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From Toronto, the Pop Artist and Singer/Songwriter Dallas offers listeners empowerment on a platter with her latest hit, "Nightmare." One can recognize the likes of Dallas through her deep-rooted Pop sound that edges on the borders of Alternative and R&B. Painting surreal and vivid pictures have always come easy to Dallas, and we're able to experience this through her recent single. Dallas' recent single, "Nightmare," falls under dark-Pop through the song's gripping and kicking production, offering a sense of life and power with each transition. All while Dallas comes through with her spiteful lyricism towards a past lover who's done her dirty. We love the intricate songwriting and rhythmic delivery Dallas offers, as it makes for a unique and engaging experience. "Nightmare" begins with soft piano keys and a haunting ghost vocal. Once the ground-stomping kick appears alongside Dallas's unique vocal stylings, she starts singing a sour story of love and not having her expectations met. While asking for the bare minimum from her lover, it might be a little too late, as Dallas pushes through this empowering single with independence and strength as she continues to venture solo. The supporting production swells to this captivating atmosphere through unique synth arrangements, a steady drum kick, and various effects that broaden the song to be incredibly haunting and powerful. Ending the song off with thumping instrumentals and Dallas' mesmerizing vocals singing her truth, we can't get enough of the overall life and independence she's infused into "Nightmare," as we're left feeling nothing but feeling exhilarated. We love the strength and independence you've brought within your single "Nightmare." What pushed you to create such an empowering and spiteful tune like this? Thank you! I think spiteful is actually the perfect word to use when I think about how I was feeling during the writing process of this song. Nightmare was actually written in the summer of 2019, so it’s been sitting in the vault for quite a while now. It’s definitely my most straightforward, lets not “beat around the bush” cause this is how you hurt me type of song. I wanted to make a statement with this one and I think I was able to do so in terms of how the song grows lyrically and melodically. I also love that even though this is a breakup song it’s super playful and up-tempo, so even if you can’t relate to the story being told, as a listener, your ear is still drawn to the melodies & production. I always want to make sure my music makes people (specifically women) feel confident, sexy & powerful. Creating Nightmare was about regaining that self-confidence & boldness that someone took away from me. Was it difficult to mentally place yourself back in a past relationship in order to write lyrics for "Nightmare?" What did your songwriting process look like? Writing songs is honestly like therapy for me. It’s how we songwriters vent, similar to writing in a diary, the only difference is our stories get shared with the world haha. Nightmare came together insanely fast. I remember building a simple chord progression using Maschine and the melodies/lyrics just started to flow. At the time of writing this song, the end of the relationship was still pretty fresh, so I didn't have to do too much deep diving in the past to bring out those emotions. In regards to my songwriting process, I like to start out with a simple chord progression, so that there is freedom for me to create an abundance of melodies/lyrics and then go back and choose the best ones. I’m a firm believer that the melody should be the driving force of the song. Production should then amplify and highlight those melodies. Did you have any help regarding the production of "Nightmare?" How did you craft the production to offer such a dark and intriguing tone? I’m super blessed to have an amazing team behind me. My music would not exist without the brains of my producer, @createdbyatom (make sure to check him out). Nightmare was one of those songs we revisited several times because we just weren't 100% sure about keeping the production so minimal in parts. We both love adding super foreign/weird sounds & samples throughout my songs, so Nightmare was definitely one of the more difficult ones to perfect. But with that being said, Atom killed it, and still brought so much depth and flavor to the production of the song. He really is a genius at what he does and I can always confidently leave my songs in his hands knowing he will create something insane. Seeing as your single "Nightmare" heavily resides under Pop music, you've mentioned that you tend to grasp elements of Alternative and R&B as well. How would you describe your sound to a new listener? Do you tend to stay true to one sound, or do you experiment with others? This question can sometimes get me into some trouble aha. My music is a combination of so many genres. Growing up, I listened to any and everything so my taste in music is vast. I always wanted to reinvent sound, fuse genres together in a way that sounded cohesive and pleasant to the listener. About a year ago, I was in a meeting with a pretty well-known producer/industry rep and he told me “you can’t be all genres.you have to choose one and stick with it.” Ever since that meeting, I made it my mission to prove him wrong. So I spent all of 2019 in the studio just building my catalog and making sure the sound did exactly what he said I couldn’t do. I’ve never been happier with the music I’m currently releasing. I don’t like to label myself or my music under one genre. I definitely experiment heavily in production. I only want to mold a sound that’s different than anything else out there right now. What has been keeping you inspired this year? This year has really forced me to get to know myself better mentally. I think it was really easy for a lot of people to sink into a depressive state due to the pandemic and everything else going on in the world. I didn't want to get distracted or allow myself to fall apart mentally & physically for that matter. So for me, it was all about making sure I took that time, even if it was 10-20min to just read a couple of chapters, meditate, go for a walk, do something to allow myself to just breathe. My team also inspires me every day. My manager, producer, graphic designer…were a close-knit group, and seeing how hard they work for this project each and every day is immensely inspiring. Instagram Facebook #BUZZMUSIC

From North Carolina to Houston, the Singer/Songwriter and Multi-Instrumentalist Hylynd releases a soulful Alt-Rock ballad with his latest hit, "2x & 1/2 With You." After writing songs for over fifteen years, Hylynd has worked hard to fine-tune his sound that naturally pulls listeners in with warmth, passion, and highly melodic instrumentals. Building on the momentum of his debut EP, 'Born In The Night,' Hylynd is pushing full-steam ahead towards endless music creation. Through his latest single, "2x & 1/2 With You," Hylynd goes on to tell a heartwarming story of needing nothing else but his significant other and wanting to take each day one step at a time with his partner by his side. Through blissful instrumentation that sets the song's atmosphere to a heartfelt and passionate tone, we love the overall comfort and contentment within this track, as it's genuinely refreshing to hear nowadays. "2x & 1/2 With You" begins with an intricate electronic drum arrangement and soft synth melodies floating in the background. As Hylynd starts singing, we're immediately transported into the song's sweet atmosphere through his romantic lyricism depicting the utmost heart and passion for his partner. The instrumentals and production offer the warmth and cheerfulness of ambient Pop music while Hylynd makes the track his own through unique rhythmic breakdowns and the addition of warm instrumentals. A soaring electric guitar solo takes the track by storm around the outro, while Hylynd comes through to offer his entire heart to someone he holds close. We're highly intrigued with the likes of Hylynd, especially through his latest passionate Pop single, "2x & 1/2 With You." The song allows listeners to forget their woes and focus on what's giving them joy while humming along with the melodic instrumentals, which sends them even further into bliss. Can you take us through what inspired you to write such a romantic and endearing single like "2x & 1/2 With You?" What inspired the song's title as well? First of all, thank you BuzzMusic! “2x & 1/2 With You” is a song based on the Swedish Proverb that says, “Shared joy is a double joy, shared sorrow is half the sorrow”. It’s about settling into the present, realizing life isn’t forever so we better take advantage of it, and that together is better than going alone. Regarding the thorough and in-depth lyrical content you've provided with "2x & 1/2 With You," how did you go about writing your lyrics to deliver the profound emotions you feel? Was it easy for you to write from such a sincere place? This one was easier for me to complete lyrically because I REALLY have lived it. I’ve lived not taking advantage of the present, and not binding together enough with the ones I love during difficult times because it’s easier for me to self isolate and try to carry things alone. This song was my way of saying to myself and others, HEY! It’s better to lean into life’s problems AND joys with people, versus alone. Speaking on the melodic and passionate instrumentals/production within "2x & 1/2 With You," what did your creative process look like when creating your instrumentals and production to offer a similar vibe as your lyrics? This one started out with some chords on the Juno 106, and I decided I never wanted this one to get super big towards the end like some of my other tracks. I wanted it sonically to echo what the lyrics were doing, which is that we’re not in a hurry and we have time to just ride. You’ll notice the drums stay in the same pocket throughout and that was key for me. We've heard that your songwriting is a strong point within your music career. How do you write songs to not only be engaging, but memorable and stand the test of time? I think it all starts and ends with what you love most in songs. I’ve always felt like Melody is king and queen. I wrap beats and lyrics around what the melody is doing and great melodies are what make songs, IMO, timeless. I grew up listening to Mariah Carey, Brian McKnight, Whitney Houston, and a common thread there is they all put out timeless music. And that’s my main goal, trendy is not. Thanks for having me. I have more coming for y’all soon! Instagram Facebook

Ray Mitchell has always been intertwined with the music world, growing up listening to many different cultures of music. After developing a passion for production and DJing, he got his bachelor's in radio and television and is now full-time pursuing music. The latest release, "WHG," featuring Disanti, Mili Milz, and Lyndon Laveaux is Ray Mitchell's take on a classic Rap song about the trials of today's political climate in the United States. A savage beat mixed on top of a melodic chorus gives the listener the whole eye-opening package. A creative opener emphasizes the importance of today's climate, a cry for help into a sea of corruption. A flowing piano intro eases the listener into the ethereal first chorus, and you are quickly taken aback by the powerful first rap. All three artists bring their own flare to their verse, and on top of Ray Mitchell's production gives something for every music lover. "WHG" stands for White House Gangstaz, and using the talents of his three featured artists, Ray Mitchell makes a strong statement. Ray Mitchell creatively twists in his own storyline and quotes from Michelle Obama, driving the emotions all packed into the song. "WHG" is stimulating and fearless, a must-listen for all old school rap fans. Ray Mitchell uses his platform to spread his message with "WHG" and uses the joy of music to do it. “WHG” has so many enthralling elements to it, what made you decide to go with such an eye-opening song for a first release? Well, it was really a team effort and decision. I wrote the instrumental back in November 2018. Lyndon came to me and wanted me to sample the theme song from the show, Succession. Instead of sampling it, I used it as inspiration to writing my own original piece. I have a little classical training, piano, and music theory under my belt, so I wanted to use my skills to create an orchestra-esque beat. I love the tension you can build, and the feelings you can invoke when you blend strings and piano. So the track started off as an epic instrumental, then I told my brother Mili that he needed to write something meaningful and jaw-dropping, to match the beat. He came over and listened to it in my studio for a few hours and then he wrote it on the spot and we recorded his main vocal. Then I wanted to have Disanti on it, so I told her to write a hook, and she took what he said and ran with it on a much deeper level. Disanti said, “Through all the news and articles of faulty practices from those entitled with power, I began to think about the concept of different represented groups. What is the definition of a gangster? A member of a gang of violent criminals. A person who has committed a crime. Then I started thinking about what constitutes a crime? For example, if you kill someone, is that only a crime depending on who you represent? I don't believe all law enforcement and the government are bad. That would be a completely ignorant statement. I have family who has served our country and are in the police force that believes in the system and I support what they are trying to do. However, I do believe that there are some "bad apples" so to speak, that like to work together. The crooked ones that are spoiling it for the rest. Those are the "White House GANG$TAZ" because they hide behind the flag and patriotism.” I thought she had a great idea, and I love to educate ignorant people, so that is how “White House Gang$taz” was born. How long did the production process take for “WHG?" As far as the writing of the music I wrote the main skeleton in a day, but I adjusted and added elements over a few months. The vocals were recorded in my studio starting January 2019 and between all the refining of lyrics and vocal records, we finished the main vocals around May 2019. Keep in mind we all work full-time and to get everyone on the same schedule, mixed with my perfectionist tendencies, it took much longer than it would have if this was our only job. We wanted to release it in late Spring/Early Summer, but we all know what happened in 2020. The music video was mostly written by Disanti and me (with input from the rest of the team) and was done in about a month through zoom meetings. I came up with the intro for the music video with Anonymous, and that is actually my voice playing Anonymous as well. How did you decide on what artists to feature, and how did they bring the track to life for you? Milz is my brother and we always work great together, and I have built a relationship with Lyndon, and Disanti over the last 7 years recording and working on songs together. Disanti is an amazing lyricist and we have a lot of the same thoughts when it comes to how a song should be written, so whenever possible I work with her. The same goes for Milz and Lyndon, and we all work great together because we are also friends outside of the studio. What made you decide to insert the clip of Michelle Obama? This made quite the impression and really made “WHG” stand out. That was Lyndon’s idea to insert the clip, and what he told me is he wanted something to add a little punch before his verse. If we were talking about a system that has screwed over the black and brown communities, then that clip fits perfectly. Michelle’s quote has layers to it, there is poetic justice and the underlying irony, behind the fact that she was actually waking up in a house that was built by slaves. Do you have any follow-up releases planned after “WHG?” What are your next steps for your career? Yes, I’m currently working on 10 different songs at the moment. I write a lot of different styles of music, so I don’t stay locked in a box. There is a song called “Toodaloo” I just sent in to get mastered. This is another track just with Disanti, and it almost has a John Mayer type vibe, it’s not hip hop, it has elements of blues, soul, and pop. It is a very laid back song, not sure how else to explain it, but it’s going to be a hit! Another song with Disanti called, “Mind and Body” has a Bryson Tiller vibe to it, I would call it a sexy R&B track mixed with Future Bass. Then I have another track I just sent off to mastering as well called, “My Friend”. That track is with my brother Mili and it is about the recent passing of our other brother, it’s a dedication to him. That one is hip hop, with another deep piano melody that I made, but the drums lean more towards Trap Music. There is quite a bit more than we have ready to go, but I don’t want to reveal all my secrets just yet. What has been your biggest source of inspiration while creating new music this year? I mean 2020 made me go through a lot in a short period of time and just made me realize what is really important in life. It brought into perspective how fragile life really is, and kicked my butt into gear. So that was the main source that made me get over my perfectionist syndrome and just start releasing my tracks. Instagram Facebook

Embellished with a diverse eclecticism surrounding her musical aesthetics, Gabbi Nixx, the North Carolina songstress of Fuck-Rock and R&B, takes the spotlight on the music industries center stage. The last time fans got a dose of her dopamine-infused offerings was in September with her hot-tempered single, "Lunar Surfer." That was a motley of auto-tune and a prismatic display of the type of mystifying soundscapes she could create with booming drums, salubrious bass-lines, and her martian-reminiscent vocals. Her latest musical endeavor comes garnished with the same criteria, this time, presenting more immersive, potent, and intuitive than ever. Through the addition of horns, a plethora of mystifying synths, and an excess of resounding shrieks, Gabbi doubles down on her creative intuitions and lets them soar. With a playtime of just over twenty-minutes, her debut EP, 'Kamikaze Groove,' stands as a testament to the innovation she represents, the auteur she has become, and the bond she has with her multifarious roots in Funk, Soul, and R&B; with an exceptional dose of Rock added to the mix for some added punch. Inaugurating the adventure with a scintillating bass-line and her trademark reverberated howl, "Drink It Up" takes measure with a gyrating groove. As Gabbi's vocals choreograph between two or three variations of itself, it almost sounds like the North Carolina intoner is singing amongst a manifold of intertwining harmonies, each one resounding and crescendoing in their own limelight. There's a smooth gliding keyboard that decorates the edges of the salubrious funk mix, and when you get to the chorus, it's easy to get lost in the bewildering embodiment of her eclectic sound designs; especially when she sings, "and it comes back to the water (drink it up, drink it up), what the hell is in that water! (take it down, take it down)." She's either drank the most potent brew of her life, or someone has dosed the water she's sipping with a serious shot of lysergic psychedelia. The next adventure, "Nihilistic Disco," is christened with the same introduction as the predecessor track—a penetrating howl—with an arpeggiated melody from bright pads, the smooth swipes of an electric guitar, and fervently saturated bass-line. The cadence here is inlaid over a four-to-the-floor rhythm, and when Gabbi grips onto the mic with her bewitching tonality, it's like stepping onto the dancefloor of the most clandestine club you've never heard of. Here, the mesmerizing songstress gathers her Disco and Funk ancestors' touchstone and skyrockets them straight to the moon. "I'm a sup-a-sonic, funk-atomic, disco queen, who spends all night dancin' way her dreams," she sings, weaving up and down in pitch like someone is playing with the settings on her vocal-chain processor. Her adlibs fester and swell in the background and seldom come short of being kaleidoscopic, meshing, and then dispersing back into the blurring voids from which they came. On "Dead Man Slide," Gabbi Nixx sounds like the ghostly rendering of a late James Brown, but with a sassy dose of rebelliousness as she croons with a more distinctive rasp on this Funk-Rock memoranda. Over a combination of gyrating drums, pristine percussion, the honourary triangle, and a multifarious display of grooving sonics erupting from the bass, guitar, and low-toned harmonies, Gabbi takes no breaks in howling. She shrieks and playfully scants like the funktastic queen she is, never losing touch with the bumping groove. It's probably the most rambunctious track on the record, with the drums, bass, triangle, and Gabbi's vocals taking all the credit for their infusion of danceability, hand-pumping gesturing, and the hip-swinging involved. As she scintillates from jam session vibe to scant vocal solo, it's easy to see why this North Carolina up-comer is spinning heads from east to west coast, screaming: "suga feel the vibe, it's the deadman slide!" Much of the tracks on 'Kamikaze Groove' feel like the beginning of a funky jam session; it's the search for a particular feel before developing into a sinuous display of Funk-reminiscent foregrounds where R&B, Soul, and Rock aesthetics occasionally make their appearances. But one song, in particular, stands out as being an outlier to the rest, with a saucy dispensing of soca-gyrating rhythms that almost sounds like a Carlos Santana track from the future. Like a conga-line, Gabbi's distinguished voice, her close-second bass, and the island-kissed drums set in stone beneath them take flight on "Soiree of Flamez." This track makes you want to bust out some mimosas, crack open the closest to find your best dance shoes, and call an Uber to take you to the nearest dance party. When you get the last single on Gabbi Nixx's debut EP, you've already experienced the diversity of an upcoming artist who isn't afraid to show her genuine self, however eclectic and bewildering it may initially seem. It's a venture through the mind of an innovative free-thinker, and one that only comes along once in a few decades. "Spotlight," the culminating single on 'Kamikaze Groove,' feels like this intoner's version of a lighter-waving anthem, and it comes from the deepest portions of her human-experiences. "Walkin' through a cloudy room, I've gotten so used to the fumes, a spotlight, gold light, shining through, I hope that I can reach it soon," she sings, with altruistic sentiments oozing from her decrying incantation about how her mother had a profound effect on her. Whether it be deficient or completely toxic is beyond measure and somehow feels irrelevant next to the immersive sound design. What's most intoxicating about the track is how profoundly the emotions land. It's a testament to the absence of Gabbi's father and the toxicity that it left her mother with, which in turn, flooded the young singer with the feeling of resent. It's a punctuating way to end a debut EP, but the perfect way to get intimate with her fanbase as she chaperones you through the closing doors of her sonic spectacles. If there's one thing that is certain about Gabbi Nixx and her debut record, it's that fans of Funk, Rock, Soul, and R&B will find something personifying within the super-charged, all-embracing sonic menagerie she calls 'Kamikaze Groove.' Can you walk us through the process of how a new song comes to fruition, especially in the context of 'Kamikaze Groove'? How does this process compare to when you're just working on an individual single? I actually didn’t mean to have Kamikaze Groove as a collective project in the beginning. This was a chaotic summer full of violence, sickness, and conspiracy, and the emotions that came with it all really manifested in my music. All I could write and sing about was our generation coping with the madness in my own satirical way. After about three singles that consisted of dance sounds and juxtaposing lyrics, I decided that I should probably group them under a name and release them together. What steps did you take in the curation of each track on 'Kamikaze Groove' to make sure your anecdotal intent and the sentiments you were trying to highlight never got lost in translation? Every song that I create starts with a bassline. My God of a producer knows the drill and adds so much to the creative process. I was in the dreariest of moods this summer and I knew that the majority of my work was going to be sad. The only issue with that was that I just couldn’t stop groovin’. It really forced me to take on a new approach to conveying my message and I took to mimicking my generation’s way of coping, but through sound. I mean the whole world was going through a pandemic and what was gen z doing? Making tik tok dances. I think the best line to describe it all comes from Dead Man Slide, where I repeat “Get down, with the Let Down” about a million times. Everything sucks, but we just dance through it because that’s really all we can do to keep from going crazy and that was a recurring theme throughout the entire tracklist.  I know for a fact that lots of people are going to listen to this and not catch my metaphors or messages at all. They’re gonna hear a kickass disco beat and they’re gonna get down with it. However, I like to think that their subconscious minds will resonate with the lyrics despite the outward groove and I think that’s what I intended. Out of all the songs you've recorded for 'Kamikaze Groove,' which one stands as a lesson-provider, whether it be production-wise, emotionally, or artistically? Oh lord! I think they all do the same thing in a sense, but in my opinion, the one that stands out the most as a lesson provider in all aspects from production to artistic expression would have to be Drink It Up. The bassline walks underneath the song is sort of a march, pushing the idea of a bunch of brainless civilians walking in conformity. The most repeated line, “It comes back to the water, what the hell is in that water?” is me trying to pin an explanation for as to why we just “drink up” whatever the television people say without ever questioning or discovering anything on our own. I think I actually cried after recording this because I just vented out all my frustrations with society and it was the most that I could do about the matter. People are dying and all I felt like I could do was to address the issue of “our mindless following leading to our demise”, in a funk song. Drink It Up really brought forth my feelings of helplessness in these times. When you think back to the emotions you needed to channel for the performances you've captured on 'Kamikaze Groove,' which ones stand out as the most impactful and useful for you to establish the distinguishing aesthetic you've become known for? Woah I have a musical aesthetic? That’s so cool! Thank you for that, I’m gonna start saying it all the time. I think that one thing that I’ve learned about music and life, in general, is that you have to be bold about everything if you want to express it in the fullest way possible. When writing a song, you could say “I’m sad” or you could say “I’m dying”. To me, they kinda mean the same thing, one is just exaggerated to the point where it’s worth paying attention to. So in music, I often find myself mocking the dramatic aspects of myself or “channeling” them for the impact. I do this alot in Nihilistic Disco, especially around the pre-chorus where I go through the whole “I’m Misses Good Time” chant in an almost whiny high pitched tone that just transitions into a little soul belt towards the end. I think that’s just an exaggerated version of how I normally talk which is already pretty animated to begin with. In conclusion, I just mocked myself to get my true self into the audio and I think that puts all of my other intense emotions under an umbrella. If you could give us a few words that would act as the prologue to the experience you set out for fans on 'Kamikaze Groove,' what would you feel the need to say, and why? That’s so funny because I actually did write out a little prologue! I speak it at the end of the video for Drink It Up which serves as the intro single to the EP. It went along the lines of: “Life is but a dream, everyone was born brainwashed, death is a semicolon, everything’s a placebo, and outer space is not real. Welcome to my thoughts, I hope you hear them well. kAmiKaZe grOove-Ah!”. I think I said all that because I thought it was funny, but also it sums up alot of the topics that I deal with throughout the EP in the same comical, abstract way. Instagram

Psychedelic Pop band SUNSHINE is here to spread their uplifting, eclectic energy to listeners willing to immerse themselves in a dynamic experience. Composed of Alma on vocals, Connor on guitar, Mason on piano and drums, as well as producer Jackson, SUNSHINE collectively disperses their energies accordingly to craft the vast and wide-ranging sound they conform to. The most recent exploration theme for SUNSHINE includes love and the varied perspectives that arise out of it. SUNSHINE released their single, "High Off You," which features a light and airy vocalism that keeps the song feeling innocent. The narrative of "High Off You" focuses on positivity, especially the positive emotions regarding intense passion. There's such a mix of productional stylings within this track, and it's quickly noticeable that SUNSHINE doesn't conform to a specific melody. With such a versatile spread of sonic fusions, SUNSHINE successfully establishes a template for listeners to extract what they can from the single and feel what they're capable of expressing. "High Off You" will most definitely transpire some emotion within listeners, and the song is worth giving a listen to strictly for its diverse interpretation. In the end, "High Off You" proves to be an intriguing track that offers a wide range of takeaways, strictly dependent on what a listener seeks to draw out. What inspired the vision for the varied and dynamic style presented in your music, most specifically within your latest track, "High Off You?" Alma: For me, the style comes from deep within the soul. A raw outlook on life. Creating from our own life experiences and the emotions that arise is put into our music. Especially the love and awareness in high off you. Connor: The sound had a bunch of influences behind it. It's a love song but an honest love song. I was heavily into a lot of psychedelic rock when I came up with my part. Alma had these lyrics and then it came together almost effortlessly. We had one song called "Not Go Astray" but I wanted to push the limits of what we could do compared to the last song. Mason: We are drawing from our influences and want this kind of music out in the world with our own originality. Also crossing different cultures and backgrounds across the country. Joining sunshine helped influence me and gave me a positive outlook cause I was going through hard times and helped open my heart chakra. As a love song, "High Off You" fed many emotions to respective listeners. How were you intending your audience to interpret the song, and ultimately feel after its entirety? Alma: There really was no intention in the beginning. I just hope our listeners feel this kind of love within themselves and their partner, to interpret those emotions that arise anyway that they feel in the moment. If it brings them into a romantic haze or instills power within their hearts, whatever it may be! Connor: We wanted people to have a song for that special someone or someone that is important to them. Sometimes love is shown in subtle ways and sometimes it's intense. So to combine those two elements into one song would show the two sides. Mason: I hope people feel like they discovered something new, something great. They can find someone to get high off of in a way. Are there any moments within the creational stage of "High Off You" that felt misguided? How do you typically treat obstacles within the writing and recording process when presented with them? Alma: Writing the lyrics and putting it all together never felt misguided for me, it felt magical. Although the recording process was intense. I felt so vulnerable sharing these words with others and I am still getting used to that. This is the first song I have written, Connor wrote our first one! I was anxious the whole time and was doubting my voice too. Taking deep breaths helped ganja and fresh air too. I guess that’s just how it is in the beginning, I will surrender and see what evolves next. Connor: It started off with Alma, our producer Jackson as well as myself. However, during the creative process, I asked Mason if he wanted to add something to it. And he did and without his contributions, I don't know if the song would have turned out the same way. However, the process seemed pretty straightforward. The best way to deal with obstacles is to push forward but there were hardly any when it comes to this track Mason: First-time people followed through with what they said, got the studio time and it happened. It worked out amazing. What was the true and ultimate meaning of "High Off You" that you felt was accurately expressed to your listening audience? Alma: What I feel our listeners get from this is that love is strong. It changes us. I simply wrote out what I was feeling towards Connor and the realistic side to love. We don’t need another person to feel loved and manifest our dreams, that’s self-love. Yet loving another comes down to wanting that person, feeling that spark, and supporting each other in one's endeavors and situations. Also that they too can feel that we are all love at our core. What can listeners anticipate to hear next? Alma: We have a few songs ready to record, a bit more bouncy, and focusing on self-empowerment/awareness. I feel our next song, crystal caves, will illuminate our listeners to become more aware, present, and excited for what’s to come. Connor: We have a lot more coming up. Different formulas each time. A songwriter's worst nightmare is having a catalog of songs that sound exactly the same as the last one. We have some new songs on the way though but I'm not going to spoil the surprise. Mason: Well Connor has written over a hundred songs already and I have taken inspiration from that. So I have been having Connor teach me how to write. We even started a new song together! Instagram Facebook #BUZZMUSIC

New Jersey-based Pop Singer Steve Garay is passionate about love songs, both the good and the heartbreaking side of love. He believes it is essential to stay connected and in touch with your emotions, but it is imperative that you celebrate the laughter and good times at the end of the day. Steve Garay's newest release, "Take A Break," is his way of connecting to his listeners and speaking to them through music. Right from the start, you are sucked in by the vivid and easygoing melody and find yourself falling into the story. The soft beat underlies Steve Garay's heartbreaking account of ending a relationship in the hopes of revealing your significant other's true feelings. He keeps it simple with repeated rhythms and melody, his fervent vocals speaking right to the listener as if the story is also theirs. The gritty, earthy vocal tones add to the atmosphere of the song in a well-rounded way. As the song progresses, the hopeful feeling that was present during the first verse fades away, and the bold and devastating truth of the situation is revealed. Steve Garay is now gearing up to release his album 'It Comes From The Heart' in January 2021, so make sure to keep your eyes peeled. Listen to “Take A Break” here. What does “Take A Break” mean to you? Do you typically draw your lyrics from personal experiences? “Take a Break” depicts the story of how I truly feel “about love.” It talks about me being a little skeptical regarding my girlfriend. So I tested my girlfriend out and I notified her that we need a little separation from each other. I did it because I wanted to know if she truly loves me or not. The song got its inspiration from my past, I got lead on by some girl and she ended up playing with my emotions. The instrumentation for “Take A Break” is quite mellow and yet stays lively and connected to the lyrics, how do you craft your jubilant melodies? Well, first I inspect the instrumentation to see if I enjoy the instrumental. To see if the instrumental is worthy of writing too. Next, I listen to the instrumentation a couple of times to get me in the mood. After that my emotion starts to come in and I write everything down about what I truly feel in my heart. How long have you been creating your intricate feel-good pop music? Do you feel influences from other genres make their way into your music? Well, I've been creating pop music for about 7 months now. But I originally started out writing rap songs when I was 14 years old. I love writing pop music, but there are other genres that have influenced me like Rock n Roll, Electronic Dance Music (EDM), Jazz, and of course Hip Hop. What can listeners expect from your upcoming album 'It Comes From The Heart?' Listeners could expect my unorthodox style. They could expect several emotions at once. They’ll possibly be confused throughout the entire song. Every track is different and I mix genres within my songs making every track sound unique as possible. For instance, I got a couple of feedback regarding my song “Guilty Pleasure” and they told me that it sounds a little pop and R & B. What has been keeping you inspired in one of the most challenging years, 2020? The Year I noticed that the majority of people were stuck in their homes most likely scrolling through social media. I notice that this is the best time to release music because people are seeking for some entertainment and a little distraction from the whole pandemic. Instagram #BUZZMUSIC

R&B and Pop sensation Serene gives listeners a taste of her heartfelt new single, “All This Time.” This multi-talented artist was born and raised in the ever-expanding suburb of Dallas, Texas. Serene has always been fascinated with the way music acts as an international language that brings people together. As a gifted singer, songwriter, and producer, she fuses Pop and R&B to give her unique flair to the genres at hand. Serene is hoping to move people with her latest single, “All This Time,” and touch them not only in an auditory way but to make them feel something more. “All This Time” oozes with striking 90s R&B elements while dabbling in a Contemporary R&B pool, exposing some light Pop elements as the record chimes on. The soothing sounds of the instrumentation blend effortlessly with the performance Serene dives into. The delicate yet powerful vocalization of Serene’s well-crafted lyrics brings light to a wistful story of acceptance. The exquisite elements of a relationship growing with time to come to realize that you are accepting and accepted by that special person. Serene has found a way to treat the music she creates as a sonic canvas through her burning passion for reaching people on an emotional level. “All This Time” takes you on an audible voyage through each melody she sheds with the heavenly reverberations in her presence. The down-tempo components make you sway from side to side as Serene establishes a name for herself as an R&B and Pop hybrid. With an essence that only a few can convey, Serene is one to watch as she makes her way up in the music industry. Congratulations on the release and success of your debut single, “All This Time.” With a beautiful message in this record, what does this single mean to you? Before I wrote this song, my view of relationships was pretty bleak. I had been having nightmares about my past and it took someone reaching out, taking care of me, and providing me with the comfort and strength to pick myself back up to keep going. I felt like I was finally able to let go and recognize my worth. Could you take us into what the creative process looked like for, “All This Time?" The idea for this song came to me while I was daydreaming in the shower. When I got out, I just sat on the floor in my closet, opened up my notes app, and started typing away at the lyrics. I was so excited to get all my ideas down on paper, and yet I didn’t finish it that night. About two weeks later, I was going through my notes and was like “omg I never finished this!” So I sat down and did just that. After that came the production. Everything came to me super easily on that end, but I ended up sitting on the song for months even though the beat was done. When I finally started recording the vocals, I actually decided to go in a completely different direction for the beat! I scraped the entire thing and started again from scratch, adding more of a sultry vibe to it. With such soothing elements exposed, how important is it for you to write about real-life experiences? I don’t think I necessarily need to always write about real-life experiences because I do like to make up stories every once in a while. However, this song was so much easier to write lyrically because it came from my own life. What would you like listeners to take away from, “All This Time”? Surround yourself with people that lift you up and really listen to you. Don’t allow people who drain your energy to occupy your mind. What has been your biggest inspiration while creating new music this year? This year has been filled with a ton of ups and downs, but the pandemic has really allowed me to spend more time with myself and hone in on my craft. Once the lockdown started, I told myself that with all the new spare time that I had, I had no excuse to not grow in terms of my music. I wanted to make sure that my time was well spent, and by doing this, I’ve fallen in love with creating music even more than before. Instagram Facebook #BUZZMUSIC

It's happening again; rock music is resurfacing, and this time, injected with a modern dose of funk, psychedelia, and blues. The front-runners and benefactors to this rivetting movement, with gripping electric guitars, fist gesturing drums, and weaving bass-lines, are a scintillating three-piece trio called, The Blood Moon Howlers, from the heart of Los Angeles. It's this combination of sonics and hot-blooded temperament that's left an enchanting spell on listeners since their debut in 2017. In the following years, their musical catalog would grow with the release of "Moonlighters" and "Tilted Patrons," and with those hits, their upward trajectory wouldn't stop there. Early this year, they were called upon to perform on Burning Man's inauguratory live stream, and it's made this promising band stand out like a boon from the hierarchy of modern musicology, come to make a mark on the world of lysergic funk-rock music. Their latest single to reach salivating fans feels like it came from a clandestine songbook, divulging the tale of a promiscuous woman who isn't afraid of flaunting her salacious motives in "At The Barrel 33 (Mess Around)." It's another testament to the doyens of potent vibrations and gyrating groove that this trio has become with their own trade-mark aesthetics. Recorded at the notorious Black Pearl Studio and Ironwood Recorders, "At The Barrel 33 (Mess Around)" brings forth an amalgamation of smooth strutting sonics. It renders-up like you're moving through a hazy back-room lounge, where a psychedelic band led by a female swoonster regulates the magnetized particles diffusing from the super-charged air they're performing within, for a bid at captivating your soul with their mouthwatering incantations. Opening up with a swelling discharge that quickly settles into their smooth-sliding macrocosm of psychedelia and funk, JuJu (on vocals, bass, and keys) takes the limelight with her interpretation of the licentious woman she embodies in her lyrics: "If you're looking for the champagne, it's not on his lips, your Indian summer's all over me." She versifies with an infatuating tonality and a subtle tail of reverberation, hugging her from behind like a silk-woven robe clutching the skin. At the same time, Brandon Cooke lays into the pocket with a grooving beat, fixed by the meticulous attention to his ghost notes on the snare drum, and it makes your most lethargic limbs start to roll. Matt Wayne isn't far-off in the realm of audible bewitchment, corralling over the steady saturation of JuJu's bass-line and warming keys with his pristine sense of stroke over an amorphous electric guitar riff. When the two-minute mark hits, and Matt takes command over the track with his tasteful application of bluesy guitar solo refrains, it's like getting sucked deeper into your headphones from an invisible vacuuming void, landing you in a symphonious arrangement of soft-tethered vocal harmonies that utterly articulate like ecstasy. The trio venture from verse to pre-chorus, and hook, like a troop of troubadours, festooned with a modern dose of sass and an injection of dopamine for some added pleasure. By the time the final lines situate themselves on your heart-strings for the last time with their captivating hook "let them say what they're gonna say, aren't we just here to mess around, gonna mess around," it's virtually impossible not to recognize why listeners have been salivating over the novel approach The Blood Moon Howlers have been delivering since 2017. And on "At The Barrel 33 (Mess Around)," they sound more influential than ever. Hello Blood Moon Howlers and a warm welcome back to BuzzMusic. Can you run us through how "At The Barrel 33 (Mess Around)" come to fruition? What was the inspiration for the narrative, instrumentation, and aesthetic here? Matt Wayne came up with the original concept for the lyrical aspect of the song and JuJu and Matt talked about it for a long time trading ideas back and forth about the story, character, and perspectives writing the lyrics together. All the while the music came about one night while Matt and JuJu were jammin' in their studio when JuJu came up with the bass line. They recorded their parts in their studio, Black Pearl Studio, and took it to Brandon where he added his drums parts and percussion and mixed the tune at his studio, Ironwood Recorders. Further, into instrumentation, Matt Wayne was messing around with a combination of a couple of pedals and came up with the unique and dreamy escalating sound you hear in the very beginning. What were the primary emotions you found yourself tuning into for the performances you've captured on "At The Barrel 33 (Mess Around)?" How do those sentiments differ from some of your past musical endeavors? With every song, we write we strive to have a unique character within the vocal performance that connects to the lyrics. We look at different perspectives of the story and dive as deep as we can. This song is written from a very real raw place so, with the chorus, we wrote a lyric with a very different perspective to contrast and inspire. How did it feel recording at Black Pearl Studio and Ironwood Recorders and working with legendary Mastering Engineer Hans Dekline for "At The Barrel 33 (Mess Around)?" Do you think this track would have had the same impact if it wasn't for the team you collocated for "At The Barrel 33 (Mess Around)?" We love working in our own studios, it allows us the space to get weird and try as many different ideas as we want to without worrying about time or someone trying to rush us along. As far as working with Hans DeKline, we have been working with him for a while, he’s been mastering our music since the beginning of The Blood Moon Howlers and we think his work is incredible. We’re always thankful to have him be a part of our team. You are the people you surround yourself with, and we always are grateful and proud of our crew. If you could give your listeners few words that would act as the prologue for the experience and intention you set out for "At The Barrel 33 (Mess Around)," what would you feel the need to say, and why? “At The Barrel 33 (Mess Around)” is a sex-positive song telling the tantalizing tale of a woman with many lovers talking about role-playing, ruby red lipstick, scarlet silk, pearls, and no walk of shame here, posing the question “Aren’t we just here to mess around?” This tune will make you want to ditch Netflix and just chill with headphones and a glass of champagne letting your provocative side run wild! What has been keeping you inspired in 2020? With the pandemic and quarantine etc, not being able to do very much, having to cancel tours and most of our original plans we had for this year, it has given us the opportunity to step outside our comfort zone and come up with ideas to stay creative and push forward in new ways. We’ve had a lot of time to think and reflect, honing in on aspects of ourselves and our music that we didn’t give ourselves the time for before this year. Instagram Facebook #BUZZMUSIC

The fresh new album from Pop artist Cherry Luna showcases a fresh and different take on pop music utilizing R&B and indie-pop to make something that feels and sounds like you may have heard it somewhere but just can't put your finger on it. With a colorful set of sonic sounds and a hell of a set of pipes, Cherry breaks down walls and goes her own way with style. The record is completely huge and does take you on a bit of a musical (and personal) journey and does so with raw energy and vibrant tones. This is a pop record. It also teeters on a more classic alternative sound and has a magical way of sticking out like a sore thumb....in a good way. You can get up and dance, you can kick back and soak it in, but either way its avant-garde approach and Cherry's character on these songs bring it all to life. The album is called Machismo and we're sure there are several songs you'll be adding to your playlists once you dig in. Cherry Luna Spotify Cherry Luna Bandcamp Cherry Luna Instagram

Hailing from Texas, the keyboard and piano-based Singer/Songwriter Lonesome Rhodes has his guard up with his latest Alt-Pop single, "Bad News." After being a classically trained pianist for ten years and graduating from the University of Austin with a degree in Rhetoric and Writing, Lonesome Rhodes took it upon himself to delve deeper into his solo music career. Through his recent hit "Bad News," Lonesome Rhodes takes the track by storm with his unique and biting vocal stylings while telling a story of unnecessary control. The surrounding instrumentation offer similarities to the sweet sounds of Tame Impala, allowing listeners to drift into their own daydream. "Bad News" begins with a mid-tempo drum beat, droning electric guitar, and melodically rhythmic keys. As Lonesome Rhodes begins singing with his unique and authentic sound, he shifts from major to minor and back to major to give an exhilarating and ear-pleasing experience. Going deeper into the song, Lonesome Rhodes' lyricism basks in the spotlight while telling a story of being under a puppetmaster's control. Rhodes sings the story to what seems like a friend, warning them of the embrace they long for from someone who might be "Bad News." The song's sweet instrumentals offer listeners a blissful Alternative-Pop experience through each warm sonic element, helping the song pitch camp in our minds to linger long after. With each twist and turn, Lonesome Rhodes has evidently perfected the craft of effective songwriting through his lyrics on "Bad News," while rounding the song out with dreamy instrumentation that floats above like a cloud in the sky. We genuinely love the overall sound and approach you've delivered with your single, "Bad News." What inspired you to create this dreamy tune? I think my approach to songwriting in 2020 has been all about honing in on the idea of making something “classic.” I think doing that involves simple but substantive live instrumentation, relatable lyrics, and singable choruses. In short, I want Lonesome Rhodes to feel like it was written by a human being rather than a computer. I hope my current songwriting gets stuck in your head and makes you want to sing along: the same way you would feel if The Beach Boys or ABBA came on your shuffle. Regarding your conceptual lyricism within "Bad News," how did you manage to write such compelling words that tell an experienced story of troubled love? What was your songwriting process like? I penned the song about a personal experience of a manipulative person in my life, incorporating a phrase often used in my friend group: “she (or he) is bad news.” I feel like we have all been lead on by somebody romantically or watched a good friend go through it, and I believe the subject was a relatable but under-discussed theme in popular music. Speaking on the warm instrumentals within "Bad News," why did you want to supply the song with such dreamy and exhilarating instrumentals? How do the sonics complement your lyricism? I wrote “Bad News” to groove. I intentionally simplified the pushing of the Wurlitzer chords to meld seamlessly with the driving guitar and bass, to give the song that “toe-tapper” feel. We added layers of extra keyboard and synth in the background to give the song a lift in the choruses. Seeing as you're working on a forthcoming album to be released in 2021, is "Bad News" the first single off the upcoming project? Or are you creating something entirely different from what you've recently released? “Bad News” is the second of two singles (the other being “Dream Machine”) from our upcoming album. We are set to record 7-8 more tracks in November that connect sonically to these first two singles by focusing on Wurlitzer/rhodes/piano, snappy drum arrangements, and driving guitar licks. The lyrics also have similar themes running through them, namely the passing of time and its connection to the crests and troughs of relationships. What can listers anticipate to hear next from you? Listeners can expect to hear more catchy, relatable, and thought-provoking indie-pop. I truly believe there isn’t another artist in 2020 who is writing and arranging with the groovy, keys-driven, background vocal-infused style that we are. I can’t wait to release Album #2, so y’all can hear what we have been cooking up in quarantine. instagram.com/lonesome.rhodes facebook.com/lonesomerhodesmusic lonesomerhodesmusic.com twitter.com/lonesomerhodes_