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For many independent and emerging bands, building a visual identity can feel just as important as shaping their sound. One of the easiest ways artists have been doing this is through simple, collectible merch — especially custom enamel pins. Custom merch suppliers like   vivipins  make it easy for artists to turn simple artwork or a band logo into a high-quality pin fans can wear and collect, helping musicians strengthen their connection with their audience from day one. What Makes Enamel Pins Such a Popular Merch Item? Custom enamel pins have become one of the easiest and most affordable merch options for new and independent bands. They’re small, easy to carry on tour, simple to sell at shows, and fans love collecting them. For many artists, enamel pins work almost like a mini version of a band’s identity. Bands often turn their sound or story into simple visuals that work well as pin designs, making each piece feel connected to their music. Fans can attach them to jackets, backpacks, guitar straps, or tote bags, keeping the band’s image visible in everyday life. For anyone new to merch design, enamel pins are very beginner-friendly. They don’t require complicated artwork, and even simple shapes and colors can be turned into a strong visual symbol. A basic understanding of how enamel pins work is enough to get started — they’re created by filling recessed metal areas with colored enamel, a process you can read more about on the Enamel pin page. How Pins Help Bands Express Their Visual Identity Every band has a sound, but most also have a visual style. Custom enamel pins give artists a way to turn that visual identity into something fans can touch and wear. Bands often choose designs based on: A logo or band symbol A favorite lyric or album theme A tour mascot or inside joke Artwork that represents their music style Even new bands without a big brand identity can start with a simple design. A clean shape or a bold line drawing can communicate a lot, especially when fans associate it with the experience of hearing the music live. Why Fans Love Collectible Pins Fans enjoy collecting custom enamel pins for the same reasons they collect vinyl, posters, or tour shirts — they’re small pieces of a moment, a show, or a connection to a band. For emerging artists, this can be especially powerful. When a fan buys a pin at a show, they’re not just buying merch — they’re showing support, carrying the band's symbol, and helping spread its identity to others. Pins also work well for fans who don’t want to spend much money but still want something meaningful. As a low-cost merch item, they make it easier for more fans to take home a piece of the show. How Bands Use Pins to Build Community Custom enamel pins often become conversation starters. When fans wear a band’s pin on a jacket or bag, other fans recognize it instantly. This helps build a sense of community around the music, both online and offline. Bands also use pins in creative ways, such as: Limited-edition drops for special shows Pins tied to album launches Tour-only collectible series Collaboration pins with visual artists Fan-club exclusive designs These small ideas help fans feel included and give them a reason to keep engaging with the band over time. Easy Tips for Bands Starting Their First Pin Design Independent musicians don’t need a large budget or design experience to create their first enamel pin. Many artists start with: A simple black-and-white logo Minimal color designs Shapes inspired by song titles Album cover details Hand-drawn sketches turned into clean outlines Even simple, low-detail artwork can become a strong and recognizable symbol when turned into a pin. Final Thoughts Across the independent music scene, custom enamel pins remain popular because they feel personal, affordable, and collectible. They carry the spirit of DIY culture and let fans express their connection to a band in a simple and meaningful way. For new and underground artists, they offer a low-risk, high-impact way to share identity, connect with fans, and grow a stronger community around the music.

LinoXren is not playing nice this time. The French-American artist who built his early following on sleek hybrid pop and hip-hop has stepped into something darker, sharper, and way more personal with his new album “Plastic Made.” This is not vibe music. This is a cultural slap disguised as a playlist. LinoXren takes everything we pretend we are not affected by social media validation, OnlyFans culture, fake intimacy, curated identities, and rips it open like a plastic wrapper. What hits first is the energy. The production moves between trap, hip hop, rock, and glossy pop textures, but nothing feels recycled. It all feels intentional. He is building a world where the beats feel synthetic on purpose, like the soundtrack to an era where everyone is performing, and no one is connecting. His influences show up in flashes, Travis Scott swagger, XXXTentacion's emotional weight, and Twenty One Pilots' scale, but never in a way that overshadows his own voice. Vocally, LinoXren sounds like someone who has lived on both sides of the problem. He knows the highs of digital attention and the emptiness that follows. He switches between rap cadences and melodic hooks with a confidence that makes the entire record feel like one long confession. You feel the tension in his tone when he talks about losing himself or trusting the wrong people. This is where the album hits hardest. Not in the commentary, but in the admission that he got caught in the same traps he is calling out. “Plastic Made” matters because it is not just observational. It is self-incriminating. LinoXren is not preaching from a pedestal. He is standing in the mess with everyone else and saying the part nobody wants to say out loud. This era has warped us. We chase illusions. We mistake attention for love. We perform until we forget who the hell we are. He leaves listeners with a final intention. If this album makes someone pause, reflect, or feel human again, then he considers that a win. And honestly, in a generation drowning in fake perfection, an album this honest is a victory on its own.

Miami Beach’s VIP scene showed up in full force last night as Rhonda’s Kiss hosted its annual Fall “Art of Hope” charity event during Art Basel , this year set against the backdrop of a stunning private waterfront estate. The evening, benefiting the Cleveland Clinic of Florida’s Cancer Patient Care Program , was hosted by filmmaker Danny A. Abeckaser, Rhonda’s Kiss Executive Director and producer Kyle Stefanski, and Chairman Marc Stefanski, with partners Haykoff Gallery, Haute Jets, and Haute Living  elevating the night’s experience. Danny A. Abeckaser at Rhonda's Kiss 2025 The event delivered the kind of Basel energy money can’t manufacture. Grammy-nominated artist Robin Thicke shocked the room with an intimate, unannounced performance of his hit single “Magic,” fittingly aligned with the night’s mission of hope and healing. DJ Yissel kept the momentum going poolside, while actor Harry Goodwins, best known for his standout role in Guy Ritchie’s The Gentlemen on Netflix, was among the notable guests in attendance. Harry Goodwins at Rhonda's Kiss 2025 In collaboration with Haykoff Gallery, guests were treated to artworks by Dr. Simon Ourian, presented by renowned art dealer Bella Haykoff, adding a distinctive fine-art edge to the philanthropic celebration. Just 100 curated VIP attendees were welcomed into the estate, where culinary stations showcased an impressive lineup: Sushi Yasu Takana (aka The Sushi Legend), an Italian spread by Eataly, caviar by Dear Caviar, and espresso offerings from La Vela. Italian spread by Eataly The night’s beverage partners, El Cristiano Tequila, Stateside Vodka, Peroni Nastro Azzurro, plus select wines and champagne, kept the evening flowing as guests participated in both silent and live auctions. Featured items included original artworks from actor Emile Hirsch and Rebellium Wines’ Blake Barrios, along with two charter flights offered by Haute Jets and Slate Private Jets, marking their newly announced partnership. Funds raised support Rhonda’s Kiss, a 501(c)(3) nonprofit providing vital non-medical assistance to cancer patients, including childcare, transportation, rent and mortgage support, wigs, groceries, utilities, therapy, and other overlooked necessities that directly impact quality of life. Rhonda’s Kiss continues to partner with leading institutions across the U.S., including City of Hope, Cedars-Sinai, Brooklyn Maimonides, and Cleveland Clinic (Florida & Ohio). Those wishing to contribute to the Cancer Patient Care Program can donate at: https://www.rhondaskiss.org/donatenow

Mute the Madness pull up with “In The Moment,” a track that instantly checks every tired rap trope at the door. No ego, no flexing, no fake toxicity dressed up as masculinity. Instead, the band steps straight into the kind of emotional honesty most hip hop acts claim they are “too real” for but never actually touch. And they do it with a level of intention that makes the record feel less like a love song and more like a full-blown accountability moment. Tan sets the tone with a verse that feels like he ripped a page out of his private diary and decided to rap it anyway. He owns the mistakes, the distance, the fallout, and the slow burn of trying to rebuild something he broke. His delivery has this gripping edge, like someone talking fast before their courage runs out. The production behind him leans warm, soulful, and unbothered by trends. It feels nostalgic without sounding dated, like a beat that understands heartbreak better than the person rapping over it. Righteous comes in on verse two and locks into a completely different emotional register. His verse is steadier, more grounded, like someone talking from the other side of the chaos. He refuses to let outside noise sabotage something real. It is a reminder that staying is a choice. Fighting for something is a choice. And watching rappers talk about loyalty without treating it like a punchline feels refreshing as hell. What makes “In The Moment” a hit is not just the message. It is the fact that Mute the Madness deliver it through a full band, ditching the synthetic, copy-and-paste production dominating Spotify’s rap playlists. Their instrumental warmth makes the whole track feel lived in. You can hear the R&B influence, the rock grit, the hip hop backbone, and the reggae soul bleeding through the edges. This is grown folk rap. Vulnerable but not soft, real without being reckless. If this is the lane they are carving out, their upcoming album Echoes Everywhere is shaping up to be a much-needed shake-up in hip hop’s emotional landscape. When you wrote " In The Moment ," what was the hardest truth either of you had to admit on the mic that you were not admitting in real life? We find music to be therapeutic, and when we wrote "In The Moment," that is exactly what it was. We're getting some things off our chest and being vulnerable. Allowing ourselves to be vulnerable is not always easy, especially on the mic. Sonically, your band setup gives you way more emotional range than traditional rap production. What is one risk you took in the studio that changed the entire direction of the track? All the tracks we do are based on the vibe of the song. We do not necessarily look at it as risks but more like a marriage between the vocals and the instruments. It is all about what makes sense sonically. You talk about staying when walking away would be easier. How do you personally recognize the difference between loyalty and self-sacrifice in your relationships? Self-sacrifice is about what you are willing to sacrifice or not sacrifice, while loyalty in a relationship is more of a responsibility between both parties. Hip hop rarely centers male vulnerability unless it is wrapped in bravado. How intentional were you about flipping that narrative without losing the grit? We were very intentional in being vulnerable because it is seldom on display from a male perspective in hip hop. We also feel like it is a breath of fresh air within the music. We have songs where it is all about the bravado. However, In The Moment is not one of those. Your new album, Echoes Everywhere, drops next year. Where does " In The Moment " sit in that story, and what part of your identity are you finally saying out loud on this project? In The Moment does not appear on Echoes Everywhere. It is just a teaser and appetizer, so to speak. This project showcases vulnerability, joy, and some very serious questions, but above all, it showcases the freedom of creativity.

Divergent are not here to play it safe. They are here to play it loud. Their latest single, “Not Until It’s Right,” feels like the kind of track that gets you out of your chair before you even realize it. It is not just a song. It is a full-body experience built from instinct, tight chemistry, and a decades-long friendship that clearly still has fire in it. The trio of James Richards, Mike McAlister, and Paul Richards are longtime collaborators who finally decided to stop overthinking and just do the damn thing. After years apart, they reunited under a new name and tapped into an energy that cannot be faked. “Not Until It’s Right” takes everything Divergent have been teasing in their earlier work, from their free-spirited debut “Runnin’ Free” to their evolving live sound, and spins it into something fresh, magnetic, and just the right amount of dirty. The track opens with Paul’s crisp drumsticks snapping you to attention before James’ keys and Mike’s bass slither in like co-conspirators. The groove is playful, confident, and slightly dangerous, like flirting under neon lights while already knowing how the night ends. Lyrically, the song keeps it simple and bold. Boy meets girl. The girl refuses half-hearted love. The only way to earn it is to move at her pace. “No, no, no,” she says, and that hook sticks instantly. It is cheeky, catchy, and it drives home the idea that love, like music, only hits when the timing is right. Where Divergent really shines is in the performance itself. You can hear how much fun they are having. James lays down a hypnotic piano line that began, as the story goes, on his old Chickering upright. It sounds like a memory turning into movement. Mike’s bass walks with swagger, weaving through the rhythm like it is effortless. Paul’s drumming brings that big-room pulse that reminds you these three are built for the stage. Nothing is polished to death. Everything feels alive. The video filmed at Sweetwater Studios captures Divergent exactly as they are. Three musicians locked into their craft and vibing like they own the room. There is no front, no forced branding, no pretending. They are playing because it is in their blood. That kind of authenticity is rare now. Divergent may be seasoned players, but this new chapter feels like the beginning of something wild. If “Not Until It’s Right” is a preview of their upcoming album Rev It Up, then buckle up. This band is not done making noise. They are only getting warmed up. This track captures a feeling of weightlessness, late-night possibility.  What moment or memory sparked the story behind "Not Until It's Right"? James:  Actually, there's not one specific moment or memory that sparked the story behind "Not Until It's Right".  When I write, I usually come up with the music first, then the lyrics.  The piano chord sequence that kicks off the song has a strong rhythmic drive that immediately sets the tone. That rhythmic chord sequence immediately invoked in me a feeling of dancing.  I knew right away the lyrics would center around that kind of theme.  The fact that I would be comfortable writing lyrics about dancing is probably the more interesting story behind the song.  I inherited my musical genes from my mother and her side of the family.  My mother loved music.  She loved to sing and dance.  When I was a toddler, I remember singing Christmas songs with her. Just the two of us.  When I was a kid, I remember her telling me stories about how she loved to dance the jitterbug when she was young.  So, all of that was instilled in me at a young age.  As a result, I grew up with a love of music and a strong sense of rhythm.  I remember being the only guy who would dance with the girls on fast songs during junior high school dances.  That was pretty fun!  Later in life, my wife and I went through a period when we went out dancing on Saturday nights.  My wife also has great rhythm and loves to dance.  Needless to say, we had a lot of fun. We were a lot younger then!  So, I think the combination of those experiences seeped into the dancing theme of the song.  I centered the story of the song around a guy seeing a girl dancing in a club on a Saturday night and immediately falling in love at first sight.  The story is completely fictional, but it nicely supports the dancing theme of the song.  When I finished the lyrics, I noticed the girl in the song completely controls the situation and is not willing to submit to the guy's initial attraction until she's satisfied that he is just right. Her love needs rhythm to survive, so she needs a lover who has rhythm and can dance.  However, she is initially attracted to him, and he senses that.  He's willing to hang in there with her initial rejection because he thinks she is worth it.  So, on the surface, the lyrics seem fairly straightforward.  However, if you break it down, definite sub-themes are going on.  History, culture, and even biology show that dancing is a part of human mate selection. It just is.  Who knows where we would be as a human race without dancing?  Right?  Another sub-theme is that the girl freely expresses her power to decide if this guy is right or not.  I like that.  Unfortunately, I've seen a lot of female oppression in my life. I'm not a fan of any form of human oppression.  Being free from oppression is a theme that runs through a lot of my writing.  I like it when a person feels empowered to decide what is right for them.  You only have one life to get it right, so stand up for yourself and make it count.  James' piano riff sets the stage for the song.  How did each member build on that initial spark? James:  We definitely went through a building process on this song.  I initially showed the song to Paul, and he and I worked on it with keyboards and drums.  As always, we played through it a bunch of times as Paul developed his drum parts.  One time during his count off, he randomly hit his drumsticks together, which created a nice clicking sound that really worked.  I said Let's do that every time at the beginning of the song and it stuck.  That made it on the final recording. We also worked quite a bit on the timing of the bridge.  It took a little work, but we finally got it where we wanted it.  It's a tricky section. We recorded four rough demos and sent the best one to Mike in New Jersey.  Then Mike worked on it for a few days and sent his bass recording back to us. Wow, he had this walking bassline on the verses that I did not see coming.  There's no way I would have thought of that.  It was such a surprise that I didn't know what to think at first.  However, the more I listened to it, the more I understood where he was coming from.  I love that bassline now, and I couldn't imagine the song without it. That is such a great example of what we're going for with this band. We want to challenge each other to think divergently so that the culmination of all three of us working together takes the music to a higher level.    Mike:  I listened to the keyboard, drums, and vocals a few times on the demo tape, and it felt like a very danceable song that needed a moving bassline. I've always thought that in most songs, the bass is what makes me want to move or not, so I started playing around with a walking bassline. Over a few more weeks of trying different things, I decided to be very intentional and make it a pattern, being sure I tied the tune together. I think it worked out pretty well, and it's one of the more enjoyable basslines I've worked on. Paul:  We initially brought the drums in as a rim shot, but changed it to a stick click to lighten it up more. From there, I wanted it to continue the light pop/dance feel, but also build, and eventually it rocks at the end. I kind of look at the song like a couple of dancers that are totally in sync with one another, and they keep building their dance as the song progresses. Compared to "Runnin' Free," this song feels more carefree and dance-focused.  Was that shift intentional? James:  Well, yes and no. The shift from "Runnin' Free" to "Not Until It's Right" wasn't specifically intentional on my part.  When I write, I focus on each song separately, and I don't worry about how a particular song sounds compared to my other songs. However, I'm not intentionally trying to make each song different. What is intentional is that we want to create iconic songs that are timeless and stand on their own.  Not based on genre, but based on pure originality. Every time I start writing new music, that's what I'm thinking about.  I'm always searching for an iconic song.  I'm not worried about whether it falls into a particular genre or not.  What I'm worried about is if this is an original, inspiring piece of music that could be remembered for all time.  That's a big and maybe unattainable goal, but it keeps me coming back to the well to write another song. We also intentionally named ourselves Divergent because we don't want to limit ourselves to one narrow genre.  We love writing and playing a broad range of rock music, and, at this stage in our lives, we want to express ourselves to the fullest extent possible.   Mike:  Divergent is about trying different musical ideas and not being locked into any particular genre. I think for "Not Until it's Right" we were thinking about a fun song with a definite bounce and a different vibe than "Runnin' Free". I think we've always enjoyed playing music people would dance to… thinking back to when James and I were in high school playing our first gigs together, responding to the energy of the dancers in the crowd. It's as much fun to watch people enjoy our music as it is to play it for them. Paul:  Totally our intent. You're never going to get the same tune with Divergent. It's not in our musical DNA. Our music brings in so many styles that it's hard to pin us down to a specific genre. The video radiates an effortless chemistry between the three of you.  What was the most memorable moment from filming at Sweetwater Studios? James:  For me, it was the fact that we were there and actually doing it.  It was very surreal for me.  The first time I went to Sweetwater was several years ago during one of their Gear Fest events.  I toured Sweetwater Studios, and I remember being totally impressed with the entire studio and all the gear they had.  At that point, I never would have imagined that I would record there, let alone shoot a music video there! I would say that the video definitely captures how much we love music and how much we enjoy playing original music together.  We are doing this because it is in our souls. There's a lot of history between the three of us.  We grew up in the same small town in Iowa, and Paul is my brother, and Mike and I are childhood friends who started hanging out and playing music when we were 14. We have come a long way since then, and the fact that we still love doing this together is amazing all by itself.   Mike:  In my mind, the most memorable moment was watching the video filming process unfold and feeling it was so natural for us to create a video around our great music. In many ways, the energy we were able to convey in the video was as natural as playing the song together in rehearsals, live for an audience, or during the recording process. It's all part of our energy and vibe. Paul:  I remember looking at the other two guys and thinking, "Is this really happening?" When the cameras and lighting started being set up, it sank in that we're going to take this unique experience to a whole different level. As you prepare for the 2026 album  Rev It Up,  how does "Not Until It's Right" foreshadow where Divergent's sound is heading? James:  I think the difference between "Runnin' Free" and "Not Unitl It's Right" foreshadows that the Divergent sound is going to be well... divergent.  We're not interested in, for example, just three-chord power rock all of the time.  Sure, I'm the first one who likes to turn it up loud and rock out. I'll take the blame for playing too loudly any day.  I admit it. We're always going to have that loud, power rock aspect to our music.  But, hey, there's so much more to our musical palette. Playing the exact same narrow style of music all the time gets a little boring and constrained.  We value originality and independent thought.  So, that's what you're going to see more of on our second album. I would say the songwriting, playing, and production on the upcoming second album are stronger than those on the first one.  That's our goal.  We want to keep getting better and more sophisticated and original in everything we do.  That's the Divergent sound.   Mike:  From my perspective, the bassline in "Not Until It's Right" was more complex than it was in "Runnin' Free". There are a few songs on that album that get a little complicated, but to be honest, I was working hard to be consistent and not too adventurous during that first recording session. However, knowing we were going to record more of James' amazing songs after the first recording session, I wanted to be able to feel more confident in what I brought to the table, so I worked on my technique and speed in the time between albums. I feel like technically my basslines are better and more expressive in all the songs on "Rev it Up," and it helps to bring out the best of our collective musicality. Jason Peets, our producer, also has an amazing way of making my tone come through the mix perfectly. Listeners will truly think that our sound and musical direction are divergent when they hear our new music. There are a few rockers, but the eight songs on the next album feature several other mixes of genres and feels. To answer your question, Divergent's sound isn't headed in a single direction.  We can't wait to release the new music to our fans, so they will get a better idea of what it truly means to be Divergent!  Paul:  The new album has lots of hard-driving rockers, ballads, and continues to lean into our progressive roots as well. There's more going on vocally, too. We've worked in lots of layers. Listeners can expect to hear Mike more on this album as well. He was able to add more low-end and also gave us some killer bass runs.

Some artists make music because it is fun. Others make it because it is the only thing keeping them from drowning. Her journey did not start in a studio or on a stage but in the middle of family chaos, bullying, grief, and the kind of self doubt that could have shut her down for good. Instead, she wrote through it. Performed through it. Survived through it. From poetry scribbled in middle school to Mario personally responding to her track Love Lost, her story reminds us that showing up for yourself, even slowly and shakily, still matters. Her voice hits with purpose because it was earned, not given. Your journey began as poetry written amid chaos. Looking back now, do you feel like music saved you, or did you save yourself through music? I’ve always loved music. I would sing loud and proudly to my favorite songs and musicals. My poetry that turned into songs came along the way, and that saved me. So looking back now, it was both. You’ve dealt with fear, comparison, bullying, loss, and still pushed forward. What was the exact moment you realized your voice wasn’t something to hide anymore? The moment I realized that my voice wasn’t something to hide anymore was last year. I made a declaration to myself that I would not stop singing and that I welcome every opportunity that’s good and fruitful. After the turmoil and chaos, I said What do I have to lose? What am I afraid of? “Romans 5:8” wasn’t just a debut single; it was a turning point born from grief and mentorship. How did losing someone who believed in you so deeply shape the artist you’ve become? Losing someone who believed in me so deeply shaped the artist that I’ve become by forcing me to grow up in my art. I couldn’t lean on their encouragement anymore. I had to build that foundation within myself and speak life into myself over and over. You had shows stacking every weekend, meeting legends, building momentum, and then the pandemic hit. What did learning to record alone in your own space teach you that the stage never could? Recording alone in my own space stripped away the pressure. I could experiment, fail, and try again with no judgment. I found parts of my voice I didn’t even know were there. Mario hearing your track “Love Lost” and responding is a huge full-circle moment. How did that validation shift the way you see your art, and what does “not giving up” look like for you now? Mario hearing my track “Love Lost” validated the way I see my art in a major way by giving me the extra push and motivation to keep creating during the chaos when I was really burnt out. Not giving up honestly looks like giving myself grace and resting when I need to, so I can show up for myself and my art. That’s important for me moving forward.

Ron Brunk pulls up with the kind of energy that basically says, yeah, life keeps swinging at me, but it keeps missing.  His new single “Not Dead Yet” is exactly that, an unbothered, chaotic anthem that treats mortality like a cosmic prank and survival like a running joke he refuses to stop telling. At this point in his career, with album number thirty-eight on the horizon, Brunk isn’t slowing down or “maturing” into something bland. If anything, he’s leaning harder into the weirdness, doubling down on his off-kilter humor, and letting his lifelong brushes with hell shape the most unfiltered version of himself we’ve seen yet. “Not Dead Yet” hits like a life crisis you can dance to. Swinging pianos, shuffling snares, vocals lightly dipped in distortion, Brunk makes existential dread sound like a party trick. He’s singing about death like he’s talking about chores, tossing out lines with the exhausted confidence of someone who genuinely knows he “could go at any minute,” yet still chooses to crack a joke about it. Andi Jane slips in with backing vocals that feel like a wink from the universe, soft enough to soften the blow, sharp enough to keep pace with Brunk’s gruff, megaphone-coded delivery. The whole track spirals upward into a siren-like wail so dramatic it loops back around into catharsis. That’s the Brunk formula: take the heavy, twist it until it’s ridiculous, and land somewhere surprisingly moving. The music video doubles down on the absurdity. Brunk’s back is turned for the first twenty seconds like the audience is lucky to even witness the moment. What follows is chaotic theatre, his “magic piano,” his usual collection of sunglasses, a real megaphone (because of course), sudden fade-to-blacks that imply the angels are clocking in early, and then Brunk snapping back to life like nothing ever happened. And then there are the cats. His newly adopted feral crew is fully part of the show, perched on the piano, singing along like a tiny choir of gremlin backup dancers. It’s adorable, unhinged, and exactly the kind of outlandish sincerity that makes Brunk Brunk. “Not Dead Yet” feels like his loudest heartbeat, a reckless, joyful reminder that being alive is messy, stupid, funny, and weirdly precious. Brunk turns resilience into a punchline and a victory lap all at once. If this is the energy leading into album thirty-eight, buckle in. Ron Brunk isn’t just not dead yet, he’s very much alive, thriving, and refusing to leave quietly.

Toronto hardware duo World News (Bill Cutbill and Qu Mi) spent nearly a decade building their own sonic ecosystem, building experience, and honing their skills on synths, drum machines, modular racks, samplers, and more. Their debut album, ' ON STEROIDS, ' released via Safe Sounds, feels like the moment that ecosystem finally spills over into the rest of our world. It’s a record that spans themes of organic creation; of the magic that can happen when musicians are locked into improvisational symbiosis, shaping machines until they seem to breathe. Recorded largely during extended sessions in a rural Muskoka hideawa y, 'ON STEROIDS' distils three years of exploration into eight tracks that map the coordinates of the band’s expanding musical journey. The opener “HYPE” feels like a warm trippy daydream, evoking discman-era sunlit nostalgia. “LAST CHANCE,” one of their earliest creations, feels fantastical, tactile, and eerily peaceful. “MOVE ON ME” taps into trip-hop minimalism and emotional entropy, while “EJECTION” mutates from brooding ambient tension into a techno eruption. Focusing on the opening salvo, “HYPE” is simply an amazing gateway to the rest of the album. Accompanied by a beautiful music video that follows a woman skating the Rideau Canal as the sun sets in -30 degree weather, “HYPE” manages to incorporate a distinct feeling of nostalgia along with the normally competing forces of whimsy and purpose. Sonically, the synth work does really capture World News organic approach to music, mirroring the feeling of a breath taken, held, then released, as synths repeatedly build up in intensity before easing away like the fading sunlight. World News new album 'ON STEROIDS' demanded our attention, and we think it’ll demand yours as well. For listeners drawn to the experimental, the emotional, and the genre-agnostic, World News offers you a nice opportunity to whet your appetite. Whenever you’re ready, tap in and check out World News album 'ON STEROIDS,' and especially “Hype,” you won’t regret it. Welcome to BUZZMUSIC, World News! You mentioned your music is built almost entirely through improvisation with hardware. How do you navigate the balance between losing yourselves in the moment and shaping those sessions into cohesive, emotionally resonant songs? Qu:  Hi Buzz, thanks for having us! Bill: That’s a good question, but the short answer is, it just sort of takes care of itself, thanks largely to our process! The first and most important thing is to always press record! But after that, getting a good balance is just about improvising together enough, because it takes a while to get a natural rhythm going and to become somewhat telepathic as we create.  We improvise while recording 16 channels of hardware. This process takes away the pressure of something needing to be something – that classic thing where a musician can play a part perfectly until it comes to pressing record, when they constantly flub or start to overthink it – that doesn’t happen so much with us. Inevitably, there are a bunch of our jams that lack cohesion or fail to get off the ground, but then other jams just fall into place, and so we prioritise those ones, and they become the music. When improvising vocals, which is probably the most difficult bit, you can sometimes get everything all at once – the words, the phrasing, even the actual recordings that make it onto the final tracks, which is the case for MOVE ON ME. Other times, you get a few words or phrases, so then when we come to revisit the recordings, we can finish them up in the studio and fill in any gaps we feel are missing to make sure they resonate. Qu: Yeah, it's also worth pointing out that although we do write all our songs through a method of improvisation, it doesn't mean we don't prepare. Bill makes field recordings in his travels, so those get edited and prepped in advance. And we’re always playing with our synthesizers and workstations to prepare sounds and beats on our own, in part because that helps us to get to know each piece of gear better. We do sometimes shape all this stuff completely on the fly as well, but it depends. Bill: And yeah, to answer the question as to how we make them emotionally resonant, that’s just about turning up and being present when making the music. It’s normally pretty easy to feel when something rings true when you listen back. The general rule is, if it makes us feel something, then it’s good! Much of “On Steroids” explores the tension between electronic and organic matter. Can you talk about how recording in rural Muskoka influenced your creative process and the emotional palette of the album? Qu: The majority of the year, we're working on World News from Toronto, usually in the evenings. We rehearse inside the disused vault of an old bank (AKA “Safe Sounds”, which is also the name of our independent label, on which the album was released). The environment there can feel a little closed off from nature.  Bill: Recording at the cottage in Muskoka, which is something we’ve done for three summers in a row now, is a great way to breathe some freshness into the music. Qu:  It gives us a way to just separate from the city in general – we make epic meals, go for hikes, canoe, swim, throw some darts – but then in the main room we have all the synths and recording gear set up overlooking the lake. It's a bit different than being encased in a cubed room behind two-foot-thick concrete walls, and the music becomes more expansive as a result. I find that the time we spend at the lake, removed from the day-to-day scramble of city life, allows us to connect to each other on a deeper level, enriching our friendship and making sure we're on the same supportive wavelength.   This, along with being in an open room, able to see the sky and the horizon while we play, lends a hand to finding that warm and expansive sound we strive for. Our entire ethos is based on exploration and self-discovery, and being out in the woods, on the lake, under the stars, imbues us with that spirit. As a follow-up to that, what’s your biggest source of motivation when you make your music, and as an extension of that, what does music mean to you? Qu: Making music is an outlet for self-expression that helps me connect to the world. I'm always trying to create something totally unique and beautiful... or if not beautiful, at least emotive. I get bored easily, but I lead a very routine lifestyle, so I want to be surprised, challenged, and transported by the music I create. Being a classically trained musician, the World News approach is, in itself, unique to me and challenges all my preconceived methods and theories of composition. I'm frequently awed by the textures and moods we create and the depth of meaning we can get from just a few words uttered during a conversation with the machines. Bill: There’s definitely an element of capturing a feeling or moment sonically, using all our gizmos and gadgets, that is the motivation for me. Once something has been created, it can be revisited years later and transport you back to that place. That’s what I like, it’s powerful. What was your favourite part of the creative process for making “On Steroids”, and what’s your favourite part of the creative process usually? Qu: The creation moment for a new track (what we refer to as the “inception”) is super exciting. Will: Haha, totally, it can feel like we just birthed something. Qu: Yeah, it's difficult to describe how euphoric it can be when suddenly all the elements work together, one or both of us have found an inspired lyric or melody maybe, and we're working in tandem to sculpt the whole thing into a crescendo or really tight mood, or are introducing new elements to change the entire vibe on the fly. That said, I think my favourite part of the creative process overall is actually working on the recordings. When we get to go through them and isolate all of the different parts that we played, we can peel back the layers and edit things down to prioritise the essence of the song and enhance the music.  This allows us to hone in and clean up the mix, and it also shapes how we approach playing the songs for our live sets as well. I love getting into all the guts of a song and sculpting it into the "perfect” version. You’ve said that ON STEROIDS is “not an easy listening record,” but a journey for people drawn to the unusual. What do you hope adventurous listeners discover about you and themselves when they experience the album from start to finish? Bill:  I think in ON STEROIDS, we’ve made a record that on a first listen might seem odd to some people, just because it doesn’t really fit in a specific genre.  Qu:  ON STEROIDS encompasses a wide gamut of styles from within our world, and it doesn't really sit still, except for when it does! I guess what I’m saying is it's not just a mindless bopper you put on in the background while you work. And though it does journey between styles and moods, plus it does have "singles" that stand on their own, it feels more like a book than a series of short stories.  Bill: With it being packed full of emotion, bravado, and texture, I feel the album will have a lot of replay value. There’s so much to absorb, it would be impossible to hear it all in a first listen! It’s a bit of a chameleon in that sense, and I say that as someone who knows it better than anyone… it still surprises me, which I love. Qu: Conceptually, there's a throughline, and it's up to the listener to find it for themselves. There's a lot of questioning in this album, and not necessarily a lot of answers, but it does make you think.

Let’s be real: LA is full of artists building careers out of tiny apartments that cost as much as a mortgage in literally any other city. Bedroom studios, closet studios, converted-pantry studios, if there’s an outlet and WiFi, someone in LA has tracked vocals there. But out of all that chaos comes actual greatness, because LA artists are resourceful as hell. They build their dream setups one Amazon package at a time, and yes… we’re linking them, because a good home studio will  level up your entire workflow. Here are the 10 essentials every LA artist swears by, whether they’re honest about it or not. 1. A Microphone That Pretends It Costs More Than It Does If you take your vocals seriously, don’t record on your iPhone and pray. A real mic, condenser or dynamic, changes your entire sound. Condensers add warmth and detail; dynamics block out your loud neighbors and your roommate blending a smoothie while you’re tracking harmonies. A proper mic = cleaner files, fewer retakes, and way less crying in the mix session. We recommend this one , bestie. 2. Studio Monitors That Tell You the Truth (Even When It Hurts) Studio monitors are brutally honest. They reveal every messy frequency clash, every muddy kick, every “why did I think that synth was a good idea?” moment. LA artists swear by them because you need the truth before you upload your track to Spotify and get dragged on Reddit. A good pair trains your ears, sharpens your mixes, and gives you that clean, wide sound you hear in pro studios. We recommend this one , bestie. 3. A Ring Light Because Content Pays the Rent Too The modern artist is part musician, part cinematographer, part “sorry, I need to film this real quick.” Ring lights save you when your apartment lighting looks like a horror movie. They give you crisp, bright content for TikTok, IG Reels, behind-the-scenes clips, all the stuff your fans actually want to see. Also great for Zoom sessions when you’re trying to look like you slept. We recommend this one , bestie. 4. Acoustic Foam to Save Your Vocals AND Your Neighborly Karma LA apartments echo like abandoned warehouses. Acoustic foam tightens your sound, stops those gross reflections, and prevents your vocals from sounding like they were recorded in a stairwell. You don’t need a full vocal booth, just foam in the right places. It instantly makes your takes cleaner and your neighbors marginally less annoyed at you. We recommend this one , bestie. 5. A Pop Filter, Because Your P’s Are Aggressive Pop filters might look basic, but trust, they matter. They block harsh bursts of air so your vocals don’t sound like you’re aggressively spitting at the mic. Without one, your takes are ruined. With one, you’re giving clean, crisp, professional energy. It’s an inexpensive upgrade that fixes 90% of beginner recording issues. We recommend this one , bestie. 6. Vocal Spray: The Emotional Support Item Every Singer Has Whether you’re on your second take or take 52, your throat needs hydration. Vocal spray helps soothe your cords, reduce irritation, and keep your tone smooth even after a long session. Does it feel like magic? Sometimes. Is it basically a ritual at this point? Absolutely. LA singers keep one in their bags, cars, backpacks, everywhere. We recommend this one , bestie. 7. A MIDI Keyboard for Catching 3 A.M. Genius Every LA artist has had a moment where inspiration hits at a disrespectful hour. A MIDI keyboard lets you build chords, sketch melodies, experiment with sounds, and work fast before the idea disappears. Even if you only use a few keys, it makes your studio look legit and gives you a ton of creative control. We recommend this one , bestie. 8. Headphones That Let You Hear the Ugly Truth Up Close A good pair of closed-back studio headphones is non-negotiable. They give you the raw, unfiltered truth of your mix, clicks, breaths, timing issues, weird background noises, all the stuff you’d miss on laptop speakers. They’re also clutch when you can’t blast your monitors at 2 a.m. without getting evicted. We recommend this one , bestie. 9. An Audio Interface That Works Harder Than You Do Your audio interface is the backbone of your entire studio. It converts your voice and instruments into clean digital audio, keeps latency low, and stops your setup from glitching like it’s 2004. If your interface sucks, everything sucks. Get one that can handle your gear without frying your vibe. We recommend this one, bestie. 10. LED Lights Because Vibes Are Half the Job Let’s be honest, bright overhead lighting kills creativity. LED lights bring the vibes  your studio needs: moody red for rage tracks, purple for sad songs, blue for late-night existential crisis sessions. They make your space feel cinematic, inspiring, and way more fun to create in. We recommend this one, bestie. Your home studio doesn’t need to be fancy. It just needs to be functional, inspiring, and built with gear that helps you make better music, not frustrate you into taking another “break.” These essentials are the backbone of every legit LA bedroom setup, from rising artists to producers grinding their way into the scene. Upgrade smart. Create relentlessly. And remember: your next hit is one good take away.

Photo by Ashtin Paige Drew & Ellie Holcomb aren’t just dropping another cozy holiday cover; they’re cracking open the season with the kind of warmth only two people who live, write, tour, and breathe music together can pull off. Their new single “It Came Upon a Midnight Clear” feels like stepping into a December night where everything slows down just long enough to remember why these songs matter. It’s tender without being soft, classic without drifting into Christmas-card cheese, and a perfect first look at their upcoming EP I’ll Be Home For Christmas  landing November 21. With their beloved Neighborly Christmas shows returning to Memphis and Nashville next month, the Holcombs are once again proving they know exactly how to turn tradition into something that still feels alive, intimate, and genuinely human. This song evokes nostalgia without becoming a Hallmark card remix. When you rework a well-known Christmas hymn, what is the line between honoring tradition and refusing to play it safe? I think for any recording of a classic song, we have to have a particular musical idea that matches both who we are as artists, but honors that tradition. Nathan and Rich came up with this trio arrangement and it floats through that ether wonderfully.  Both of you have solo careers, family responsibilities, and a shared musical legacy. When you record something as intimate as a Christmas project together, does it deepen the marriage or simply force you to work through creative disagreements faster? At this point in our career and marriage, the driving force of the process is gratitude, which certainly deepens the relationship. We are grateful to get to make music with people we love and respect.  Fans often describe your holiday shows as spiritual rather than seasonal. Why do you think people need community centered music more now than ever, and what responsibility do you feel in that space? We hope any of our shows, whether these holiday shows or any of our shows, together or separately, are spaces where community happens, where strangers come together in a room to listen, sing, dance, laugh, cry, and feel human.  This arrangement leans warm and cinematic, with a sense of fireside stillness. Were there any production textures, vocal takes, or emotional imperfections you insisted on keeping because they felt human and honest? This song was recorded live, so Ellie, Rich, and Nathan did several takes and picked the one they liked best. (Oddly enough it was the first one). There was a humanity and a magic to that first take that transcended the others.  You have turned Christmas traditions into a touring legacy. What is one moment with fans, whether funny or unexpectedly moving, that made you realize these songs are bigger than nostalgia or ticket sales? For a lot of people, the holidays can be intense, both from a family perspective and from a chaos perspective, and we have heard from hundreds of people over the years that our show was a moment of peace and joy in an otherwise chaotic and tense season.