of Clay, Nickel Creek, Hootie & the Blowfish, Drew Holcomb & the Neighbors, and many others. Last but not least, the owner of Artist Formula Record Group, founder of the double gold award-winning Homegrown Boone's Bourbon Label, and Songwriter Tyler Boone is excited to feature within the project as well. With his many entrepreneurial endeavors, Tyler Boone is demonstrating vast enthusiasm for the upcoming sampler project from Artist Formula, as the quarterly event definitely isn't one to miss. Since making the transition into Artist Formula Record Group, what has the company been busy with during these times? Artist Formula Record Group is now busy working distributing records & singles of artists since our transition into distribution. Our main focus is always incredible label services such as streaming, Instagram promotions, TikTok influencers, YouTube growth, SoundCloud & now we have top-tier distribution through KMG (powered by the Orchard) all under the Royalty Network. It's a very new exciting space to be in, we love it. With Artist Formula's upcoming quarterly sampler projects, what initially gave you the idea to execute this creative endeavor? What should we anticipate from the project? We are so excited for our 1st quarterly sampler "Artist Formula Americana Sampler" as the concept for these came to fruition back in April once Covid took over the live music industry & we wanted to find a way to help create more passive income for artists by re-releasing their music as a compilation that also has sync opportunities through our parent company "The Royalty Network" I also want all of these future samplers to be with artists we have very strong relationships with and of course strong admirations for. You've mentioned that your upcoming quarterly sampler projects will feature artists of a particular genre or format. How do you choose which genre to go forward with and execute? I wanted the 1st format to be more in the songwriter realm since the release date was going to be closer to the holiday's and living in the southeast (Charleston & Nashville) there is a huge songwriter & southern rock community. The next format will be more in the active, blues rock realm, very excited about the next one. How does Artist Formula go about finding artists to be a part of this quarter's sampler project? Could you explain what goes on behind the scenes of the project's creation? This 1st sampler seemed very obvious to me. I used to be apart of the management team with Drivin N Cryin, so that was a given. The Finnegan Bell guys are very close friends of mine (family to be exact) and we have collaborated a lot on recordings & live touring. My recent Paste Magazine release "Live at Paste Studio" features Finnegan Bell as the featured artist. Now John DeNicola is such an honor to work with. He came to Artist Formula through an incredible PR company titled "Team Clermont" and after being connected I came to find out he is a prolific writer who has written some of the biggest songs of our generation such as "Hungry Eyes" "I've Had The Time Of My Life" (all from the hit movie "Dirty Dancing" which debuted at no. 29 on the Adult Contemporary charts on Billboard earlier this year. Billboard Hungry Eyes Debut. All of these artists mean a great deal to me and I am extremely honored to work & know them personally. www.artistformula.com

Ida Therese Klungland is a multi-talented Norwegian singer, songwriter, and storyteller. With an artistic style that is inspired by 90’s Grunge and minimalistic Pop, she strives to carefully craft songs that tell their own unique individual story. Coming onto the scene as an independent artist in 2019, Ida has already self-produced a series of tracks that she is proud to call her own. “Humans,” is a staple piece off of her new EP, 'Sketches,' a series of heartfelt stories that dive into who Ida is as an up and coming artist. “Humans,” creates an emotional whirlwind of delicate components that sonically grace the listener’s ears. This smooth record carries a wistful tone as Ida vocalizes her remarkable appeal is a genre exclusive to her. “Humans,” paints a descriptive image of us all living as individuals in this world and in return going through our own hardships, success, and stories that we have the power of writing. As we all co-exist in this universe, we need to be more mindful of the space and energy that we take up and accept one another for who we are, flaws included. With performance so profound, each lyric shed by Ida is accompanied by a graceful utopia of warmth. The instrumentation is simplistic, yet more than enough to bring her sonic voyage to life. Not to be fooled, the delicacy that Ida presents in her vocals is carried out with a sizzling power in the way that her words convey to your deepest and innermost emotions. As a talented artist taking the music industry by storm, “Humans,” is only a sample of the experiences that Ida Therese Klungland has to feed us all. Her new EP, 'Sketches,' creates an entire soundscape of all she has to offer us as she puts her stake into the realm of creativity. Hello Ida, thank you for joining us at BuzzMusic, and congratulations on the release of your EP 'Sketches.' With each piece that expands more on who you are, could you please tell us the meaning behind the name of your second EP? Thank you! I chose the name 'Sketches' because the songs felt a lot like sketches to me, unfinished pieces of work, ideas that I had just scribbled down. All the songs on the EP were written between 2015 and 2018, and they represent the same idea of being in a life stage where everything is kind of unfinished ideas. Being a twenty-something can be kind of confusing! So I thought the title fitted. I also wanted to play with drawings and paintings for the visual side of the release. I also feel like 'Sketches' is kind of a cliché title for a release like this, and I wanted to play on that. All the song titles feel like typical singer-songwriter titles, and that was very funny to me. I also mention it in the opening track: "It's all fine now, I'm writing songs again, with all these uncreative titles to prove I'm just like them." What would you like listeners to take away from the single “Humans?" I guess this song is about relationships, and how we all strive for something that is not just "co-existing", but actually sharing something deeper. To get to that point we have to open up and be vulnerable, but I hope it's worth it in the end. This song was written before 2020 of course, but while I was recording it, I felt like the current situation where everyone is isolated added another layer to the song. We still need each other, and we still need relationships, and it might be even harder to open up to people now. But also, even more important. What was the creative process like when creating this single versus the other songs on the EP, 'Sketches?' The process was pretty much the same for all the songs. They were all written a few years ago, and left in a drawer, to put it bluntly. This year I decided to give them some new life, and I rewrote parts of the lyrics for a few of them (3 out of 5 songs to be exact, the remaining two, Humans and Last Train, are untouched). I also made some new arrangements and tried making each song into a separate finished piece, while still trying to make them sound coherent. It was fun taking these song sketches and making them into more finished pieces of music! How important is it for you to take your real-life experiences and out them into the music that you create? It is very important. But I also want to make something that people can relate to, so I try to not be too specific. The best balance is managing to be personal and writing about real-life events, while still being general enough so that other people can feel like "oh, this could be about me!", you know? What has been keeping you inspired this year? What can we expect to see next from you? I've been inspired by all the musicians and creatives managing to make art from home and staying connected. I think there has been a lot of good music coming from lockdown! I will keep writing, and keep making bigger projects that tell a story. My goal for 2021 is to make my debut album! Instagram Website Photo Credit: Irene S. Lunde #BUZZMUSIC