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After moving across the United States, Jacob Gonzalez is finally living out his dream of living in Los Angeles, to satisfy his ambitious and creative appetite. The limelight is where he belongs, with the release of his highly anticipated single, “Never Met.” The drive to fulfill his hunger as a musical artist is on full exhibition with this track, making him one step closer to dominating the entertainment industry. Jacob Gonzalez may have recorded this single in his bedroom, but this studio-quality song speaks volumes giving him the credit he deserves, putting him in the brightest of spotlights. “Never Met,” begins with the sound of a tape deck inserting a cassette and we already know we’re in for a sonic treat. It is quickly followed by the up-tempo performance of drums, instantly making us bounce to the melodies emitted and the sweet sounds of Gonzalez laying down some ambient harmonies. Jacob exudes a certain resonance in his vocals that combine a soft-spoken yet powerful force drawing us into his lyrics. When the bridge comes in and the main instrumentation drops out, it accurately showcases the desire behind Gonzalez and his wholesome storytelling. “Never Met,” leaves you continuing to take in the essence of this record long after it has concluded. The carefully scripted lyrics have us belting along to a chorus so catchy, it makes this song extremely “hard to forget.” We can justly say that we are here for Jacob Gonzalez and his heartfelt single, “Never Met.” This track definitely has us hooked and we’re highly anticipating what’s next for this talented artist. Congratulations on the release of “Never Met.” Could you please tell us a bit about your sonic journey as an artist from across the United States to Los Angeles? Hey, thank you so much! I'm excited to be a part of this community! I was originally born in San Diego, but my parent's jobs moved me and my siblings all the way to Colorado. I always knew that somehow I would be back in LA. My journey has been quite stressful, I graduated high school in 2017 and immediately looked into getting an apartment here in LA but it was so expensive and seemed hopeless, honestly. So I decided to work on my craft from home, and I moved here when I felt I was ready and able to share my art. Do you prefer recording out of the privacy of your own home versus going to a studio setting when composing your creative pieces? I love recording out of my home. I had some bad experiences with studios and sound engineers. I started in my bedroom, where I actually recorded Never Met, and when I moved back to LA, I joined a house of artists, and they have a 24-hour studio, which is still simple and small and feels like a room, but with more gadgets! In terms of musical inspirations, who heavily influence the music you craft? My biggest inspirations in music would be The Killers, Lana Del Rey, The Weeknd, and my IDOL Jack Antonoff from Bleachers. He has produced so many of my favorite records, and also has produced some killer ones for other artists like 1989, Reputation, Lover - Taylor Swift, Melodrama - Lorde, Gaslighter - The Chicks. I would absolutely love to work with him one day! What does “Never Met,” mean to you and what do you want your fans to take away from it? Never Met is about the feelings you keep after you break up with someone. You spent so much of your time with them that it never really goes away. But the more you long for them the more you remember the bad parts of the relationship. You end up wishing you never met because the memories are too painful. I want my fans to know it's okay to feel hurt, it's okay to be in your feelings, but don't let it control you. Never Met is almost a toxic story because I'd rather forget I ever met the person I loved. What could have been a learning experience that helped me grow stronger, turned into something that controlled me, and made me miserable. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music, this year? Streaming Music, I think my Spotify rewind said I had over 300 hours listened. The artists I mostly listened to were The Killers, Lana Del Rey, The Weeknd, Bleachers, and some oldies like ABBA, and Fleetwood Mac, and oddly enough the Little Shop of Horrors soundtrack, vintage! My parents raised me on the '80s and 90's music so I tend to lean towards more alt-rock and pop. Instagram #BUZZMUSIC

Hailing from New York City, Sean Stephens is a musician on the rise who will hook you with his infectious energy. Sean has been putting in work performing across the city and even played Derek in an Off-Broadway production of Camp Morning Wood. He can be found in any type of New York City style live music scene; you can picture his cabaret talents at a classy lounge in the city. Growing up he always had a strong passion for all genres of music, which is what allows him to consistently expand his musical inspirations. With a deeper love for the pop genre because of its minimal boundaries, he tends to add his own contemporary flair to pop when coming up with his own tracks. Fans can count on Sean Stephens to sweep them away with each release as he keeps us on our toes wondering what music style he will gravitate towards next. He appreciates the power of anthemic orchestration, pays respects to the legendary sounds of old-school days, and never fails to fill his tracks with modern passion. Learn more about Sean Stephens and his music here. Instagram Twitter #BUZZMUSIC

New York music artist Lew McKenzie is back, and he's back so soon so that we can highlight his eccentric persona, as well as how well it ties in with his musical one. Lew McKenzie is all about taking his listeners on wavy journeys, and he's quite good at honing in on the right productional qualities to do so. As a producer, Lew McKenzie knows how to give tracks that bustling, lively component, or contrastingly, a laidback lo-fi tune. Honing in on levels of nostalgia and reminiscence, Lew chooses to create productions that are deliberately full of affecting melodies that can transcend a listener in one way or another. Whether he's combining elements of the R&B, rock, or funk music scene, Lew McKenzie consistently and gracefully manifests eclectic, explorative tunes. In terms of the near future, Lew McKenzie has set his sights on continuing to keep listeners engaged and elevated with his slew of instrumental combinations. Discover the music of Lew McKenzie here. Instagram Facebook #BUZZMUSIC

Kasual OWNLY is Chicago's budding creative doyen that's been cultivating the impressionistic effects behind his Rap productions since 2016. This year, the now home-grown name in Hip-hop endows his leading single from 2019, "Broke As F#$K," with an innovative visual feature, managing to enhance the experience ten-fold. Slinking along the streets of Chicago with dollar-bills stapled across his body, Kasual OWNLY passes by mutual friends and strangers alike as they nonchalantly strip him of his cash and hurry past like they've got somewhere better to be, with him only countering their actions with a sense of dismay. The title articulates the meaning behind his track as not being able to pay for the necessities in life, but as he barrels from scene to scene, recollecting his money with the slyness of a ninja, he ultimately confides in the fact that people are inclined to take from you in life, assuming things are free—as the money stapled to his skin. It's relatable speculation and a testament to the idea of looking after yourself by making sure you get paid for your worth. "Broke As F#$K" and its carbonated outlooks glaze over cleverly constructed visual sequences, festooned with Kasual OWNLY's deep-rooted sonic fiber, interlocking between nostalgia-inductive melodies, hard-punched back-beats, and a crispy bark that draw-reminiscence to Kendrick Lamar, proving that, so far, only good things come when following his creative intuitions. It's the hip-hop anthem for college students surviving on cheap ramen noodles, late-twenty-year-olds with a dried-up savings account, and the rest of us who get taken advantage of throughout life, and his latest visuals fit the irresistible soundtrack like a tailored glove. Hello Kasual and welcome to BuzzMusic. How did you initially come up with the idea behind the dollar-bill and stapler conundrum you sketched-out during "Broke As F#$K?" The root of the idea came from Isaiah Rashad's music video he shot to "4r Da Squaw" when everyone was walking around with a price on their head. So I thought why don't I build off that, but and put it in a more personal perspective. But once I made my way towards the middle of the video the puppet shows up to remind me that every little penny counts. Which came to the rest of the sketch where I retrieve every single dollar that was stolen from me. What sorts of emotions were you trying to channel while filming the video feature for "Broke As F#$K"? Were there any moments during filming where you remember feeling angry or frustrated to convey the single's main message more clearly? Honestly I the only emotion I had during the making of the music video was mostly happy lol. And no there weren't any frustrations angry emotions moments of any kind because all the feelings turn into something much more than negative emotions which made it funny on how broke I actually am. What were some of the most significant learning experiences you can remember taking away from the production behind "Broke As F#$K's" music video? One of the few significant learning experiences I was able to take away was detail because the more detailed you are the more clear the vision will be to create and capture. Another important learning moment was to be resourceful because there a couple of scenes and ideas that had to be rearranged, flipped, or added before, during, and after the video was completed. If you could say a few words that would act as the prologue to the visual experience behind "Broke As F#$K," what would you feel the need to say, and why? Prologue: There are only two things in the so called world that's absolutely priceless. Do you know what it is? Life and Death. Between the moment you are born all the way to the second you pass on everything will have a price. Some will overpay just so another person or company can get what they want and some will finesse just so they can have it all to themselves. Kasual isn't an unfair man but learns that being fair just isn't to make it thru this beautiful cruel world. The prologue would something like this because I've come to true realization that in this world it doesn't matter if your a good person, fair, very generous, or an all-around saint this money-hungry country will finically suck you dry as well as the citizens that live within it because it a survival tactic. What can fans anticipate to hear next from you? MORE CREATIVE AND CO-DIRECTED VISUALS NEW MUSIC MORE BLOGS AND INTERVIEWS AND HOPEFULLY AND MORE LISTENERS Instagram #BUZZMUSIC

One Outta Ten is the L.A. Garage-Pop passion project between brothers Joshua and David de Leon. The pair have been hammering-out infection tunes since their high school years of aspiring to become a rock-stars, playing concerts out of their garage for friends, and nourishing their fantasies. Their latest single, "The Only Lovers Left Alive," feels like a scheme split between Albert Hammond Jr. and an adolescent Alex Turner in a bid to imbue these five hopeful post-punk minds with some carbonated flare and hopeless romance. Though Joshua's lyrics are swoony and stimulating—"please forgive me, baby, you're everything I need, I need a reality check because loving you will make me bleed"—his carbonated yearning vocals make it clear that the band is having a blast, buzzing over the standard convivial sonics pumping from their well-worn amps. Though the song oozes with the tension of romantic turbulence, it still sustains the band's eminent sonic stratagems, keeping things cheerful despite the underlining melancholic core. They do this utilizing Dustin Hunt's lo-fi keys, Tyler Lofftus's polished, melodic guitar solos, James Gill's rounded low-end, and the jaunty spirited cadence you can anticipate when David de Leon plies apart drumkit. The simultaneously carefree, as it is invigorating, dispensing danceable rhythm from verse to the chorus as the band members—who are best friends by now—jute out garage-pop driving verses and wavy ska and soca-inspired breakdowns amidst whisky obliging top-lines. On "The Only Lovers Left Alive," One Outta Ten makes the variety of eccentric garage party music that perfectly surfeits the morsel of sour taste a bad-romance can leave behind in your mouth, making it a passionate declaration to the fact that their music can gladden anyone's day. Can you run us through how you produced "The Only Lovers Left Alive," amidst the pandemic? Where do you record, write, and collude over your instrumental orchestrations for this track? I wrote "The Only Lovers" around February/March of last year, but it was super stripped down and nowhere near the final version. Pretty much just vocals and a basic guitar progression. After the pandemic happened, I had the rest of the band layer the parts on it. Tyler wrote out an amazing lead guitar for the song, much better than anything I made up. James came into the garage where we do all our recording in and laid down a bass track. Our keyboardist Dustin worked hard at making a really sick organ line and a piano line, and you can hear them hard-panned left and right in the final mix. Finally, my brother, David, does all the drumming, and this is the first track we made that uses more than two microphones to get the whole kit. It sounds a lot better, in my opinion, and I'm really glad I picked those mics up. Recording actually took some troubleshooting, just because of the different nature that the pandemic has brought upon us, and we're all a little tired of it but we worked around each other's schedules in order to make sure it was only like two people recording at a time in the garage. This all happened in summer, in a garage with no air conditioning, so we were all a little out of our minds, but I think the finished album will be worth it. What were some of the emotions you found yourselves channeling into for the live performances you've captured on "The Only Lovers Left Alive?" Well, we haven't exactly had a live performance of the song yet, because we haven't had any practices altogether. The song will be a little tough to pull off life, mostly because of all the layers we added in the studio, but I think with some practice we'll be able to pull it off. I will say that in past live performances we all get into the groove, especially when the crowd is jumping to some of our other songs like "Living Together" and "What Would I Do Without You?". I got a little crazy at one of the house parties we played last year, just acting a fool in my friend's garage back in college. It was a great time for everyone, and I think the best way to chalk up our live performances is that everyone is friendly with each other when we play our loud stuff, and everyone can get a little sad when we play our sad stuff. It all comes down to having a great time with friends and as long as the crowd is having a blast watching us look like idiots on stage, it's a job well done. Our next project is centered around how important it is to have people you can rely on, and I hope the message I'm putting out of "don't reject help when you need it!" reaches our listeners. What were some of the most memorable experiences behind "The Only Lovers Left Alive" production process? Does this particular song hold any sentimental value in your hearts regarding personal experiences? One of the biggest differences when making "The Only Lovers Left Alive" was that all the band was isolated when writing their parts, but sometimes the guys would come over to flesh out an idea in the garage with me. It was a really nice time collaborating because sometimes I'd go up to weeks without seeing my bandmates and it really sucked. Friends are super important during this time and it was just nice having some dudes to talk to, and not even just make music with, but just to check up on my friends and make sure they're handling this very drastic situation well. Recording the keyboard parts was very memorable to me, mostly because I had no input and it was up to Dustin to make a kickass organ line and piano part to go along with what was already recorded. When I put the tracks on what we had already recorded, it blew me away and I think it really made a difference to the final product. Regarding the song, I had written it after a pretty bad spot in life where I was emotionally drained and really reaching for human contact, and part of that shines through, especially in the lyrics. Our main character in the song is super desperate for attention from the object of his desires, but when the full album we have planned comes out the full story of our protagonist will be clear(er). I remember I was really doing some soul-searching, and maybe I put a little too much personal stock into someone I knew and when nothing came out of it, I ended up writing this song to vent my frustration. And it really hurt, but it was self-therapeutic and helped me get my life into perspective that I'm doing everything I want for ME, and not someone who won't matter to me if they won't treat me the way I want to be treated. If you could give your listeners a few words that would stand as the prologue to the emotional experience behind "The Only Lovers Left Alive," what would you say, and why? To the listener: This song will take you through a wide range of emotions, from a longing hope that someone is thinking about you to the crushing realization that they won't come for you. But if you ever feel lonely like in the song, just reach out to someone! Hell, you can even reach out to me. You are not alone :) What has been keeping you inspired in 2020? It's really hard for me to stay focused right now. There's a lot of nasty stuff happening right now, and I won't get into it because there's already a lot of negativity in the world. I just miss my friends so much and going out and being normal like before. But I feel like if I stop writing music I'll go back down a hole that's hard to come out of, so out of self-preservation I feel like this is the only option. And it's great timing, because there's nothing to do, and I feel no pressure to write as I please. It's just weird having an open schedule and a garage full of instruments that I can finally get back to making music with, but there's no live music and that's what's really getting to my head. I have to remember this is all temporary, and the music will reach new people as time goes on. Hopefully, that'll be enough for me to keep making some sad, angsty, post-teen-but-pre-adult rock music. Instagram Facebook #BUZZMUSIC

Tales in the Shade is the five-piece band from Cardiff, the capital of Wales, who confess bits and pieces of a larger, more potent narrative, with the trademark of their own meticulous sound design on their latest single, "Tama's Warning (That Boy)." Enticing listeners to connect the dots between the lines with their own imagination, their ethos centers around writing songs not so bereaved from the "show and don't tell" concept of establishing a powerful emotion through storytelling. What's most jaw-dropping are the sonic orchestrations that follow-suit; a sonic fad worth getting immersed in. "Tama's Warning (That Boy)" was recorded on the verge of the pandemic's initial lockdown, and in a way, it's jam-packed with that same foreboding pressure of the heterogeneous scenario. It's an alternative-rock tune zapped with a psychedelia-inductive haze that shoots up into an uproaring chorus like a catapult. The song is based on a sinuous narrative revolving around an alliance that started out as a brotherhood between two compatriots before it quickly unravels into paranoid examinations, decrying the true intentions behind their bond: "he's bad news, and he's like a brother to me!" Developing a mirroring tension to that same counterfeit relationship, the band presages and finally erupts into a tremendous impacting climax, with riffing acoustic guitars, clandestine vocal mantras, and industrious rhythm sections that widen and enhance the imaginative tale with a potent sense of wonder. Tales in the Shade manage to create a sonic space within "Tama's Warning (That Boy)" that renders-up like a uniquely foreign and mystifying world, meticulously put-together through hounding instrumental orchestrations, and a vivid anecdotal map made whole via their listeners' personal imaginations. Listen to "Tama's Warning (That Boy)" here. Hello Tales in the Shade and welcome to BuzzMusic. What were some of the themes and experiences you found yourself channeling into for the performances you've captured on "Tama's Warning (That Boy)?" We’ve never really been too great at writing about personal day to day experiences, taking a more abstract approach wherein we first piece together an entire backstory and cast of characters, usually in a “slightly different version of Earth” kind of setting, and then write a song that captures a fraction of that bigger story. This feels more interesting than just explaining the story in full, in too obvious a way. To that end “show don’t tell” can be really effective in creating intrigue and ambiguity. This song is about a mountainous tropical island, upon which two childhood friends called Kai and Tama find their lifelong brotherhood going sour when a mysterious stranger appears and leads Kai astray for sinister purposes, utilizing his charms to procure local girls who they then use as test subjects for their experiments in black magic. The song is from the point of view of the friend he left behind, warning a friend of theirs to stay away from Kai and the stranger. When recording the song, you can draw tremendous power and conviction into your performance by closing your eyes and going into the world and dramas that the song is painting. Do you think Cardiff has had a large impact on the ethos behind your music, and the aesthetic you've established over "Tama's Warning (That Boy)?" On a larger scale, yes, in that over the last decade and a half I’ve seen a huge wealth of very talented and individual bands and artists play around Cardiff, and played in all kinds of outfits, from easy listening reggae-tinged pop to extremely heavy and magnificently ugly-sounding metal and everything in between, gleaning influence from each one. Tales in the Shade is a bit of an amalgamation of that, and we feel proud that people seem to find it difficult to pigeon-hole us. There are so many criminally talented and enthusiastic wonderful people around Cardiff, and it was a joy to be part of such a passionate (if sadly struggling) scene pre lockdown. For instance, we’re currently making the video for Tama’s Warning and in lieu of a fully animated video (which would be amazing if we had the money), we’ve been lucky enough to have 8 artists paint and draw depictions of each line of the song which will be displayed throughout the video. It’s amazing to have so many beautiful and talented people around to lend us a hand. What is a sentiment you try to convey through your music most often when creating songs like "Tama's Warning (That Boy)?" At its heart Tales in the Shade is about making pop music, in the sense that we like writing (usually) upbeat, catchy numbers with verses and choruses. We want to stick in people’s heads. Imaginative and cryptic lyrics that allude to other worlds and surreal situations but in a kind of nonchalant and ordinary way are an important factor. For me personally, there are certain chord sequences that feel almost holy to me, so it’s a buzz to structure huge songs around them and hear music that makes so much sense to you. What were some of your most memorable moments (pleasant or otherwise) concerning the recording of "Tama's Warning (That Boy)." Were there any enlightening learning experiences worth mentioning? We’d booked 3 days in the studio without producer Mike, going in at the tail end of March with the intention of recording 3 songs. The first day was largely taken up by doing the drums and eating Pringles. On the second day, we soldiered on, becoming aware that the Prime minister would be making a big announcement at 6 pm. At 6 pm we took a break and huddled around a phone, learning that the country would be engaging fully in lockdown at midnight. It was a very surreal and memorable way to experience that initial fear and uncertainty, working on through the night together to get the songs finished, not knowing when we would next see each other when the night was through. We lost the 3rd day but thankfully completed our first single Elephant and Tama’s Warning thankfully. Other than that, it was just a wonderful experience to evolve the song from the limitations and nervousness of a live setting into a more fully realized and cinematic piece of work in the studio, adding throat singing and tonnes of additional synths and nuances. What has been keeping you inspired in 2020? It’s been lovely to see musicians find ways to keep performing and creating, particularly with the live streams regularly taking place in the first few months of lockdown. It was a cozy and very communal feeling to tune in to one of your friends at a certain time and chat with your co listeners while enjoying the performance. We had a good deal of raise and kind comments after our first release and it seemed to really resonate with some of those listening thankfully. This whole ordeal has shown that people are very passionate about the arts and its preservation with organizations like We Make the Arts bringing people together to campaign for their importance. It’s also just made us appreciate each other and how sacred having a good bunch of friends and family around you really is. Facebook #BUZZMUSIC

Coming from Toronto, the Hip-Hop, R&B/Soul, and Afrobeat artist Nova releases a song straight from the heart with his latest jam, "Replay." Excited to announce the sequel to his album "S.T.A.Y.," following up with "S.T.A.Y. II," Nova gives us a taste of what to expect from the album with its lead single "Replay." Giving listeners a blissful blend of R&B/Soul, Afrobeat, and Hip-Hop with his single "Replay," Nova brings this intimate emotional rollercoaster within his lyrical content and sonic delivery, which we can all empathize with. Going back and forth from singing to rapping while floating over top of the warmly blended beat, Nova has us locked into the naturally intoxicating sound he offers. "Replay" opens with Nova's quick and rhythmic bars while swiftly shifting into an incredibly melodic chorus where he explains his passion and desire for someone. The supporting instrumentals bring bright percussion patterns and warm yet subtle acoustic guitar. Yet, when Nova begins rapping again with an immense sense of poise, the beat slows down and gives off this melancholy trap tone. Truly a dynamic and intriguing track that keeps us listening for more, we're also taking note of Nova's heartfelt lyrical content where he wishes for someone's return. Nova's single "Replay" gives us a sweet taste of what to expect from his upcoming album "S.T.A.Y. II," while also allowing listeners to find a piece of themselves in his relatable lyricism. We're grooving away with your recent single, "Replay." Could you take us back to what inspired such a passionate and wishful song? Thanks for vibing to the new sound. Tbh from the moment, Doozy sent me this beat to me recording the song probably took about 15 minutes. I felt super in-tune with the beat once I heard it and it felt like the song just started writing itself. Replay is definitely based on experiences I’ve been through, dating in 2020 is the new Olympics lol. I enjoy having talking with friends about relationship experiences. I use those conversations to fuel my music because my goal is to be able to curate these experiences through my sound in hopes that people listening can relate to the feeling or experiences. There so much to explore which made working on this new project fun. Within your single "Replay," we're able to hear this captivating blend of R&B/Soul, Hip-Hop, and Afrobeat. How did you and Producer Doozybeats go about merging elements of these genres for the single's instrumentals? Doozy and I have been working together for a few years so we have good creative synergy when we collaborate. Fusing these genres gives me the feeling of freedom and as soon as Doozy sent me this I knew we had one. Love when a beat as a balance between simple melodies with a soulful rhythm because I feel my vocals can breathe. Why did you want "Replay" to lead the way of your upcoming album "S.T.A.Y. II"? How does the single represent the forthcoming project? I’ve always been versatile with my sound ranging from Afrobeat to hip-hop to r&b/ soul and my goal when I started working on STAY last year was to align these styles to curate a body of work with both consistency and range. Replay is the perfect representation of the sounds and journey I’m taking with STAY II. We've noticed that there are a variety of different cultures that have impacted your career. Now that you're living in Toronto, do you feel that the city's music scene allows your dynamic vision to flourish fully? I feel like Toronto is the definition of diversity in the world today. I’ve made connections with so many people from different countries all in this one city. Growing up in Lagos, I always felt like an outsider. Mostly because society tries to suppress the youth in every way. That gave me a different perspective moving to Toronto where almost everyone is an outsider, with freedom of expression. Since I’ve moved here, I’ve really been able to focus on my craft with a health mindset. Working on STAY II also gave me the opportunity to connect with the music community here by linking up with artists like Katasha J, Esquire, and Arenye. What has been keeping you inspired in 2020? There’s so much going on in 2020 that sometimes I feel like we’re in a horribly written movie. Music has kept my centered. For the first in my life, I got a home studio set up so I’ve been able to zone in and use my music as therapy to take my mind off all the chaos. Soon as I got my recording equipment, I started working on STAY II. Another huge source of inspiration has been family and friends. The pandemic was a weird opportunity to connect with people even more than I could during the good old days lol. instagram.com/novagotthatheat twitter.com/novagotthatheat facebook.com/novagotthatfire #BUZZMUSIC

Hailing from Darlington, England, the flashy Hip-Hop Artist, and Rapper Khaki releases his atmospheric bop, "Devil's Kiss (feat. Baby Goth)." What intrigued us towards Khaki's brand was how he challenged North East England's music industry by overcoming the "crab mentality" where if one person can't have it, neither can someone else. By collaborating with various notable acts like Asian Doll, Swae Lee, Juicy J, and Baby Goth, Khaki's industry knowledge has expanded to deliver the freshest of vibes. With his latest single "Devil's Kiss (feat. Baby Goth)," we're left drifting through the song's celestial Hip-Hop production alongside Baby Goth's intriguing and melodic vocals. Not to mention Khaki's irresistible flow, he portrays this devilish flair that keeps our ears peeled the entire way. "Devil's Kiss (feat. Baby Goth) begins with an atmospheric Hip-Hop beat through softened celestial keys and airy trap drums. As Baby Goth begins serenading us in a sultry and inviting tone, the track's atmosphere is instantly set through her overall vibe and nature. Once Khaki begins rapping, there's truly no turning back. He begins painting this dominant scene where he has his eyes on the prize while delivering his bars in a quickly-paced manner that perfectly amplifies Khaki's immense talent. We can hear authenticity exude from each lyric he delivers, easily giving listeners something to get down with when the sun goes down. Be sure to experience the sweltering atmosphere Khaki has delivered with his latest single "Devil's Kiss (feat. Baby Goth)," and keep your ears peeled for more notable features to come. We love the overall tone and atmosphere you've provided with "Devil's Kiss (feat. Baby Goth)." What pushed you to create a song that delivers this dark yet heavily intriguing tone? The process was really natural and such a quick learning curve with this song. I and Baby had talked about working on a track right after I dropped one of my earlier singles “Drip” and she released her single “Afterparty." I still remember the first session working on the beat for Devil’s Kiss so clearly. I don’t produce beats myself so linked up with a local producer Tom Heath who had previously made a remix to one of my earlier tracks “Like That” featuring Bre Musiq. This was where the learning curve really began for both of us. Tom has always been heavily focused on House and Club-style music, and I have only been into the mixing and mastering side of the music rather than the producing. We talked about the feel we wanted and the atmosphere, with the focus of the song wanting to be dark, gothic, and almost stormy to match both mine and Baby’s sound and style. You can actually still hear the thunder that Tom created and underlaid behind the main beat which was really what set the whole tone of the track. After we had the stormy backdrop to the beat Tom was able to work with Baby Goth’s vocal and create a soft side in the instrumental. This changed the vibe to something we really fell in love with, from what was originally more of a Metro Booming inspired hard-hitting instrumental with its reverbing snare hits and heavy bass drops. Could you take us through your songwriting process for "Devil's Kiss (feat. Baby Goth)," what sort of message did you want to get across with your deep and dominant bars? My verses on the track were the last part of the production of Devil’s Kiss. This is my usual process as the beat for me is what takes me to that zone and really helps me write the track fluently. When it came to me writing my verses, the beat and Baby Goth’s chorus had already been 90% finished. I had the chorus on repeat in my head all day from the nights spent producing the beat with Tom and I had been freestyling different intros to it as we were making it. Because of this, I was really excited to get into my home studio with some free time to start working on my verses. I sat down at the computer with no topics written down, just the excitement of wanting to hear the final thing and inspiration from all of the things I am currently working on in the music and have lined up. I had some personal issues I was going through at the time, these added to the darkness of the track and can be heard towards the end of the first verse. But along with this, I had been traveling a lot at the time, for both work and also to see friends overseas I have met through the music. This really filled me with confidence that we are pushing in the right direction with what we are doing. The ending to the second verse particularly: ‘I’m surrounded by stars like I’ve been dreaming Freebandz on call, money meeting Flying to Lloret De Mar, ‘cos the team need me Late nights chilling in the car, I got a speed demon’ This part of the song came so effortlessly. I had just finished talking with the team over in Atlanta at Freebandz (Future’s Record Label) about upcoming releases and projects. Hence the line ‘Surrounded by stars, like I’ve been dreaming’. I really felt like this had to be a dream the number of people I look up to in the game that I am now in circles with making music! Following that call, I was flying out to Lloret De Mar in Spain to regroup with some of the coolest guys I have met. These are people who originally supported me for my music and actually spot me in the streets of Spain, back when I had only just started making music videos and was on a family holiday! I have mad respect for anyone that supports and it is things like that which always inspire and motivate me to keep pushing with what I do. Check out ‘Drip’ or ‘On Demand’, two videos I have made now with the crew in Spain. These guys are some of my best friends now. Going back to the topic now, my songwriting process is to get a real feeling for the beat and write about things that are happening in my life at the time. I rap about things or people that inspire me to do better and also things that make me happy or feel a certain way and I didn’t have any shortage of these things at the time! Baby Goth had just killed the chorus on this, Tom had worked magic on the beat and I knew Nath was going to go mega on the music video. We had lined up some super talented people from Alanna Pittorino who has just been on the front cover of Playboy, through to El & Amy who have so many hidden talents I couldn’t even try to name them all! So, the inspiration for this track wasn’t an issue! My message in this song as well as a lot of my other work is to believe in yourself and what you do. Learn from the people around you. If you have positive people in your circle that believe in you and themselves too, you will all win. Regarding Baby Goth's brilliant feature on "Devil's Kiss (feat. Baby Goth)," what made you want to feature her unique vocal stylings? What did you want to be added to the track that Baby Goth provides? She kills that chorus. That’s exactly what I wanted from it and that’s what I knew we could create when working together! I already had her tracks downloaded before talking with her about linking on a track, so knew her voice was exactly what my track needed - all her music is so catchy. She makes Devil’s Kiss so addicting; you can stick it on repeat all day. It also makes the track much more appealing for a wider audience than I could reach on my own really. It has been so nice with this track to reach so many new listeners and especially nice to receive a lot of positivity around the release! I and my close friend Nathan (Video director and man of EVERYTHING behind the scenes) have worked together with the music from the start, and it just feels so good to put a track out and get it shared and supported so heavily across all the platforms. We noticed that your single "Devil's Kiss (feat. Baby Goth)" was accidentally on Melanie Martinez's EP playlist. We're genuinely wondering, how do you think this accident took place, and how has it impacted the single's promotion? That was crazy when we first saw it! At first to be honest I thought it was going to be good for new viewers, but would mean the video got lots of hate. I only thought this due to the fact we were getting viewers that weren’t planning on checking it out and obviously the general internet troll attitude we all know and love in this industry is usually at large in these scenarios! It has been the total opposite of that though. Most of the comments from listeners of that playlist so far have been so positive! I checked one and think it was one of the nicest comments I’ve ever got on my work ever which said they were listening and though it was their favorite song on Melanie’s EP! I’m just grateful it was seen and appreciated by more people as it is a great feeling after putting work into a project like this one! As for why it took place, I was contacted and it seems that Baby and Melanie Martinez are actually on the same label and they liked the song so wanted to see how it performed with them having similar followings and sounds! I am just fully grateful for that opportunity and recognition however it happened! What has been keeping you inspired in 2020? New music from some of my favorite artists as always, along with the awesome people I am surrounded by whether it’s family or friends! I am lucky to have a circle of people that see the positives in most things and always look to strive for success and have fun whilst doing it. Coronavirus has affected some of the great opportunities I had lined up, such as live performances at Rolling Loud Portugal and other opportunities over in Atlanta that I just can’t get to! The same has affected everyone in this industry sadly, but it has given me time to get the first recordings down for my upcoming singles and work on my album as well as create new contacts across Instagram that I am excited to work with when we get through these crazy times! Instagram Facebook #BUZZMUSIC

The Long Beach-based Songwriter, Producer, and Multi-Instrumentalist Cam Ransom releases a mellow and laid-back instrumental titled, "Reflections." While being the vocalist and guitar player for The Overrides, Bi-Product, and OCA, Cam Ransom recently decided to venture solo. Not to mention scoring multiple Kevin Smith films and continuing to score future movies and documentaries, Cam Ransom is ready to take the industry by storm. With his chill instrumental "Reflections," Cam Ransom takes listeners on a two-minute ride through daydreamy electric guitar melodies, mid-tempo drum patterns, and the subtlest of background pads. Without a single vocal, Cam Ransom is able to transport us into bliss through his calming performance. Opening "Reflections" with captivating electric guitar strumming and snappy snares in the background, Cam Ransom gradually builds the instrumentals to deliver an incredibly heartfelt and picturesque atmosphere. With multiple rhythmic breakdowns and drum solos/guitar solos, the instrumental offers this California vibe through its tender and mellow approach. The instrumental arrangement is truly sublime, as Cam Ransom has meticulously placed each aspect of the song to emphasize its overall warmth and texture. We can't help but drift away into space with Cam Ransom's laid-back instrumental performance on "Reflections," and we're excited to see his name roll through the credits for future motion pictures. Congratulations on your recent solo venture into the music industry. What pushed you to take this independent leap? During every project, I end writing a bunch of stuff.  In the early stages of conceptualizing, I end up writing all kinds of different genres, trying out different things until I find the right fit for the project.  A by-product of that process is I wind up with a lot of unused but interesting ideas.  Cam Ransom's songs are a mix of the unused songs and ideas I've been wanting to record but for no reason in particular never got around to. Regarding your laid-back instrumental "Reflections," how did you tweak your instrumentation to deliver this warm and tender atmosphere? Reflections is a song I wrote about 20 years ago, but I could never find a fit for the song in any project or band I was in.  In that span, I've had a lot of time to re-work and re-imagine the song.  The recording reflects (no pun intended) an evolution of musical tastes and appreciation for different genres.  I basically wanted the song to evoke a laid-back but somber feeling. We've heard you're releasing an album very soon, titled "Reflections." How does the single "Reflections" represent the album's vibe or concept? The four songs on the album all kind of "reflect" one another.  The first song is an acoustic version of "Reflections", followed by the title track which is the produced version, and in that way, they reflect each other.  The third song "Level Up" and the fourth song "Finish Line" share the same notes, chord progressions, and a lot of the same instruments, and in that way, those two reflect one another as well.  When listening to the album as a whole, the four songs all bounce off or reflect off each other. We've heard that you've scored multiple Kevin Smith films, as well as other movies and documentaries. Has film scoring made any sort of impact on your personal sound and music? Film scoring has improved every aspect of my personal sound, songwriting, and composing.  It opened doors to new concepts, instruments, and genres in a way that would've more difficult for me to open if I was to try and discover them blindly.  It forces you to mature as a musician, listen and learn about different genres and think outside the box What can your fans anticipate to hear next from you? I'm currently scoring a feature full-length film which should be out sometime next year, and my band The Overrides are also releasing our 2nd EP "Attention" this Winter.  As far as Cam Ransom stuff is concerned, I plan to release a new album of 4 or more songs at the beginning of 2021! instagram.com/camransom #BUZZMUSIC

Southern Californian artist Amanda Pappalardo works as a Singer, Songwriter, and Producer. After growing up with a love of music and graduating from college, she has decided it is time to delve into the music industry and release a song of her own. Amanda also works in Public Relations, a job that stemmed from her college degree and is another passion of hers. Amanda Pappalardo’s debut single “Can’t Help but Fall” showcases her talent and spirited lyrics. Her rich and emotion-filled vocals tell the story of falling in love, even if it is not a choice. Sometimes we fall head over heels for someone without any warning, and “Can’t Help but Fall” reiterates every feeling that comes along with that. Amanda Pappalardo channels the classic and energetic start of an early 2000s movie, with the throwback electric guitar riffs that get your blood pumping and heart soaring. This old school sound is sure to take you back and have you reminiscing good old robust Pop-Rock music. “Can’t Help but Fall” is a refreshing first release, from the spunky vocals to the sedative guitar. Amanda Pappalardo is excited to see where her career will take her in the future, and after releasing her first single we can’t wait to see how she curates her own unique and exciting sound. We loved the simplicity in the instrumentation for “Can’t Help but Fall." What was the production process like? Did you produce the song yourself? The production process on this song was very interesting because I did everything for it myself in my bedroom with almost no equipment. I wanted the song to sound real and raw and I wanted it to be a song that people can belt out in their cars when they just need to let it out. It took a while to get even close to that and I wanted to keep the song simple and to the point in order to get to the real emotion and meaning behind the song. How did you decide on “Can’t Help but Fall” as your debut single? Were there any other contenders or did “Can’t Help but Fall” speak to you on a larger scale? I decided to release “Can’t Help but Fall” sort of impulsively actually. I think it’s a song that I personally need to hear right now and I figured if I need to hear it, I’m sure others do as well. So many times we are told by those around us and ourselves that it’s better to not allow ourselves to fall in love or get involved in a relationship. Sometimes, those people tell us those things to make us feel better but it doesn’t. I remember one time specifically, I was at a Guns N Roses concert in Hollywood and a lady at the concert asked me if I had a boyfriend to which I replied no and she proceeded to tell me that it’s for the best and that I should live my life and be independent for as long as I can. She told me all of this to encourage me and make me feel better about my relationship status but it didn’t. I think often we fight to let ourselves fall in love because we don’t want to get hurt and because we let the things people tell us discourage us from it and this song serves as a reminder that it is ok to let yourself fall and that having those emotions makes us human. When did you start songwriting? How does the first song you ever wrote compare to the style you have now? I’ve been songwriting since I was around eight years old but I only started seriously songwriting a couple of years ago. When I was little, I used to make up my own words to songs. “Dance the Night Away” by Van Halen was the first song I remember doing this with. I would make up melodies and lyrics all the time to myself and I would write them all down in a notebook I had but I didn’t play guitar yet so I couldn't put any of them to music. After that I wrote on and off and then I started seriously writing again my freshman year of college. My style has changed a lot from when I first started but it’s still very similar. I grew up on bands like The Beatles, Def Leppard, Tom Petty and the Heartbreakers, AC/DC, Cheap Trick, Van Halen, and Journey and I think those influences on my music have always been noticeable and I think they still are. I think I’ve always had my own style of writing but I think it’s a lot more polished and developed now. Do you have any other exciting projects in the near future? What’s next for your career? Nothing is set as of right now but I hope to keep creating and putting out new music. I’m constantly writing new songs and coming up with new things so I hope to just keep creating and releasing music that I hope people can relate to and rock out to in their cars. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music this year? One of my biggest inspirations this year has been the year itself. I feel we’ve all grown and learned so much this year and I think with all the bad things this year has brought, that’s a really positive thing to come out of it. I’ve been writing a lot about what I would want to hear right now and what I know others want to hear and that’s been a very therapeutic experience for me. instagram.com/amanda_pappalardo #BUZZMUSIC