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House music artist Bust-R isn't slowing down anytime soon with his sonorous artistic style. Bust-R strives to create music that elevates listeners' mental state and introduces an explorative world to them. His most recent release includes "All on Me (feat. Ido)" and consists of bright and vivid soundscapes that fit perfectly in tune with a buzzing summer hit. Bust-R also finds incredible importance within transparency and being able to communicate certain messages to his listening base. Recent motivations that Bust-R has focused on is crafting his sound in a way that can resonate with more listeners, and he's choosing to hone into various influences in order to make that happen. Keeping an optimistic mindset, Bust-R chooses to uplift himself in various ways in order to catalyze his success as a music artist. We're only thinking of good things when it comes to the music of Bust-R, which only propels our excitement for future music. Read more about Bust-R's latest release here. facebook.com/djbustr bustr.com.au #BUZZMUSIC

Jessica Manalo is the Nevada-bred songstress who draws from the touchstones of her R&B and Alternative influences with a connoisseur's ear. Based in Portland, Oregon, this chanteuse utilizes her infatuating voice and jaw-dropping dexterity over her guitar strings to soothe even the most lock-jawed patrons. On this year's sonic escapades, Manalo releases "BedHead," a track about being stuck in a toxic one-sided relationship, where one lover doesn't synergize with the other, and the inevitable push and pull are the only forces keeping this counterfeit passion afloat. Jessica Manalo's "BedHead" has every reason to sound heartbroken, disjointed, and frustrated. Yet, the chanteuse takes us on a buoyant spin down the earthy sonic avenues of magnetizing guitar traces, saturated bass-lines, and a calming piano accompaniment that works together under Manalo's multi-tracked quavering and unison harmonics. It's an uplifting shot in the dark, where on one side, our Portland Chanteuse is oozing with love and devotion, and on the other, her infatuation is met with a cold wall. Surprisingly, the music's atmosphere never reflects the shade of the sentiment she feels deep inside. As each new chorus evolves from the previously enamoring verses, Manalo's enlightening hook echos into the void with an upswell incantation describing her own determination to love unconditionally—even if that means to love herself. From sultry guitar solos that mark each transition, festooned string segments that evaporate into the stratosphere, and a soft-packages receptacle of Jessica Manalo's notoriously adhesive vocal performances, "BedHead," stands as the attestation of this young-budding intoner's trajectory upwards in the music industry. Hello Jessica, thank you for joining us at BuzzMusic to discuss your latest release "BedHead." What were the sentiments you had to channel for the vocal performance you ended up capturing on "BedHead"? Honestly, when I wrote BedHead I was angry. I was upset and sad that people could treat others like toys, by choice. I felt like I was being tossed around at the time and was being used by the person I was seeing. The longer it went on, the more hurt I became. Lust could be so toxic even when we know it's hurting us. Intuitively, I knew I had to leave, but I stayed. I would go back and forth between, "this is fun!" and, "no, wait. This really hurts." Sometimes, as humans, we stay in relationships, romantic or platonic when it's long overdue. Especially, in my case, it was very one-sided with very little communication on what was really going on below the surface, on my end... I should have spoken up sooner. Can you explain why you chose to keep the instrumentation and aesthetic of this song blithe when it just as quickly could have been rendered-up to show a more melancholic edge? I wanted the vibe of the song to have a sense of overcoming this emotional turmoil. I finally decided to love myself. It did feel like a weight was lifted from my shoulders. The light-heartedness approach of the song comes from realizing that I am in control of my life and that I have learned my lesson. What were the key messages behind this new single that you wanted your listeners to soak-up, and why did you feel this was the right time to drop those messages? The key message to my song is that I want people to know that they don't have to be trapped in a toxic relationship, no matter what level of toxicity. If something doesn't feel right within your heart, it's time to move on. If the feelings aren't mutual, it's time to move on. Do not wait. Do not waste your energy. I feel like especially now, everybody is at home, quarantined, and alone with their thoughts. It's the perfect time to kind of look within and realizes just how strong we are and that we deserve to be loved unconditionally. I want people to know that they deserve the truest form of love and that it exists. When you think back about the recording process for "BedHead," what was the biggest challenge and most significant learning experience? I previously recorded "BedHead" back in 2018 completely on my own using Garageband. I was just experimenting with sounds and I have never fully produced anything like that by myself. I recorded midi drums, keys, bass, guitar, vocals, etc. I wasn't quite satisfied with that initial recording like something was missing. When I re-recorded BedHead this time around, I had some amazing Portland musicians help me out and it definitely fit more of the vibe I was going for. I decided I wanted the vibe to be sort of gospel-soul Esque like Hozier. I started recording this version of BedHead in November of 2019 and got the majority of it done, but COVID hit, so I had to finish tracking vocals in my home studio. I had to send multiple tracks over to Agyei (my buddy that recorded the whole thing), and we got the song done over Zoom and Facetime. It was difficult, sometimes time-consuming, but it was all good fun and well worth it. The biggest challenge was finding the right "sound" for the song, which took some time. Also, physically recording BedHead throughout COVID was not easy, but if there's a will, there's a way! Can you tell us about any Milestones you're aiming for in your Artistic career for 2020? What steps are you taking to inch closer to those goals? This year I am shooting to work harder than I ever have. I'm working on building my brand, releasing single after single, and just having as much content as possible. Everyone is indoors right now. It is the perfect time to release music. I put together a project called Magic Mondays where I sing somewhere in Mother Nature, playing originals or covers in attempts to keep live music... well, alive. All my shows have been canceled so I made the outdoors and Mother Nature a stage of her own. My goal is to build a community of music and nature lovers alike and in turn, hopefully... I will capture new audiences of friends and supporters that will join me on my personal musical journey. I plan to keep hustling, growing, and sharing my stories through song. instagram.com/jeSSSIcaManalo facebook.com/jeSSSIcaManalo #BUZZMUSIC

The LA-based singer/Songwriter Rich Jacques exudes pure grace and wisdom within his latest album's title track, "Joy Follows Like a Shadow That Never Leaves." The Grammy Award-winning artist and producer has seen impressive collaborations and sync placements within his career, granting him access to pull inspiration from his many walks of life. Within his recent hit "Joy Follows Like a Shadow That Never Leaves," Rich Jacques softly reminds listeners that everything we need to survive already lies within. Through softened instrumentals and breathtaking acoustic performance, Jacques' vocals and lyrics will inevitably lay around your mind while allowing for needed reflection to take place. "Joy Follows Like a Shadow That Never Leaves" opens with vast serenity through brilliant acoustic guitar melodies and soft electric guitar picking. Once Rich Jacques makes his vocal appearance, his layered vocals give this intoxicating warmth that tightly wraps the listener. His lyrics sing an incredibly wise and knowledgeable story, reminding listeners of inner validation instead of seeking it in others. Around the hook, Jacques' vocals take a prominent role and deliver slightly autotuned vocals that give the track a slice of modernity. The backing instrumentals and production create distance through Rich Jacques' background vocals and blissful pads. Not to mention the refreshing drum patterns, this single keeps our spirits high and mighty through the delicate arrangement. Rich Jacques serves a platter of optimism within his mesmerizing title track, "Joy Follows Like a Shadow That Never Leaves." Be sure to check out his entire album and experience its relatable concept. Instagram #BUZZMUSIC

M E is the North Carolina-bred Emcee who's setting himself up to become a household name in the Hip-hop game. Now calling Brooklyn his home, this Old-school reminiscent rhymester's lyrics have a deep-weighted purpose behind each captivating narrative he exudes from the pores of his tight-knit productions; giving his music a unique authenticity that only comes around once a decade. Following his creative intuitions on paper and in the studio, M E has already established notoriety amongst his musical peers for his magnetic approach to the cadence of his bar-dispensing and the engaging form in which his track's anecdotes quietly devastate. It's no wonder the Brooklyn Rapper has had Naomi Banks and Bret Taylor looking to him for collaborations over his latest Hip-hop endeavors. With the release of '20/21,' that trajectory continues. Over a twelve track record, with doors detouring between Golden-age Hip-hop reminiscent cadences, to R&B cuts that land healthy in our hearts, and some Alternative ominous-sounding Brooklyn-bred rhetorics, M E has dropped an album that is anticipated to become a Hip-hop modern classic. As if teleported into the ceremonious sonic adventures of an Emcee Veteran, M E chaperones us through his opener, "Anti-Intro," with an attitude that comes off as brazen or brash. But quickly, that notion evaporates away via the scintillating riffs that his nostalgia-dripping electric guitar accompaniment provides over his 'eye for an eye' ethos: "they call me cocky and conceded, but I'm pinching, so I call it even." It's a hot-blooded first cut that ironically is the antagonist to all others, swooping in like a dead-eye eagle, locked on to the jugular of its prey. He knows that there might be a tendency to over-look the mastery he's putting down plainly for everyone to witness, so naturally, coming out of the gates flashing with two fiery tracks is the only right call. "Maad," is an ominous tilt in the assumed direction of M E's proverbial jooking. Here, with a crisp production that exercises boastful and distorted verification over a lopsided bass, and the metallic 'thwack' of percussion that steadily ripples with 32nd note blast M E renders up like he's aggravated. His Emcee tone and attitude is intact here but mirrors a more brooding demeanor with the droning dissonant chords festooning the backgrounds of this dusky, distorting track. This track is focused on expressing the Brooklyn-based notoriety's outrage with the state of current affairs in the United States. The next track, "BQE," is the first of the record to feature a guest feature, and by now, Bret Taylor's accompaniment of M E's Musical Crusade's shouldn't be a surprise; greatness attracts greatness, after all. On this New-age highlight, the two collude over a salacious hook that finds Bret sailing over ringing keys, towering pads, and reverberated echoes that disappear into the void. This all happens while M E slices up the verses with his Golden-era mirroring flow. The track stands out as the highlighting single on this LP, and as the Sci-fi reminiscent saturated croons of the final samples purr over the strings of our hearts, another song festers around the corner with a similar affecting sensation in store. "I Do" sweeps us off our feet with the infatuating top-line that Naomi Banks naturally induces over the clean and tight-knit spaces of M E's productions. Here, the Brooklyn Rapper takes every need into account for his collaborator, leaving her enough room to soar over the top-line hook, while he slays over the stanza. It's like two worlds merge together with seamless effort. On one end, the Neo-soul intoner singing over the hook reminds us of the serenading sounds of Contemporary R&B, and on the other, M E takes full grasp over the verse with a nonchalant tonality and delivery that makes us think the Emcee is freestyling. It's a combination that works over Naomi's multi-tracked quavering unison, and as the familiar textures of an electric guitar, smooth rumbling bass, and crisp backbeat garnish the expanses of this mix, it's easy to lose track of time while sucked into the magnetism that '20/21' spills from every bordering edge. So far, when we look back, M E renders up like a rapper who has a multitude of fitting vestiments, attitudes, and cadences for every narrative he wants to highlight. From R&B reminiscent tracks with guest top-lines to scintillating bar-dispensing versifications over old-school '90s mirroring backbeats, the Brooklyn household name only has time to follow his focused artist intuitions and for-goes all the rest; and it shows. "New Black," a homely gem in the middle of '20/21,' feels like the top-down cruiser song we'd play off the car stereo because we've memorized the words. It's one of those cuts that don't necessarily feel original by way of the beat production but still stands as a highlight via M E's relentless lyrical flow. M E often likes to sprinkle some moody secret-sauce over the radiating production turbines working behind the scenes in '20/21,' and under his hot-blooded lyrical deliveries. "King Solomon," and "Wicked Pt2," are products of those occasions, and they draw similar doom-gloom vibes from tracks that showed face earlier on this record like, "Maad." Over tracks like these, M E shows no shyness when influencing his mixes with dusky, ominous-sounding hooks and samples. He often sounds distorted and saturated on tracks like these, but with enough tasteful subtility that it comes off as natural. If we were to describe the sensation of listening to these songs, it's like witnessing the fleshy and vulnerable parts of an artist's conscious and realizing quickly that the message they're bestowing is haunting in nature; often focusing-in on the injustice surrounding the segregation of minorities in this country. "Quarantine Freestyle" stands as one of the last tracks to spin it's versified web over our sedated minds. Here, M E sounds intoxicating; he sweeps and swerves over his words with a veteran Emcee cantor, while the sinister and haunting acoustics he's grown fond of still find a home. These acoustics are mainly noticeable from a grand piano's vibrations being manipulated over what sounds like a magnetic tape machine, and the clever turbulence in our Brooklyn Rhymester's free-form technique. When we look back at '20/21,' there's no question as to whether this record stands as the most recent stanchion in the Brooklyn Rapper's foundation of New-age meets Old-school Hip-hop Music. There are dusky portions of this record where the light of day rarely warms the cold cement floors of songs like "Maad," "Wicked Pt2," and "Quarantine Freestyle." Yet still, the cordial embracing light of day manages to find a way in shining over other tracks like "BQE" and "I Do,"; proving that M E has gathered all his Musical touchstones with a connoisseur's ear, propelling him to become the House-hold name in Hip-hop we always anticipated. Can you run us through the conception of this Album? Where were you mentally during the recording and writing process of '20/21'? 20/21 is the second installation in a trilogy of projects designed to highlight competing narratives around being unapologetic and vulnerable at its most accessible points and Freud's Personality Theory at its depths. The goal of 20/21 is to empower but to also highlight the juxtaposition of our perception of reality vs reality itself. In other words, multiple shits can exist at once and that's cool. The concept of this album came in 2018 when I began envisioning the trilogy however, most of the songs were written and recorded during the Shutdown between March-May. In terms of headspace, I had actually quit my job for the first time like a month before the shutdown. Perfect timing right? Fun fact, you do not qualify to receive unemployment if you quit your job; so the struggle was real during those months. It's not like I was booked heavily prior to COVID, we were putting on our shows. So everything stopped. I say all of that to give context to the environment in which this album was written especially with songs like MAAD or the Outro. How did you manage to curate the cohesiveness of this Album's playback? What governed the order of each song that dissolves from one narrative to the next? The Album order to me is one of the most important aspects of an album. For 20/21, the narratives of each song dictated the order. Of course the obvious tracks like Anti-Intro or Quarantine FreeStyle were made specifically for the positions they occupy respectively. An example would be MAAD, on its surface, it's just a track highlighting triumph in spite of the inherent adversity the narrator experiences or observes. Dig deeper into how it relates to the other tracks on the album and literally it's taking a raw emotion, anger, and turning it into a superpower. All of a sudden the narrator is charged and on the attack; "We ain't flexin' dog/ We just better here." That "cape-revealing" moment has to happen before the narrator can even deal with introspection or something as complex as love found in I Do, which has to happen before articulating the layers of mass incarceration and its unintended victims found in Jerome. Each narrative plays into the next by revealing more of the narrator's self-awareness sense and growth. In addition, there's a Yin Yang relationship going on with some of the track placements such as New Black and King Solomon or within the song, i.e. Wicked, pt. 2. All in all, multiple elements come into play when dissecting the track order. What was the most crucial learning experience for you out of the entire process of releasing this LP? That's a simple one; you can never grow if you're never uncomfortable. Self-explanatory. Can you give us a few words of your own that would act as the Prologue to the experience your listeners can come to expect after listening to '20/21'? "20/21 is a slow-releasing conceptual album that lays it all on the table, you just won't notice it until you finish bobbing your head to the beat." What are some of the new Milestones you are going to be aiming for after '20/21'? Have you already made any moves in trying to inch closer to those goals? Milestones beyond 20/21. Please forgive me, my goals, and plans I keep close to me but I can share with you guys what you can expect from me as it relates to music. First, closing the 20/20 trilogy with the follow-up to 20/21. I've begun work on that album already. 20/21 has a short film/ visual album companion that we will release in the Spring of 2021. Follow me on social media for updates regarding that and for sneak peeks. The Aguille Collective, the artist collective I'm a part of, will be releasing 20/21 inspired merch Fall 2020 along with a few music videos for the album. My collective-mate T-Bell from Toronto will be releasing a Nipsey Hussle smash-up project set for release this Winter. Another collective-mate Jave, out of NC, is currently working on his debut album. Needless to say, we have a lot coming to the surface over the next year. Stay Tuned! btw Shout out to Rashaad King, Goodz, and Mike Roach in NC, we definitely admire the hustle. Instagram Website #BUZZMUSIC

Floridian artist Kerri Martin has a specific goal in mind when constructing her music: crafting real and honest expressions that can help listeners navigate through their own lives. Self-producing all of her own music, Kerri Martin truly highlights a one-woman kind of artist, and is able to intentionally frame her music with all of the components she feels is necessary. With a persistent style of structure, as well as thought-provoking lyricism, Kerri Martin is able to leave a lasting impression with her amicable sound, ultimately leaving listeners in a state of contemplation. One of her most reflect soul-searching EP releases includes "Haunting Me", which covers many emotive entities, all while maintaining peace and harmony. There's most definitely a methodical approach that Kerri Martin took when constructing "Haunting Me". The very first track off the record, "I Can't Believe The I Love You's" hones in on vulnerability and the level of influence that can come as a result of heartbreak. With such a potent and powerful theme, "I Can't Believe The I Love You's" feels incredibly affecting, which mainly sources itself from the level of emotion portrayed in the vocalism of Kerri Martin. She's able to present herself with the appropriate affection, all while remaining poised and confident with her wording. The following track, "Her", has a similar level of sentiment, but feels much more light-hearted. The production of "Her" is what establishes a very serene and tranquil ambiance, bringing many varying levels of warmth to the ears and hearts of listeners. Kerri Martin has the type of vocalism that lightly touches you, and that mainly extends from her calm level of vocal control. There does come a time within "Her" that feels like the enthusiasm was ramped up in a balanced way due to the integrated level of instrumental orchestrations. We're brought into a more delicate embrace with the EP's third track, "Haunting Me". There's a slight cinematic feel to the way Kerri Martin contracts her vocals in this track, which allows the effect of the song to feel all that more prominent. "Haunting Me" is a great opportunity for Kerri to highlight her weaving dynamic as a music artist, and this mainly comes from her ability to develop a certain seasoned vocal performance. There are many chances to sing along, daydream off, or soak in the actualities of "Haunting Me". Such actualities being the level of influence a certain person can have on another, including the painful scars left behind with past lovers. The theme of the EP becomes all too clear with "Haunting Me", and chances are the majority of listeners will be able to relate to the reminiscent pain of Kerri Martin. "Finish Line" is the last and final track on Kerri's EP, "Haunting Me". The production increases in luminescence, bringing flavourful instrumentals to light. With a chimeric tone and impassioned lyricism, "Finish Line" offers bursts of hope and chances of encouragement. There's a respectable amount of honesty that goes into "Finish Line", and Kerri Martin becomes extremely relatable in the sense that she brings topics to light that some of us may not put much mindfulness towards. And, in essence, that really is the takeaway from Kerri's entire EP: putting forth thought-provoking lyricism into lush and chordal orchestrations of sound. All in all, "Haunting Me" allowed us to appreciate the aesthetic Kerri Martin brings to light with her theatrical style, and we've taken tons of learning lessons away from this songstress wisdom. Hello Kerri, welcome to BuzzMusic, thank you for chatting with us about your EP release. There's such a clear and potent theme presented within "Haunting Me". For our readers who haven't tuned in yet, can you describe (without giving too much away) the core attitude and outlook "Haunting Me" possess? “Haunting Me” is an EP of four tracks each showing a different perspective on the role of vulnerability in relationships. Whether it's through a loss of trust, wanting to hold onto someone that isn’t there, or the fear that comes with falling in love, a common theme of vulnerability is present. The songs on this track not only come from a vulnerable place within myself, but I think everyone shares these feelings in their own way, and that's something that comes across in this release.  Your EP definitely delved into many heartfelt topics that offer chances of reminiscence and introspection. Were these the effect you were hoping to have on your listeners in the big-picture of "Haunting Me"? What kind of impression were you hoping to impart to your listeners with this release? In the process of creating this EP, I didn’t focus on an overall impression of the release as much as I wanted to tell each individual song as a story. For example, in the song “Haunting Me”, I wanted an eerie, daunting feeling so I added wind sounds and heavy drums. Differently, in the song “Her”, I wanted to convey a fragile and reflective mood. The instrumentation of strings, brass, and harmonies help to bring that message across. Once I arranged the four tracks into an EP, they ended up giving an impression of reminiscence and introspection because they were each given their own space to develop as a not only a song but also a story.  What kind of lessons did you learn yourself that stimulated the manifestation of "Haunting Me?" This EP was written over the span of a year, and I have learned countless lessons at that time. One example is in the song “Haunting Me”. The lyrics state “I can’t love you back together if you don’t love me”. The lesson learned here was that you can love somebody and still know it's not healthy to be with them. Outside of personal lessons, I have learned so much about the music business in the past year. Hours of research and trial and error have contributed to what I’ve learned in regards to recording, gigging, and promotional techniques.  Out of the four tracks presented on "Haunting Me", which track do you personally feel had more of an effect on you during the writing and recording process? The song “Her” still gives me goosebumps every time I hear it. The story this song is about has grown and developed since I had originally written it and the piece takes on a new meaning when I sing or hear it now. The writing and recording process for this song happened so slow and then all at once. When I created “Her”, I actually wrote the lyrics in my room late at night with no instruments. In the morning, I picked up a guitar and matched chords with the melody that was in my head. Months later when deciding to record it as a track for the EP, all of the instruments and sound poured in at once. The full song existed in my mind long before it was pieced together to become the track you hear today. There's something about that song that will always sit differently with me and that's what makes it so special.  What has been keeping you inspired in 2020? For so many people, and musicians especially, 2020 has been just terrible. I was definitely on an uphill climb, gigging locally, and being really active in my community before the pandemic started. However, as a 17-year-old high school student, I didn’t lose anything that I absolutely needed. If anything, quarantine gave me the time that I had been wishing for so long. Music has always been a way to decompress from my busy lifestyle of high school and college classes as well as probably one too many extracurriculars. Having the whole world slow down has given me a chance to dig deeper into my music and myself as an artist. “Haunting Me” is an EP I’m extremely proud of and I accredit a lot of that to the hard work and hours that have been put into this release, whether through the collaborations with guitarists (Daniel Lopes and Marcelo Celi) as well as a mastering engineer (Endion Media) who brought these tracks to a new level. instagram.com/kerri.martinn #BUZZMUSIC

SRE is the young-budding Hip-hop craftsman with an unparalleled aspiration to transform into something more consequential than artists on the current charts. He began making music faithfully one year ago and, to this day, maintains as The Candian Metropolis's most anticipated drip-drenched and smooth versifying new-comers, so naturally, that ambition should come as exciting for his fans. Embodying his urban-roots, SRE's enthusiasm for music keeps with it's notoriously diligent and spurred velocity in his flow with the leading single, "DVP," off his EP 'Honda Vibez,' which, so far, stands as the next stanchion to dock under his extraordinary Hip-hop-inspired technique and aesthetic. Here, over the light allegorical wit revolved around the core of all traffic going into the world's fourth-biggest City-Center—The Don Valley Parkway," Sre turns left and right between escorting Top-lines and into scoring Urban-cemented refrains. His tempered Rapping patterns embellish a kaleidoscopic landscape that uses the crisp metallic cadences of shining 32nd note hi-hats, a punch-inciting low-end, and the perplexing automatons of surrounding synth pads to diffuse intoxicating vibe from out of thin air. When listening, it's easy to lose sight of the adhesive beat garnishing this urban-swaggering single—tambourines percussion and coruscating samples and snares flashing over every transition—because of the magnetic nature behind his Azizi Gibson-reminiscent steadfast cadency and witt. His sonic niche on this track is bonded in a foundation that bounces off his clever wordplay. This is anchored by the anecdote of driving down life's Don Valley Parkway-reminiscent zig-zags: "the DVP is meant for metaphors and all-night journey drives," as he says over the hook. Even after the brief timeframe, SRE has spent jaunting across and dodging the temptation to join the clogged mélange of Trap-house-soaked sonics departing from most Toronto-based rapper's catalogs these days, and the Scarborough house-hold name distinguishes himself nonetheless; glistening with Hip-hop exceptionalism and innovate wordplay over "DVP." What was the metaphor and anecdote behind "DVP," and what influenced your use of the Canadian highway as the main focal point? The metaphor behind DVP was to keep moving even if it feels like you’re not going anywhere. When people with a dream have a deep passion for something and we’re just starting or have been doing it for years, it feels as if everything is like an elliptical- you know you’re making moves, but you’re still in the same place, and that can be very irritating. I used DVP, Don Valley Parkway, as the main focal point because it is the highway of the unexpected in Toronto. For example, there would be moments where I feel like I’m cruising and I’m seeing results while other moments feel like I’m stuck dead-center in traffic and my whole life is on pause. I compare traffic or being stopped by cops to delays throughout someone’s journey as well as accidents are distractions to make your eyes wander when it’s not your business because that can also make you get into a collision when you’re not focused in your lane. The anecdote was to just express how anything can be an obstacle when you’re moving forward, especially when you’re trying to move on your time and not God’s. Can you tell us about some of the emotions and inspirations you needed to hone in on to get the performance you've capture on this track? I had to enter into a mind of lonesome enjoyment. Have you ever been alone to a point you enjoyed it? Like your vibe is just top-notch by yourself? Sounds depressing, but it’s not, I promise you, it’s just another level of protecting your energy and environment while loving yourself at the same time. Sometimes too much company can clutter my mind, but I’m always down for a good time. My mom is a strong inspiration as well. I’ve seen her go through so many things as a single mother that it seems as if whatever obstacle is thrown at her, this woman will not fall nor crumble, yet her energy is always high, no matter who is around. She always encourages me to smile, relax, and enjoy life for tomorrow is never promised. So, I took that same enjoyment and relaxation energy to implement it into this track. What sorts of sentiments and physical sensations were you trying to recreate for your listeners throughout this track's playback? I was trying to recreate a melodic, late-night drive with good company while making ways to your favorite spot. For me, there’s something about downtown Toronto, Yonge-Dundas street, that I can’t get enough of. Between the bright lights, electronic billboards, street performers, and that open space that makes your head spin when you turn, just create an exciting northern light, Broadway experience for me. How does "DVP" fit into the Narrative you've rendered up behind 'Honda Vibez'? DVP fits perfectly into the narrative behind “Honda Vibez” because of the feeling it produces. Throughout the track-list, it takes you on an adventure of what a typical night looks and feels like for me when I’m driving to get away and clear my mind. Every song has its own story, but every track leads into the next that focuses on different situations that mainly happens on a ride, allowing the listener to enter into my world piece by piece. What's next for you? As of right now, I’m continuing to improve myself as an artist, market my brand more, and build new connections with other people. 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Emerging Pop/R&B artist Alex Oliva is making a spot for himself within the music scene today. Drawing a vast array of his influence and drive from artists such as Stevie Wonder, Anderson. Paak and Daniel Caesar, the music of Alex Oliva tends to surface as a blend of modern-day pop with hints of contemporary Hip-Hop. Alex Oliva ultimately has an intrinsic drive to entertain others, all while wanting to inaugurate positive energies within his listeners. His most recent release does precisely that, titled "Baby Girl" and has a potent voguish aspect, ultimately setting the tone for what listeners can expect from Alex Oliva's artistry. Alex Oliva has genuinely created a bubbly and illustrious atmosphere with the release of "Baby Girl." Using his flirtatious vocal styling to establish a coy presence, Alex Oliva draws his influence from the trends of today and is strategic about the audience he sings for. "Baby Girl" is compelling and follows along the thought process of lust versus love. Accompanied by a minimalistic production, "Baby Girl" is vastly reflective of the men today, and the contemplation they undergo during feelings of attraction. The melodic pop styling drives an inspirationally-charged ambiance, and Alex Oliva's vocals are most definitely the forefront of this single. Alex and a warm welcome to BuzzMusic. Could you delve more into the lyrical concept within "Baby Girl" and the strategy behind choosing the lyricism you did? Ultimately when I wrote this song, I was thinking about the people who catch your eye and just have something about them that's insanely attractive. I think everyone can agree that they see a bunch of people they find extremely physically attractive every day, but the feeling of seeing someone who just blows your mind for some reason you don't even know is something much more powerful. Songwriting wise I wanted to take the listeners through a story about the emotions and nerves everyone feels before they approach someone who they're really attracted to. There are two characters, one guy and one girl and the guy is insanely into this girl who he's just seen for the first time. The first verse is about how this guy is absolutely shocked at how attracted he is to this girl and everything she does that makes his head turn. The second verse is about him deciding whether or not and how to approach this girl. The third verse is him actually approaching her and it working out. The production of "Baby Girl" was incredibly elemental, which really allowed your vocals to shine through in the track. What was the thought process behind the production of the track, and what would you say it was ultimately influenced by? On this song, my friend Lesedi produced it https://www.instagram.com/lesletebele/. We are also working on the next couple of songs together. This is from him, "The aim was to provide a platform for the vocal line to have the limelight by not trying to do too much in the instrumental. Removing elements that distracted from the lyrics was a big part of reaching the end product. I’d say that a lot of the production process was influenced The Neptunes: I was listening to a lot of their earlier music at the time of making this and I love how their minimalistic arrangements give a song its groove, sets the mood, and gives the vocals space to roam all at the same time." As an artist who's currently enrolled at a music program at USC, how would you describe the balance needed in order to accomplish both your schooling and artistry and do you find the two overlap in a complementary way? I would say that it's certainly tough to balance both school and artistry. Luckily my education is contributing to my artistry and helping me become more skilled in my writing and performance. However, my artistry and my education are separate in many ways. For example, after I'm done answering these questions it's back to studying for midterms. We've heard that you're set to release new music in the near future! When can listeners expect further releases and how should they prepare themselves for these releases?! New music should be coming at the beginning of next year, I have a couple of songs in the works that I am really excited for people to hear. Also, stay tuned for some visual work with Baby Girl. What has been keeping you inspired in 2020? When quarantine first started, I felt that I could either curl up and hibernate for 5 months or grind. I chose to grind and I couldn't be happier. I listened to a lot of new types of music which really helped me reinvent myself as a writer. Seeing all my friends writing and releasing their own music, and building up their reputation as an artist motivated me to get my shit together and make something I was proud of. Instagram #BUZZMUSIC

Toronto's fusion pianist Desarae Dee releases her bright and atmospheric single titled, "Be Original." Often compared to the works of Robert Glasper, Desarae Dee's merging of vast styles allows for otherwordly sonic experiences. Serving elements of the past and the present to throw listeners into a dynamic ride, Desarae Dee's music will undoubtedly leave its mark on any audience. With her ambient single "Be Original," Desarae Dee takes listeners on a three-minute journey through modern-day production and nostalgic synth work. Not to mention her soulful and jazzy piano playing, Desarae Dee brings heavy atmospheric vibes within this instrumental, giving the listener a blend of R&B/Soul and Jazz. "Be Original" begins with a pulsing piano key and warm background strings; as a variety of funky synths make their way in, we're instantly lost in the song's warm R&B atmosphere. The synth work transports listeners into this mildly psychedelic space that serves a taste of 70s Funk. What keeps our ears listening is the track's wild unpredictability, shifting from heavy synths over to soulful piano melodies that bring vast uniqueness through Desarae Dee's textured and off-beat style of play. Closing the track with heightened vibes through heavenly chimes and bright background strings, we love the depth and intricacy that Desarae Dee instilled into this groovy instrumental. Another track from Desarae Dee where we're highly impressed with the textured atmospheres she's delivered, especially with "Be Original," it's clear that Dee sticks to this motto within each of her tunes. Once again, we're highly impressed with the meticulously crafted instrumentals within "Be Original." Why did you choose to title the track "Be Original?" How do your instrumentals reflect this statement? Be Original” is an ode to staying true to your unique self and for me, it’s staying true to my unique style of playing. My playing is spontaneous and unconventional and that’s unique to who I am and sets me apart from others. I never want to stray from who I am and it’s important for me to stay true (original) to my artistry. I am always creating new and original ideas and although I have musical influences, I have always stayed true to the musicianship that I display in my music. Could you let us in on your creative process for "Be Original," what fundamentals did you start with and build on when creating this piece from scratch? Be Original was originally created for my #DailyVibes producing series on Instagram and I knew that it was a song that I wanted to release. The process of creating this song started out with the main melody that you hear throughout the song and I built around that by adding all of my musical style influences • jazz and gospel chords and nuances, as well as various synth, sound throughout. The middle section is the part that no one expects as I threw in a gospel choir riff with underlining “phat gospel chords” to give it a gospel feel, with the added drum patterns. Overall, I wanted this song to showcase all of the musical styles that I studied over the years and making “originality” the forefront. You've mentioned that you're constantly in evolution mode. How has your sound and brand evolved over time to land where you are today? Evolution in my art is so important to me because it shows me how far I’ve come in my development and my way of thinking when it comes to music creation. I started off as just a “jazz pianist” to now becoming a “fusion pianist” and that’s because I took the time to analyze and learn different musical styles that I incorporate in my playing, I listened to different artists and producers (outside of my musical influences) and learned how to produce for multiple instruments and learning the art of sound design. Today, I now feel comfortable in my sound as both a musician and an artist and it has been quite a journey for me so far in my career. We've heard that your sound is often compared to the likes of Robert Glasper. What other artists might have inspired your thorough instrumentals? Some other artists who have inspired some of my instrumentals are Ryan Leslie, Sango, GoGo Penguin, and Snoh Aalegra. What has been keeping you inspired in 2020? 2020 has been a year of me giving back during these times of COVID-19. My goal has always been to “inspire lives one music note at a time” and this has given me the range to share my gift in many ways through the musical content I create on social media. I have also continued to encourage, support, and advocate for women musicians in the industry and being consistent in all my endeavors while continuing to create great music! Instagram Facebook #BUZZMUSIC

The LA-based Country Singer/Songwriter Christie Huff returns to BuzzMusic with her desirous and poetic ballad, "Palm Reader." Growing up in Arizona while continually taking trips to co-write in Nashville has allowed Huff's deep Country roots to shine through within every piece. She's not only seen success through streaming, as Christie Huff has opened for staple Country acts like Jason Aldean, Billy Currington, Kip Moore, Toby Keith, and Bebe Rexha. With her latest single "Palm Reader," Huff encompasses true songwriting talent within this lyrically captivating ballad. Through softened acoustic guitar, slow and airy drums, and Christie Huff's powerfully clear vocals, the song allows listeners to feel this longing sensation that Huff describes ever so purely. "Palm Reader" gracefully opens with acoustic guitar and soft electric guitar mirroring melodies, setting the song's saddened, melancholy, and reflective tone. As Christie Huff's inviting vocals appear, she begins describing these constant and recurring dreams of longing to be in someone's presence. We can't help but feel an aura and delivery similar to Carrie Underwood and an early Taylor Swift. With warm ghost vocals and added bright piano, beauty and grace are exuding from all corners of this track. The hook serves beautifully crafted melodies through Christie Huff's mesmerizing vocals and the song's supporting instrumentals. Huff's vocals are so magnetic yet seem so effortless and easy as she haunts up the song with her feathery performance for listeners to fall back on. The overall song "Palm Reader" captures listeners in a highly reflective dream-like atmosphere, while Christie Huff pulls us in closer with her balladic lyricism that anyone can relate with. We're completely mesmerized by the experience you've delivered with "Palm Reader." What was it like writing such vulnerable and reflective lyrics, does writing deep and heavy lyrics come easy to you? Thank you so much! Writing “Palm Reader” in particular flowed out of me pretty effortlessly, but it isn’t always that case. I was just inspired at the moment to write a song about finding my one true love because I was going through a breakup at the time. I was just sitting with my feelings and hopefulness for the future out came “Palm Reader”. How does "Palm Reader" stand out from the rest of your music? Is this your first time around creating a solemn and reflective ballad? The story aspect of “Palm Reader” is unlike anything I’ve ever released. And yes lately with the release of singles I’ve been putting out more up-tempo songs. “Palm Reader” definitely stands out since it’s more of a ballad. Within your artwork for "Palm Reader," we noticed a few tarot cards and candles around you. Would you say that you're a spiritual person, or was this inspired purely from the song itself? I am a spiritual person myself, but I definitely played that up for my character of the “Palm Reader”. I always like diving into the imagination of my songs with the artwork. We've heard that you've gotten to open for a variety of staple Country acts. Could you tell us what these experiences were like and if you learned or took anything away? Yes, I’ve been fortunate enough to open for Toby Keith, Jason Aldean, Kip Moore, and Billy Currington! I took notes of their performances for sure. Every one of those artists knows how to command the stage. Just being able to perform on the same stage as they made me better wanting to measure up as much as I could to the kind of performer they are. Definitely a dream come true! What has been keeping you inspired in 2020? The main thing keeping inspired in 2020 is the time to actually reflect on certain things in my life and write songs about it. When I was getting stuck in the shuffle of things it was hard to have time to even think about anything other than the hustle of it all. One silver lining of 2020 is the time to be creative! Instagram Website #BUZZMUSIC

Flowing like a volcano and dripping verses off the top, Tim Jones has transformed himself to a much-esteemed Chicago Emcee driven by his passion for making a better world by of his introspective and City-repping music. His Debut Album, 'Open Mind,' invites components of the immortalized soul, acid jazz and rap, urban rhetorics, gospel-croon, blues-swing, R&B hums, swinging cadence, and Oswin Benjamin, Jasper Logan, and the notorious BdotCroc to the same open-mic cipher. With his Sonic clique's support, "ADHD," which stands for 'always driven having determination' and performing under the Moniker "Teo The Artist"—this Debut docks as the first stanchion is the Chicagoan's gospel of upliftment brought on by the introspection of his past encounters. He manages to give life to his once ominous variations of the past through his versifying mids-booming-tonality and his background as a gospel and jazz songster, reducing and infusing into a stewy pot that borrows freely from the upbeat vibes some of Chicago's biggest Rappers. A song like "World," stands out in this synopsis, where inebriating versified cadences from Teo and Jasper Logan renders up like a scene from "Cocoa Butter Kisses," in Chance the Rapper's 2013 Acid-Rap, with a similar Wurlitzer backdrop, and the same exacting swing. That shouldn't come as a surprise since all three mentioned cultivated their surrounding inspirations from within the same river-parted Windy City. Here, much like his previous endeavors, Teo takes aim at his ney-sayers and boasts like the ready-made Rapper he lyrically renders-up as through his confident, but calm demeanors. And he does this while the expanses in his Church-nostalgic swan-dive become festooned with crisp punching R&B reminiscent beats, spilling over its edges with a cherubic choral of filtering harmonies synergizing as one. When we're met with "Yams," which is garlands the equivalent Hip-hop inspired back-beat behind Acid Rap's "Juice," but feels a far arms reach away in how Teo stays true to his own well-developed magnetizing and steadfast flow; sprouting into a jazz-centric scintillation that chaperons us on out the back door, and into "Marley." If you enjoyed anything like "Everbody's Something," from the same Mixtape, you'd like what you find here. There's a walking serenade-like pad beaming in the backdrop as carbonated underwater influx and the audible scars of a vinyl record takes us from the marching cadence of "Yams" and into a featured verse from Oswin Benjamin that slices through the woofers of your speakers with a vengeance, while utilizing the same confidence exuding flow as Joey Bada$$ from "1999." When you get somewhere halfway through 'Open Mind,' it's the grande piano manifested love-sick confessions of "You," that brings out the touchstones of the monologue tallying days from Mo-town, this time, with a new-age lounge aesthetic. The cadence stays steady here, mainly being driven by the anecdotal nostalgia and bear-hugging goose-bumps that Teo produces with every whispering incantation of his hook, "cause even when it hurt just know you're good enough for you, I know it's hard to say, but say I'm good enough for me." Over the verses, he reminisces about the fleeting sentiments of the past, oozing with inductive cessation-filled notions that would make any cold-heart ache with the burning-passion of Teo's flute festooned left turn into the existential crisis of "Smiley." Opening up with, "he's really sad, but you can't tell, cause the memes and music hide it really well, life's pretty bad, but oh well, no one gets it anytime I try to tell," the soul-sapping song, "Smiley," draws ironic melancholy from the idea of hiding your problems away behind a fake smile and the exaggerated enthusiasm you can expect appended—which he does the opposite of here. Over a punchy Hip-hop beat and the same adorned Grande Piano from before, Teo The Artist confesses his turbulent Mind's dismissal corners: "have you ever had the burden of a dream?" he asks during the fleshy verses of his Sad-boy aesthetic, "tryna find out what it means, and you really think you capping, cause it's probably just a dream?" He's divulging about the vulnerable aspects of second-guessing yourself as a perfectionist harboring tremendous egalitarian visions. With space-soaring 80's inspired synths, this song stands as the magic door into the wavering Mind of the Chicago home-grown underground hero. Songs like "No Worries," and "Crazy," it's safe to say there's more underneath the shell of the Acid Rap-consuming and Gospel-soul-inspired melancholic Rapper. Within the hazy and piano festooned backdrops of 'Open Mind,' operates a club champagne-popping hype-up party titled "No Worries," which features the drawl resoundings of BdotCroc and Poodie for the radio-active anthemic stanzas highlighted over this banger. Then there are the oscillating, spacious dusky tip-toeings behind "Crazy," which traverses above Teo's riffling verses, resembling someone like Big Sean. Intervening somewhere nearby, but far in-between, where 32nd note high-hat scatterings withdraw endorsement from the drippy vibes of Trap-music. When we arrive near the final last-call signs passing by on the winding journey that Teo The Artist expresses with heart-throbbing introspections and uplifting club-banger production—sometimes detouring with the inebriating vibe he draws from Chicago-greats before him. It's almost impossible not to feel absorbed in the theatrics and performance behind his sonic escapades. Especially during the gospel-jazz Séances of "Care/Feel," and "Soul," which stand out as the most embellishing moments of "Open Mind," where Teo shows his most serenading variation of the name. The booming subs halfway through "Care/Feel" runs over you like the drill-lap at your local marine training site, before it swan-dives into the soul-enamoring harp-trills of the infatuating audible daydream that "Soul" renders up so vividly. Here, Teo mentions his disturbance with suicide and his impatience with God's plan, giving his audience a deep-vision into the authenticity and spirit behind the budding artist's internal turbulence. It's not a song festering over the problems of his past, but instead, an epiphany focused narrative that resembles the meditative state this album playthrough leaves you in; uplifted and renewed, ready to take on the challenges ahead with a new empowering soundtrack graciously provided Chicago house-hold name himself: Teo The Artist. How did you plan out the cohesion behind 'Open Mind's' playback, and how one song's narrative blended into the other? Flow and cohesion are always some of the biggest factors in my mixtapes. Every great project that I’ve listened to needs flow and making sure everything fit was the hard part. I literally cut and rewrote songs just so they could fit the vision of OPEN MIND. OPEN MIND is literally me expressing different feelings, emotions, and thoughts I had. Every track is a different frame of mind. I wanted something that flows but shows how abrupt and transparent my thoughts are. That’s how I was able to speak on things like death, depression, suicide, feeling inadequate with music, and oppression as a black man. I plan my music the same way I plan my shows. I want both to tell stories and leave people with a message or just something that sticks with them. Do you feel like Chicago has a significant influence on how this Album turned out, both aesthetically, the performances featured within it, and in the sentiments, you were trying to capture throughout? Well what can I say? It’s home. Chicago has always had a big influence in my sound. From growing up a church, then later a jazz musician to listening to artists like Kanye West and Chance The Rapper, it’s something I incorporate in my music cause well it’s apart of me. Plus, some of the people I collabed on the tape with like Alexis, Bianca, Jasper, and Black Glove (Sam Wise and Sick Philz) are from Chicago too. I told everybody I worked with to be free and be themselves. It gave everything an organic feel. I always try to show love to Chicago in my music cause the city and the people gave me a lot. From people who literally went out their way to help me like my mentor Add-2 (Shouts out to Add), to everyone who listened. This city built me up and I’m forever gonna be grateful. If you could pick three songs from this Debut Record that you feel represent the message and influence behind what you strive to do as an artist, which would they be, and why? Well definitely The Big Picture, Family Matters, and All Love/Peace. The Big Picture because it’s literally about having the mental freedom and being secure enough in your identity to create. I feel like sometimes I get in my own way. I’m working on allowing myself that freedom to create or even just be myself without holding myself back. Family Matters cause Black Lives Matters. I will always be an advocate for my people. I wrote this song because I wanted to give a very specific message to black men and women. For the last year way before the protests this summer, I wanted to speak on the disconnect between black men and women. I think unity now more than ever is crucial because if we can’t unify we will not survive. So I’m gonna always make music that uplifts black people. Black Lives Matter. All Love/Peace because well as artists, not every aspect of being an artist is not sweet. It’s actually kinda horrible sometimes, yo. However, there are times when it’s worth it. But when people come up to me and say, “This song helped me”, “I was really in a dark place and I heard your music”, or just a simple “ You dope bro”, then it’s worth it. That and Bianca Shaw bodied her verse and just that song in general. Shouts out to B. Black Glove came in and did they thang, yo. Jason and Lyndsey added some seasoning and it was awesome. When you think back to this Record's inception and method, and especially behind writing, recording, mixing, and mastering, what stood out as the most impactful learning experience behind "Open Mind"? I learned a lot through everything. Cause with writing, I had to really focus and really dissect what I wanted to say. I wanted to really speak about something that matters. You can always rap for 16 bars and not say anything. I’ve done that before. I wanted this time to be different. I am an audio engineering major when I’m not doing cool stuff so I used every new skill, technique, and trick I learned on my tape. Recording, mixing, and mastering was a process in and of itself. Cause it’s one thing to engineer yourself, but it’s completely different to mix other people. I don’t know if I can narrow down just one experience. Maybe the introspection it took the make the music. It was not anything overnight. The project took two years to make. All Love/Peace and Eulogy are two years old. Internalizing everything was the biggest learning process cause I learned more about myself. If you could give your audience a few words that would act as the Prologue to the experience they can come to expect from "Open Mind," what would you say and why? Simply “Have An Open Mind”.This experience is one that’s from a genuine place. Hopefully, people listen to this tape and see themselves in the music. My story is really not that different from somebody else’s. So listen to it and have an open mind. Instagram Website #BUZZMUSIC