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L.A.'s ethemadassassin has ruled over South-Western California's sonic dominions by complying Hip-hop productions with a very particular aesthetic, distinguishing itself from all others by way of a deep-entrenched uniform gangsta Emcee grace about him. It's the soundtrack of longspun midnights and nighttime meanderings on the shady corner-block of South-central, with a sonic backdrop bespoke-tailored by a hustler laboring over graphic versifications, potent in their ability in securing his own devices from the "Bitch," he calls "Life." As one of the most notorious M.C.s migrating from East-coast to West, and with fifteen years of experience garnishing his name, ethemadassassin has come to embody L.A.'s identity as a focal Music city, donning a grudge large enough to black-out the daylight wavering over his shoulders as he stays out-and-about colluding under dusk and into Midnight. And with his latest album 'Bear Handz 4: Dark Side of The Mountain,' ethemadassassin looks to hunker-down on his materialistic confines for more timeless Hip-hop gangsta rhetoric. A Rapper's voice is the most significant and distinguishing instrument that they possess, and in that same vein, few have one as well-defined as ethemadassassin. His most modern aesthetic—the outcome of collaborating with Swedish boom-bap producer, Twelvebit—divides his style right down the center, somewhere in between the gangster vibe oozing from something like Freddie Gibb's "Alfredo," and an Oldschool Emcee interpretation of Hip-hop's Golden-era. He's a piquant lyricist with a propensity for storytelling, and his versifying narratives are always tangible and quietly devastating—seldom sounding strained through muffling triplets or slurs. His verbal cadence can transform an ordinary boastful Rap cut into something singular and exceptional, working as the perfect complement to his producer's nostalgia-tinged beats. The librettos ethemadassassin delivers on 'Bear Handz 4: Dark Side of The Mountain' are lucid and clear—howbeit moderately reiterated from time to time—with urban anecdotes diffused over hooking repartees and affluence for sonic picture-painting utilizing gruesome storyline and timeless aesthetic. He conducts himself with the confidence of an Artist who knows they're a veteran Emcee, and consequently, isn't afraid to be straight-up, with a menacing intensity when dropping threatening ruminations in the same ilk on "Stay Paid": "Better pay me before you pay your bills, or you'll wish you danced with the devil before you made those deals." "Stay Paid" floats an ominous-sounding drone of a sinister sample atop a hard-steady beat and sounds like the most conniving confession of anything else on the Record. But then the hot-blooded "Gunsmoke" swoops in around the next corner. It's "Bear Handz 4's" most engrossing sonic adventure, with a festering beat that teasingly with-holds a sinister bassline in service of an echoing hook that slips back into the void from which it coruscates from after ever resounding mantra-like hook. The raspy lines, "I'd rather risk missing a sale, then eye-ball measurements, cause I don't do deficits, I do definites, no guessing shit, you ain't gotta look to know you in some shit," are provocative. It would be silly to assume anything else—his thug-garnished attitude stands out like an aching soar amidst the muted mimicked adlibs populating the super-charged air surrounding this track. And then just as quickly simmers into a down-shifting vibe, within the soft-crooning background strings of the horror-flick inspired "Children of The Night." It's the most potent single from 'Bear Handz 4: Dark Side of The Mountain' with: "children of the night, nocturnal beings, when I come outside I hear Vampires breathing, as I walk amongst the shadows, hiding out of plain sight, children of the night would get it in before daylight," parading as the nighttide Anthem of the decade. ethemadassassin's 'Bear Handz 4: Dark Side of The Mountain' shouldn't come as a surprise considering the solid effort this Emcee's put behind his last three records, but it's obvious The North Carolina-native has his intentions set to a more corpulent gain setting for the future. Having conquered his first three-halves of The Bear Handz Series, ethemadassassin now solicits more glory from his audience, despite his already intimidating levee over the Rap game to date. And honestly, it deserves the recognition; it's a record that has influences deep-rooted from both the East and West coast sounds of Hip-hop's Golden-era. There are initiatives toward being a wise-dealer with new creative directions, but much of Ethamadassassin's Dark Side Of The Mountain finds healthy landing with every single that springs-by. And the later-half of the playback—including the three highlight singles, "Children Of The Night," "Don't Mix Ya Dishes," and "10," that virtually catapult his sonic venture to new engrossing musical heights. And obviously, the tracks produced by Twelvebit seem to look more forwards and onwards than ever before, while still retaining the thuggish aesthetic behind the LA-based notoriety he produces for. ethemadassassin has mentioned that this album is meant to be the fourth in a five-part chronicling, and somewhat of an antipasto for his anticipated 'Bear Handz 5: Gram Newton,' produced by Akthentik, with appearances from Supreme Cerebral, Hus Kingpin, and XP The Marxman—set to be a record that would mark another cornerstone in his Bear Handz catalog. Nonetheless, Dark Side of The Mountain renders-up as ominous-sounding as the titled suggested, and then some. Traversing into a fleshier and more introspective level of menacing. What was the focal narrative behind 'Bear Handz 4: Dark Side of The Mountain,' as a whole? And why did you feel like now was the best time to release that sort of statement? The focal narrative behind "Dark Side Of The Mountain" was to explore "darker" themes of the streets over what most would call "dark" boom-bap beats. I have an odd point of view and I just wanted to paint a gloomy picture with some of the harsh realities of things I've experienced. A lot of emcees make the street life sound glorious, I wanted to show an ugly, dreary, almost hopeless side, but still make it sound dope. I didn't necessarily go into this project with the idea of "the world needs to hear a darker take on this street shit." I heard the first couple tracks Twelvebit sent me and the idea came from the tone of the music. So, this is what I made with it. What were the most empowering emotions you manifested throughout your Rap performances on "Dark Side of The Mountain"? Probably the most empowering emotion would be the will to survive, no matter what adversity is in front of you and facing the repercussions that go with it are inevitable. It's not "hope"...it's "I'm going to make it by any means and I'll get my hands dirty in the process." Do you feel like North Carolina had a significant influence on how the Bear Handz series has turned out thus far? And if so, do you think it had a notable impact over the next-level vibes you've presented on 'Bear Handz 4'? Yeah. Everything I make reference to are things that happened in North Carolina, which have no other choice but to affect the vibes of the music. But again, Twelvebit sent the tracks and the concept came from the tone of the beats. I just used my experiences there to help paint the picture on his canvases. If you could give your listeners a few words that would act as a Prologue to the experience they can come to expect from 'Bear Handz 4,' what would you say and why? Open your ears This isn't a fast listen..this isn't fast food. This is an 11-course meal, and it's designed to be enjoyed over time, so be prepared to listen closely. It's unapologetically street, but there's a champion level of intricate detail and patterns of thinking mixed into the slick wordplay and lyrical craftsmanship that can be easily missed if you're not focused. This is one you smoke to and just vibe out, and give it time and space to take you on a trip. Buckle up and lock your doors. What sorts of Milestones have you set out from yourself in anticipation of your next two releases, 'Bear Handz 5: Gram Newton,' and the upcoming collaborative EP you've mentioned? I haven't set what would be called milestones, but the goal is to increase my exposure and get more eyes and ears on the product. I'm looking for my 1000 dedicated fans. In this era of music sales, a part of that is consistently releasing quality music and videos and also showing that my pen game is getting better and better with time. I just take each step I've made and use it to build another step up. So for now, it's getting more listeners, and then provide more merch for fans so they get the full "Bear Handz" experience....all while just making dope shit. Expansion...that's the goal. Instagram Website #BUZZMUSIC

Coming from Upstate NY, the Alternative-Pop Artist and Singer/Songwriter Kipani releases her stimulating single, "Enlighten Me." Being a female artist in a male-dominated industry has taken its toll on creative women everywhere. Kipani isn't the first to speak up on the indifferences and unreciprocated respect. Her latest single "Enlighten Me" discusses this situation in a playful, sarcastic, and empowering manner. Kipani goes into depth regarding someone who's continually hovering over to offer their input when it isn't necessarily needed or wanted. Made for anyone who's felt inferior, Kipani blasts through this exhilarating single with stimulating instrumentals that naturally empower any listener. "Enlighten Me" opens with vast energy through invigorating piano melodies, upbeat drum patterns, and Kipani's inviting vocal performance. As she begins to describe a salty situation where she's made to feel uneducated towards her craft, Kipani puts a smile on our face with blunt lyrics like "-enlighten me, cause apparently, I don't know anything, how will I go on?" The instrumentals grow to provide this blistering Alt-Rock atmosphere through added and layered electric guitar, completely transcending the listener into this highly energetic space. At the hook, Kipani's vocals are incredibly powerful and exude boundless life within her conceptual lyrics, returning the favor to close-minded creators who stick their nose into other artist's business. Delivering a track that strikes back to anyone who's made her feel this unnecessary inferiority, Kipani's scorching single "Enlighten Me" allows for any listener to get lost in the song's energy and relatable message. We need more lyrical content like this nowadays, to actively help and further enforce equality within the music industry. We truly can't get enough of your lively and energetic single, "Enlighten Me." Could you 'enlighten' us towards the song's inspiration, and the moment you realized that you needed to create a piece that speaks on the belittling of women creatives? Thank you, I'm so glad that you like my new single! This song was written after a discouraging point in my career where I was constantly faced with people trying to tell me what I should or should not be doing and it was super frustrating. Being an independent female artist in this very male-dominated industry can be tough sometimes. There is always someone ready to offer their input whether it is wanted or not. Women have these stigmas attached to them and "Enlighten Me" is an empowering, sarcastic, expression meant to lift up anyone who has ever been made to feel inferior. It is fun, upbeat, and delicately walks the line of breaking that glass ceiling we have all become so familiar with. And, I think it is an important message, especially now. Regarding the fiery instrumentals within your single "Enlighten Me," what was it like working with Dave Rice and Tiffany Jhingoor when creating your instrumentals to help reflect your lyrical theme? Actually, my given name is Tiffany Jhingoor, I just use my real name to credit myself on my tracks because I am still very proud that I manage to write and compose all of my own music. But to answer your question, working with Dave Rice is great! We have worked together for a couple of years now ( he's actually the bass player in my band haha) and he always respects my vision. I usually come to him with the basic skeleton of my songs, vocals/piano composition, and he helps me bring it to life while always maintaining the "Kipani sound" we strive for. If you're reading this Dave, thank you for always looking out and keeping my best interest in mind! Seeing as your single "Enlighten Me" was co-created, mixed, and mastered by a man, did you get any initial reaction from him that helped depict how the public would receive the song? He was actually really excited about this song and thought that it was something the public needed to hear. In fact, we had originally planned to save this for the album but by the time we were done making this, it became such a powerful anthem that we both agreed it really needed to be a stand-alone single. Not only a single, but also my first music video, which I am so beyond excited about! You've mentioned that you tend to bask in the Alternative genre while giving your tracks a Pop edge. That being said, "Enlighten Me" provides lively Alt-Rock instrumentals. Would you say that your overall sound is relatively experimental within the Alternative/Indie realm? Absolutely! I always find it hard to really pinpoint which genre I fall under because I'm constantly experimenting with sound. My writing usually reflects how I'm feeling at a given time so it tends to be a little all over the place. I never focus on fitting into genres, but rather just conveying expression. So, although I classify myself as an "indie pop" artist I honestly don't really know where I truly fall under. What can we expect to hear next from you, Kipani? Well if you live in the NY/ PA area you can look for me and my band as we plan to try and play as many live shows as we safely can. And, I am currently in the process of recording my first full-length album. I am very excited about it, and you can look for it this spring! Instagram Facebook #BUZZMUSIC

ZEE's give his listeners a glimpse into the honeymoon beginnings, the turbulent emotional altitudes, and the eventual crash and recovery moments of his last relationship: an archipelago of R&B and Hip-hop combined productions that dot the lines of his latest EP 'Summer 98.' The self-effacing Canadian Singer and Producer infuse components of Contemporary Hip-hop music as a foundation for his nostalgia-inductive R&B aesthetic at their most alluring capacities. His kaleidoscopic sonic renderings offer a supernatural clarity that borrows from the past era to embellish the current, and with his latest EP, 'Summer 98', "a sense of nostalgia excites his music with a blithe hue by the time the end arrives. Here, within an emotional cruise operating with a soundtrack hand-steered by ZEE himself, Contemporary Hip-hop elements erupt as clear stanchions for the golden era R&B Melodys he grew up admiring, flourishing within magnetic narratives and self deductive curations of the relatable battles and sentiments he's describing. It's natural to get lost in his archipelago of new-age productions and developing storylines that center around a former relationship, traversing between the love-blind moments of a honeymoon stage—as the introduction track, "Amazing," prefigures—to the inevitable disloyalty and emotional implosion that follows. Right up until the instant you find closure. On 'Summer 98', ZEE differentiates himself by pantomiming at his 90s inspirations with songs that operate over feel-good vibes like, "Can't Wait," a track motivated by Diddy's "Trade It All" and "Do That" a salute to Keith Sweat's "Twisted"—to implement a fleeting sense of excitement for the nostalgia festooned storylines he buzzes over with new-age Hip-hop and Golden-age R&B aesthetics. Turning the page into more introspective and challenging corners of the relationship, the Canadian notoriety boosts off of Nelly's "Dilemma" for a more adhesive hook, before routing his emotional sail into the gaping melancholic crevasses found within "Mean It." It marks his turbulent introspections at the tipping point of his relationship and leads into the epiphanies found on "Letting Go"—the "Ms. Jackon" inspired gyration that comes appended to the experience of moving forward. When diving into ZEE's latest endowment of Oldschool-nostalgia meets New-age magnificence—a most tangibly and timelessly experience, to say the least—it's almost impossible not to feel a sense of connection to the Canadian's storytelling and the emotional chaperoning genius operating behind it all. What was it like blending all the fleshy and vulnerable emotions related to your last relationship into songs that borrow from Musical influencers of your past? It was amazing. I don’t have trouble writing down my emotions, but to be able to blend them with sounds and styles from the past was nice. The music nowadays sounds completely different so I wanted to appreciate some of the music from back then, but also give it my own vibe. What were some of the most challenging pieces to curate for 'Summer 98's' cohesive playback and narrative? Things really pieced together well, I knew which songs I wanted to put together for this project. If anything, I would say the biggest challenge was holding on to it for longer than I wanted to. What were the most impactful experiences behind the earliest moments of 'Summer 98'," and how do you feel now seeing its successful release? Just stepping out of my comfort zone and not holding back. The first time I played back the songs I was genuinely able to vibe to them which was a great feeling. Hearing the feedback from people now makes it even more special. If you could give a few words that would act as a Prologue to the experience your listeners can come to expect behind 'Summer 98',' what would you say and why? A ride of emotions. The EP really takes you on a ride with highs and lows. If you pay attention to the songs, you see how things start to go from good to bad. What has been keeping you inspired in 2020? This year is so different, to be honest, a whole lot. I’ve been blessed to be surrounded by some incredible people and that has always been my inspiration. Instagram Twitter #BUZZMUSIC

Singer/Songwriter Kristen Beckwith is all for opening herself transparently to listeners. With a heavy interest in communicating key thoughts and feelings to listeners, Kristen Beckwith has always aspired to relate and humble others. Choosing to pursue music only a couple of years ago, Kristen has already worked to install her presence as a music artist, especially with the release of her emotionally-driven track, "Victory." Deep and canorous piano melodies open up "Victory," which inherently establishes the songs persistent ambiance. Kristen Beckwith provides an affecting vocal performance with "Victory," honing in on emotionally-packed verses that solidify the motives of the track. We're exposed to various realities of sentiment, experimenting with a multitude of thoughts regarding human potential and the resulting contemplation that can arise with such introspection. There's not a moment where we don't feel drawn into the effect Kristen Beckwith establishes within her song, which primarily occurs due to the vulnerable performance she undergoes. Kristen Beckwith highlighted her ability to influence one's sentiment and ultimately embodied real and personable life understandings. With the release of "Victory" came a new understanding of who Kristen Beckwith is an artist, as well as how she chooses to communicate key messages to her listeners. Considering the emotional component that was potently integrated within "Victory", would you say that it was trivial to write and record the track? Definitely not. In fact, this was quite an emotional song to write. I wanted to be as authentic and real as possible, to give the experience I was writing about the credit it deserved. In fact, a lot of tears were shed during the writing process of this song. Recording it was emotional as well. Not only does this song hold so much meaning, but it was also the very last song we recorded for the album. Over two years of writing and recording went into making this album. What kind of emotive were you hoping to impart onto listeners with the release of "Victory?" I've always said that I want to move people with my music the way that music moves me. "Victory" is a song that embodies real-life tragedy along with real-life victory. It comes from my personal experience battling mental illness. We all experience difficult and dark days and I knew that I wanted this song to be both relatable and victorious. The difficulty is a reality, but so is overcoming. The ups and downs are what creates life. I wanted to express that as realistically as I could in this track, using one of my most difficult and personal experiences. What're some main differences you noticed within yourself as an artist whilst crafting "Victory", compared to how your artistry displayed itself across other singles you've crafted? "Victory" took over a year to write, unlike any of my other songs. It was a completely different song for about a year until I decided to rewrite it. I knew it needed some major changes, but I hadn't been ready to make them yet. This summer I sat down and reworked the entire song with the result being a completely new song, new chord progressions, and new lyrics. Some of the lyrics remained, and the overall meaning was the same. But I knew it needed to be even more real and stripped down. I knew I needed to dive deeper into my experience to make it the song it needed to be. There are all sorts of songs on the album, from happy, to funny, to sad. This song is definitely among the deepest and meaningful on the album. Are you preparing to release any further music in the near future, or possibly any live virtual shows? I have been doing live shows every Thursday and as of now will continue! I will also be releasing two Christmas singles this November/December! What has been keeping you inspired this year? Good question! Music is my heart and soul and passion. I have a very strong drive within me to share my music with as many as need and want it. That drive can get me in trouble sometimes when I overwork myself haha! Ultimately my fans and listeners inspire me. If I can touch hearts and give the gift of music that heals and uplifts and resonates, I am fulfilled and driven to keep going. Instagram Website #BUZZMUSIC

Jodie B is the live loop performer, multi-instrumentalist, producer, and audio craftswoman who gathers from the influential touchstones of FKJ, Rufus Du Sol, NomBe, and DubFx to manufacture seamless Electro-soul and Hip-hop instilled classics. Her latest sonic endeavors find the Calgary-bred chanteuse and rhymester, looking to her sister and life-partner for their musical influence, ultimately adopting them as personal creative motivations and supporters behind her Debut Album's kaleidoscopic brilliance. On "Bad Apple," the hit single from Jodie B's tumultuously grooving LP, "Equanimous," the electro-chanter diffuses her own introspections of the corporeal path she's taken through life and the composure she's kept throughout. As the shimmering keys buzz over the bluesy chords that accompany a beautiful Hip-hip reminiscent back-beat, Jodie's voice evaporates into reality amid the prismatic and insightful scores of the self-deprecating hook: "no way for me, baby, I'm not good for you, hurts my heart to go, but I would torment you if I stayed." As heart-wrenching words diffuse from Jodie's tongue, bouncing from left to right between the ringing vacuum of her capacious New Wave mixture, it is her left-turning Emcee-variation that emphasizes this single as absolutely striking. Almost two minutes into the smooth-crooning electro-inspired swing, Jodie crops up with an organic and captivating lyrical dynamism, for a section that sounds like it's been recovered from the Hip-hop sectors of the local mom and Pop record shop down the road. Here, gliding over nothing but the beat of an even electric drum, Jodie unravels a typhoon of mid-tempo rhetoric focused around the infatuated anger she feels encircling a partner. As the heavy-hearted songstress crisscrosses with unchallenged, but steady-paced verbiage, rising pads undeviatingly resurface. They guide ahead, uncovering the contemplative digital reimagining of what results when a talented Artist like Jodie steps up to the industry plate; and torpedoing her musical career up into groundbreaking heights. What sorts of emotions did you find yourself challenging into for the performance and vibe you've captured on "Bad Apple?" Great question. This song was actually written from an outside perspective on my friend’s relationship falling apart, so when I perform it, I’m putting myself in their shoes so to speak. I don’t identify with the song as emotionally as I would if I was writing from my own experience, but the dilemma they were facing in their own lives and the conversations we had about it gave me an interesting perspective on their individual stories. Can you tell us more about the narrative behind this single and how it fits into the context of your Debut Record's cohesive playback? A female is unfaithful to her male partner, and she feels as though she attracts a chaotic lifestyle and that she is “no good, and a bad apple”. The snow-white “bad apple” reference is referring to one of many of life’s temptations, and how often if we give into them, they will inevitably lead to our demise. Throughout the song the perspective changes from the male point of view, who loves the female so much, he is willing to forgive her if she is capable of forgiving herself and seeing her own self-worth. Alas, back to the female point of view when she says “it breaks my heart to leave, but I’ll torture you if I stay.” As far as this being cohesive with the record, “equanimous” is the story of my personal perspective on life, love, lessons, and relationships, that stem from myself, and from others around me. While life tests us with events such as ‘unfaithfulness’ in a loving relationship, it is important to remain in a state of equanimity, for this is when growth and understanding are developed. The lesson from each song always goes back to the remaining equanimous. How did you incorporate your sister's talents throughout this song and album, and do you believe that your music would be the same without her attributions? At the age of 6, Nique (pronounced Nikki) had the title of the Worlds Most Professional Blues Harmonica Player, and now she is halfway through her Ph.D. in neuromuscular human physiology. You go, Glen Coco! It is safe to say that the saxophone playing research scientist has a limited amount of extra time in her day today. Therefore, I was only able to get Nique as a feature on a few songs off the album. On “War Cry”, “Soul City”, “Wanderer”, and “Unbreakable”, you can hear her alto sax lines weaving in and out of the rhythms. Her favorable mandolin picking can be heard on equanimous’ dark soul “Swamplands”. Nique adds life into songs that you didn’t realize needed life. Once she has contributed to them, you can never hear the song the same without her. Nique completes songs. My music would not be the same without her contribution, and performing live is always more fun with my sister by my side. We’ve been singing next to each other all our lives! If you could give your listeners a few words that would act as the Prologue to the experience behind "Bad Apple," and the rest of the enticing music on your Full-Length Record, what would you say and why? Stay true to heart, it always knows best. We’re all on a path that leads to many ups and downs, I’ve trusted the process and it led me to my favorite producer and the love of my life. What can we expect next from you? My family and I have just launched a new project, Manteasah, with Makemdef (aka the love of my life) and my brilliant, wonderful sister, Nique. The dynamics between us make for an interesting trio with many different elements to contribute. Makemdef is a very talented hip-hop producer and has had success in developing a signature sound, “lean bass” with partner Jeff Wilson in their dark duo, Chuurch. So what does Manteasah sound like? Imagine a hip-hop backbone, dark bass lines to keep you grounded, and soulful melodies with unique instrumentation. We just released our debut single this summer, “The Minister” with an alluring and spooky music video. To accompany my new album Equanimous, I will be releasing three music videos from feature songs off the record. I also have a couple of exciting features in the works. Aside from making plans to build up Jodie B and Manteasah, I plan to further develop my audio engineering and production skills to serve my community in the recording industry. Specifically to those of the minority. Instagram Website #BUZZMUSIC

The Phoenix trio Jane N' The Jungle returns with their fiery optimistic single, "Lucky 7." We've become quite familiar with Jane N' The Jungle's sound over their past releases, from Jordan White's groundbreaking vocals with a spicy female flair to Brian Dellis tearing up his guitar and Big B's pulsing bass. Their latest single, "Lucky 7," stems from a fond memory of performing at Longhorn Casino in East Vegas, and Jane N' The Jungle exudes this free-spirited vibe that intrigues any listener to take a risk from time to time. Produced by Grammy Award-winning Producer Chuck Alkazian, the track's tight and blazing instrumentals seep out our speakers and ooze with excitement. "Lucky 7" begins with distant electric guitar setting a moody and sharp tone early on in the track. Within the first verse, Jordan White's powerhouse vocals with mild filters heat up the expansive atmosphere with a naturally alluring appeal. The quickly-paced drums bring this highly energetic quality to the track perfectly met with Brian Dellis' whaling electric guitar jumping back and forth from major to minor, not to mention Big B's thrilling bassline that tugs the track through Nevada's desert. The song's hook is definitely the high point, as the energy and climactic sensation pour down from Jane N' The Jungle's tight instrumentals and Jordan White's piercing vocals. Time and time again, the trio manages to captivate listeners into their exhilarating and gritty sound, especially through the scorching single "Lucky 7," Jane N' The Jungle powers through with limitless energy for us to bask in the fearless and blazing atmosphere. We're deeply captivated by your thunderous sound within "Lucky 7." Could you take us back to what inspired the song that evening in East Vegas? Thank you!! We were playing at the Rock N Roll Marathon last year in Vegas and booked a room in East Vegas for the night before.  We didn't know that part of town and it felt like it was from a different time, almost like a weird dream.  We had an unexpected experience at the Longhorn Casino where they have loose playing rules and ridiculously cheap food.  It surprised us that we were having such a great time there with unspoken energy in the air.  "Lucky 7" embodies the carefree spirit and people we met that night.  Regarding the powerful lyricism within "Lucky 7," did you have a particular message or concept that you wanted to get across to listeners? We wanted "Lucky 7" to embody a vibe that felt lucky, felt good, felt kinda unusual.  Oftentimes as musicians it feels like our careers are just a bet, or you just happen to get lucky.... the 7 comes from the number of years Brian and I started writing together.  We hoped by creating a fun-spirited song about luck would perhaps help our music careers move forward.  It seems like we are all craving a little bit of luck these days. You've mentioned that "Lucky 7" is a free-spirited single from lyrics to instrumentals. How did you craft your instrumentals to reflect this free-spirited and individualistic vibe? When the guys were jamming out the riff, I heard this slinky James Bond mysterious vibe that I immediately felt myself standing at the Longhorn Casino.  We laughed and all agreed it took us back to the energy of that night, and that's how it came to be. We've noticed that you frequently have your songs produced by Grammy Award-winning Producer Chuck Alkazian. After many singles, is there established chemistry with Chuck that helps your music flourish the way you intended? We first got to work with Chuck in February of this year!  We felt "Lucky" we were able to record "Animal" and "Lucky 7" both before 2020 shut down.  It was definitely one of the highlights of our 2020.  We had a great time working with Chuck and staying together as a band in Chelsea, Michigan.  We all have a special musical connection where the songs flourished while working on them in the studio.  "Animal" was actually first titled "New Mexico" and "Lucky 7" was given a bit of Nirvana flare.  There was lots of laughing, lots of salad, so much so Chuck says our band smells like onions!  He kept asking where the onion smell was coming from and that we were ruining his studio, so as a joke we hid a little piece of onion under his studio table... LOL!    We hope we can record with Chuck again soon! What has been keeping you all inspired in 2020? We feel lucky that we have been able to lean on each other during these times and stick with the basics of why we like creating music.  We have been jamming together often and doing live streams while having no pressure, just going with the flow.  We have many new songs we are working on and find it cool things still feel fun and fresh.  We will eat Mexican pizzas and skinny margaritas at band practice and it reminds us of the simple good times and we forget about the pandemic. Instagram Website #BUZZMUSIC

Over sixteen salubrious Hip-hop instrumental tracks, Native Sunz, comprised of STIXX JONES, FRANK REED, and J.ALLEN, collude together in manifesting their love for the craft of beat-making by operating over a heavy hand that dips into old-school Hip-hop aesthetics and outlines an ingenious blueprint for their most recent adhesively tight instrumental album titled, 'L'appel Du Vide.' Here, the Baltimore-bred beat-makers pack their touchstones of Hip-hop influences into a decked-out audible knapsack buzzing with vintage-sharp drum tones, orchestral horns, and string samples, the rare Soundcloud-grinning Trap-house-winking 32nd note hi-hats, and often, the infectious nostalgia-inducing vibes everyone fancies lingering within their memory all-day. Operating like the varified Hip-hop soundtrack that could accommodate any significant day. 'L'appel Du Vide'—inaugurates with an opening track titled, "MOTHERLESS CHILD," that exercises an excerpt from a crucial interview with the longest-serving state senator in Nebraska's history—and the first-ever African-American to run for Governor in the Midwestern state—Ernie Chambers. Here, over a laboriously crooning trumpet sample that solemnly drones in the distance through much of the playback, the egalitarian Politician sheds a blaring light on inequality with a speech that influenced droves of very-young and forward-thinking minds for generations to come. It gives this Record's prologue-like introductions a heavy-weighted introspective thud behind it. It's almost like a profound sentiment you'd imagine oozing from an LP festooned with some of the most influential and innovative Rappers of the decade laying down critical introspections over keen hit-maker productions. That's the sort of imagination 'L'appel Du Vide' provides, as it reflects like Hip-hop LP's instrumental soundtrack without much laborious thought. With a cadence that leans back into its driver's seat, edges smoothly into gear more suited for cruising, and sets up like an RJD2-influenced banger, "Heads Up," feels like the soundtrack to a New-age Midwest Cowboy shoot-out Film; where orchestrated horn sections of the past copulate with low-rumbling and gliding 808s from the future, amalgamating together in a bid to beautify each down-beat with a healthy serving of Baltimore Punch. When the tantalizing exotic festering melody of "Islamic Strategy" evaporates from the super-charged air surrounding the LP's dynamic playback, Native Sunz directs their listeners into a bewildering realm where tribal percussion work in tandem with a back-bone hook that suggests like it's quietly plotting over a roguish plan while ruminating over the choreography it's producing over arpeggiated dancing. It's a song that highlights the variety these beat makers have in conjuring-up thematic motifs that somehow teleport listeners through heat-wave prone deserts, soundtracked by earth-shattering Contemporary Hip-hop grooves, and steady-cruising joyrides that traverse through nostalgia-induced charges. By the time 'L'appel Du Vide' reaches the gravity-less ambient voids harping with twinkling bells over "Never Ever," Native Sunz incentivizes the feeling of imagining what some of your favorite Rappers would sound like spitting versified and drippy hooks atop their meticulously crafted Hip-Hop influenced sonic-landscapes. In this case, STIXX JONES, FRANK REED, and J.ALLEN conspire mutually to produce a spacious atmosphere, so weightless and full of wonder, it probably requires the use of a space-suit just to survive inside the magnetic conditions the Baltimore Producers created us to float buoyantly in. And though the core of the beat here might seem simplistic in nature, when pealing away at their onion-layered dynamics for a closer look, the earthy, almost visceral textures of their cadence and melody comes to life among; twinkling bells, shuffling metallic-sounding percussion, smooth, oscillating filters, and distant hand drums that festoon the backgrounds of the mix with a void-like suction. When traversing through the dynamic and masterfully crafted playback of 'L'appel Du Vide,' it's impossible not to realize the diversity with which these three Maryland-bred hit-makers channel their influences and inspirations from. Whether it be the Golden-age of sampled break-beats and chopped orchestral samples from the 90s, or Trap-house vibed beats behind dripping with the attitude behind songs like "TRAPANESSE," or "SWEET SORROWS," the masterminds behind Native Sunz have not lost touch with their musical Catalogs framework: using samples to their advantage. After the entirety of 'L'appel Du Vide,' which translates to "The Call of The Void," STIXX JONES, FRANK REED, and J.ALLEN create a world that bounces buoyantly from one new-age banger to the next within the ambient instrumental maxims of their scrupulous design a with timeless and innovative presentation. Through one festooned track to the next, they prove time and time again that as a collective, they can appoint any production, any vibe, with the only thing holding them back—their own creative imaginations. Discover 'L'appel Du Vide' here. Hello Native Sunz and welcome to BuzzMusic. What was the concept behind 'L'appel Du Vide,' and how did you arrange the Record's curated track flow to better suit that concept's narrative? Have you ever stood on a roof, a bridge, a ledge, or any other high place and wondered, “What if I jumped?” This urge most likely comes out of nowhere and disappeared as quickly as you thought about it. Turns out, this urge has the name “The Call of The Void” (in french “L’appel Du Vide”). Describes the impulse to hurl yourself into well, a void. While unnerving, it’s actually a common experience. It also has nothing to do with suicidal ideation. “L’appel Du Vide” by NATIVE SUNZ is simply that... removing one’s self from your comfort zone and just creating unadulterated, unhindered, unbiased art with zero regards about whether folk understands it or not. Basically, creating with zero limitations. When you develop these diverse and dynamic perspectives for your instrumentals, how does the process usually work? Who is operating as the engineer, who maps out the beat, and who picks the samples to use? The diverse and dynamic perspectives we create in regards to our works are usually started with emotion or vibe that a sound gives you. It’s all about frequencies... certain frequencies are healing to the mind, body, and spirit and others can be destructive as well. This is why generally when you hear a certain song or certain frequencies within a song your mood changes. As far as how our process of creation works... We (my brother Stixx Jones and myself) produce, compose, arrange, mix, engineer, and master all of our Works ourselves. At any given point in time, if I am having issues working on a track, I’ll send it over to Stixx to critique and make the necessary corrections and vice versa. Before Publishing we both sign off on the finished product before releasing it to the public. What were some of the distinguishing emotions you found yourselves encompassing or being drawn to during the recording and brainstorming process of 'L'appel Du Vide?' Some emotions that We found ourselves drawn to when creating “L’appel Du Vide”... The title track (last track of the album)... was composed and produced out of pure emotion of being lost yet challenging one’s self to just delve into the unknown... and for me, that was creating a cinematic symphony of sorts. Stixx was the mixing engineer on that track. As far as the album as a whole... it was just simply to have fun creating... it’s a therapy for us. Sometimes in life, we get so caught up in being overly analytical of ourselves and our gifts we forget to just simply create and enjoy the process. What makes you most proud when looking back at the experiences, emotions, and team memories that together helped create 'L'appel Du Vide'? What makes me most proud when looking at the experiences and memories when creating “L’appel Du Vide” was that each album of our discography exists in its own space none are like the last and each will take you on its own journey... we create with true audiophiles in mind. If you could give your listeners a few words that would act as the Prologue to the experience behind 'L'appel Du Vide,' what would you say, and why? A few words for listeners of L’appel Du Vide... Live a life of expectancy not of expectation with zero limitation. Enjoy the moment and let the album take you on a journey into the unknown. We hope you guys can enjoy and zone out to our music. Be sure to follow NATIVE SUNZ on your favorite streaming platform. Instagram Facebook #BUZZMUSIC

Cambry Hicks is the outspoken artist who uses his gender-neutral Music to promote social justice and reformation through his infatuating vocal intonations. As a fervent supporter of the Black Lives Matter movement uprising across the country, this Fort Wayne-native has made it his mission to bring awareness to the violence and hate spreading around the world. This month, Cambry H makes moves as a young budding household name in the bordering dominions of Pop-hued ambiance and Contemporary R&B with his newest release, "Goodnight." Often, the most profound sentiments in a song take root in a relationship's turbulent flight over a connection that's gone sour. This is precisely the scenario in "Goodnight," where Cambry records a summary of his overwhelming emotions over 24 hours to produce a fluid love-sick journey centered around the framework of the outlooks mentioned above. Here, over the slowly developing pressures of the verses, and the stock-punching relief of the choruses, our intoner buzzes over the realization it took to move forward from a noxious relationship. The entire R&B glossed endeavor carries lightly over the shoulders of Cambry's prismatic echoes, as they flourish over the coloratura's buoyant Pop textures that he exudes with a timeless aesthetic from the depths of his diaphragm. There's a glimmering guitar that subtly massages the adjacent edges of this spacey mix, as it reminds us to buckle-down for a whole new level of emotion-inducing experience that's festering around the corner. Almost without warning, the primary detour in this nostalgia-inducing venture grabs holds of us with remarkable alacrity. Nearly two minutes in, Cambry breaks down the kaleidoscopic walls around him and plunges into a saturated variation of the hook, where his audacious energy issues us a rigorous after-glow we've been holding on to for days now. Simultaneously, a calamity of guitars, filtering accents, and oscillating pads festoon the final crescendos here, all while the clandestine textures of "Goodnight," edge-on with intoxicating intensity and burning heartbreak over the last roars of Cambry's voice. As a whole, "Goodnight" showcases the affluence Cambry has over quietly devastating lyricism, while still highlighting his unwavering ability to give his music his all; both in spirit and passion, with his egalitarian approach to life at the center of his ethos. Hello Cambry H and welcome to BuzzMusic. You wrote this single in 24 hours, and we're wondering if, throughout that creative trance, you learned anything new about yourself as an artist? That's a good question. I think if I write something at the moment, it's as honest and a true as possible. I didn't have time to reflect on what was happening around me at the time so it's definitely a real-time thing. What were the binding emotions you needed to channel in order to achieve the performance you capture on this track, and if you could go back, would you change anything about the institutions behind "Goodnight's" inspiration? I wouldn't change anything at all. The song is almost like a journal entry so listening to it now is kinda funny to me in a way. What do you hope this single helps bring out in your audience after their first listen through? Hopefully, it's relatable and I'm not crazy honestly. If you could give us a few words that would act as the Prologue to "Goodnight," and to the new Music reaching us from your upcoming catalog, what would you say and why? Straight fire. No explanations. You just gotta hear it!  What has been keeping you inspired in 2020? I just want to make things that feel good to people, and to myself most importantly. Whether that's focusing on the future, or channeling those nostalgic 2000's vibes, I want to create that escape. Instagram Twitter #BUZZMUSIC

Hailing from Kingston, ON, the four-piece Alt-Rock band Willy Nilly releases a treat for the ears with "Mystery Meats." Comdeically stating that they create music that listeners can sometimes dance to, it's without a doubt that anyone will find something they can enjoy within Willy Nilly's smooth and relaxed sound. With their recent single "Mystery Meats," Willy Nilly brings incredibly warm and calming instrumentals that hint at alternative-folk music. The lyricism depicts a family's story of attempting to make ends meet, truly fueling the fire with a relatable storyline and an overall sensation of concern and relief with the song's sweet instrumentals. "Mystery Meats" opens with calming acoustic guitar instrumentals that drift into a mellow Alt-Folk approach. Once lead vocalist Owen begins pouring his sweet vocals over the track, he widens this calm atmosphere with his warm and tender delivery. He sings lyrics of a modern-day family's woes where monetary matters are tight, yet the love for one another always manages to overpower these issues. The instrumentals by Willy Nilly are serenely entrancing with the mid-tempo pace that gives us something to tap our feet to. The overall ambiance and demeanor Willy Nilly delivers is this soulful and mellow approach that provides listeners with a sense of inner peace. We love everything about Willy Nilly's latest heartfelt single "Mystery Meats." From the song's overall concept to the calming and melodic instrumentals, Willy Nilly gives us something to passionately get lost in. We love the ambiance within your latest single, "Mystery Meats." Could you give us more background as to what the song's concept surrounds, and what inspired it? So Mystery Meats is kind of a song just reflecting on our current situation. It's about diving into something headfirst and how scary and overwhelming that can be. It talks about how trying to make something of ourselves as musicians can be demoralizing at times, but I've already launched so much of myself into it that I have no choice but to keep going even if I didn't want to. It's also in a way a letter to my bandmates basically saying "I know I can be a pain in the ass, but I promise it's from a good place" How did the four of you split the creative process and work for your single "Mystery Meats?" Do you guys have a specific method or approach that works best for the band? This one actually might have come together faster than any other song we've written. It's the closest I've come to having an idea in my head and actually translating that to something tangible, I woke up with the melody + chorus riff in my head and just sat for a couple of hours figuring out where to go with it. When I showed the guys they liked it and within a couple of hours, we had the whole song pretty much written save for a few tweaks. I wouldn't say we really have a specific approach. Normally I write the songs acoustically and the guys fill in the gaps, but I wouldn't say that's a process we're dead set on by any means. What can you tell us about the atmosphere and vibe you were aiming for when creating "Mystery Meats"? How did you want listeners to feel? It's definitely a lyrically driven song, I don't know if we put too much emphasis into creating an atmosphere but I guess kind of campfire-y? Although it's written with music in mind, I think more generally people can get the feeling of "yeah sure, things are fucked, but I always seem to make it out okay". Could you give us any details or hints as to what we should expect from your upcoming EP and the concept within? Has quarantine hindered your recording process? We haven't put a firm date on the EP as of yet because we're self-producing and just want to make sure the songs sound as good as we can muster up currently. I'm guessing late November though. All of the songs have been written in the pandemic so there's definitely a bit of a theme there, but I think we did a good job of not being too on the nose and reflecting more on the feelings and worries that the pandemic has brought to light rather than on the restrictions that have come as part of it. We definitely didn't say the words "six feet apart" at any point so that's a victory in my books. Early on in quarantine we were still isolating away from each other, and that's when I was EXTREMELY inspired to write so it's definitely too bad we missed out during that time, but overall we've been able to keep fairly busy during the quarantine. What has been keeping you inspired in 2020? I mean, other than the fact that the world is an absolute hellscape right now and every time I open social media or turn on the news I'm confronted by more awful shit happening, I think we just get inspired watching/listening to what other artists do. As scary and uncertain as the music business looks these days and as much as we'd love to be playing live shows again to try to grow, we have only scratched the surface as far as the kind of music we can make. We're just trying to make the best of this brutal year and grow our sound, and hopefully, we'll be better for it. The following single from the EP title "Cool Now" should be out at the end of October, and we do live streams on twitch fairly often on Sundays @willynillyband instagram.com/willynillyband facebook.com/thebandwillynilly #BUZZMUSIC

Giving you a fresh take on house music, artist and producer Bust-R teamed up with Sharif D to create a pop-inspired tune titled, "All on Me (feat. Ido)." Inserting vibrant chords and piano melodies into his music, Bust-R has seen incredible success through his recent singles and gained support on his original tracks from artists like David Guetta, Don Diablo, Sam Feldt, and many more. His latest single "All on Me (feat. Ido)" gives the listener a musical masterpiece to lose themselves in. Bust-R and Sharif D's collaboration with the help of vocalist Ido has made this song one of the most irresistible, energetic, and groovy summer tunes we've heard this season. "All on Me (feat. Ido)" starts with celestial instrumentals that drift into the abyss, accompanied by Ido's bright and lively vocals that sing a passionate tale. As the production begins to swell, we're met with an intoxicating saxophone solo that shifts into the track's build and leads to the bouncy beat drop. The underlying production and arrangement by Bust-R and Sharif D keep the track soaring through time and space, especially with each textured layer of synths, drums, pads, and intriguing basslines. It would be an understatement to say that Bust-R and Sharif D have created a bop with "All on Me (feat. Ido)," as the track screams summer love with a side of optimism. How did you and Sharif D begin your creative process with "All on Me (feat. Ido)"? Which fundamentals did you lay down first to solidify the song's core? In this instance, a lot of the track started from my end with the intent of getting Sharif to write a sax hook. Predominantly it was just some piano chords, guitar, and vocals from iDo. Sharif was apart of the creative journey from the start and I made sure there was a lot of space for him to write a good sax part. The main thing we tend to focus on in all of our productions is making sure it has personality, I want people to feel something when they listen to it. Adding sax gives it that point of difference and to be honest, I've never heard someone say they don't like sax haha so I think we'll keep rolling with it until then. How did you come across working with vocalist Ido for the single, and when did you and Sharif D know that you wanted his vocals to feature on "All on Me (feat. Ido)"? Well funnily enough it started with the vocalist iDo, I sent him some piano chords and an idea of where I felt the track could go. He came back to me with a somewhat simplified chord progression, guitar track, and some demo vocals which actually ended up changing the whole direction of the track. I'd been wanting to work with iDo for some time, he has great vocal dynamics and his style suits my type of music. We teed up the collab through a mutual friend who is his manager and the rest was history. He is a great vocalist to work with and I couldn't speak more highly of him, he turned around his part in literally a couple of hours. I was blown away haha. Within your single "All on Me (feat. Ido)," you and Sharif D tied in these brilliant brass elements that take the track to new levels. Why did you choose this particular pop-house sound with blistering brass? So Sharif & I have done a few tracks together now, he's a good friend of mine and we live in the same city. We've played tonnes of livesets together (he is a professional live saxophonist) so we have a good grasp on what one another likes when it comes to making music. We kind of just wing most of our tracks (you should see how many versions of All On Me we have hahaha). I think we kind of just go with the flow and when something sounds great we just leave and try not to over perfect it. I think this style of track just kind of happened. We're happy with how it turned out though! We've noticed that you've seen incredible success regarding streams and fanbase accumulation. How do you keep your audience returning regularly? In all honesty, I think it just comes down to being transparent and working hard. I always make an effort to look out for my fans and reply to every message or email. A lot of artists contact me for feedback also so I try to help them wherever I can. I think that may help my success to some degree but it mostly comes down to the music I'm putting out. I've been extremely lucky to have almost all of my tracks signed to Central Station Records which is a prestigious label in Australia, it has many international connections and partnerships (Kontor Records to name one) that have helped get my music heard on such a broad scale. So I would say that's where the hard work comes into play, getting my music to a quality that labels like that want to release it. What has been keeping you inspired throughout 2020? Well, what a year 2020 has been right?! I've kept positive and used a lot of the downtime to get back into the studio and finish a lot of projects. What's really inspired me the most has been my partner. She's been so supportive of me and the love we have for each other has kept my drive in check. There is also, A LOT, of great music being released this year. Definitely can't help but take some inspiration from there also. facebook.com/djbustr bustr.com.au #BUZZMUSIC