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George Morgan III, also known by his cognomen Buddy Luv, is the Erie Pennsylvania-born verse maker who draws his stylistic touchstones from the Golden Age of Hip-Hop. With influences transversing between Jay-z, Biggie, and Tupac, his affluence for bar-riffling verification is something that mirrors his accomplishments academically—a bachelor's degree in Political Science from Penn State University and a Master's Degree in Sociology from Edinboro University. Using Music as a therapeutic release for all the congestion in his mind, Buddy Luv releases his latest remedial Hip-hop classic, "The Don Way." this year, and it stands as a true testament to the captivating magnetism this Emcee produces when he gets behind a microphone. On "The Don Way," Buddy Luv chaperones us through a macrocosm of tumultuous textures that captivate from the first moment the sonic air pressure reaches our ears. The Erie-native maneuvers over his versifying flow with the veteran assuredness of an elegist who seldom practices riffling triplet theatrics or inebriated mumbling coercion. The production here bounces over old-school-vibed instrumentations of earthy drums, a fat bass guitar, and a hoopla of lolloping horns and guitars that signalize the transitional periods during the entire artistic escapade. There are the periodic drum-fills that envelope the mix's expenses and infatuate with how fitting their presence feels, while never taking attention away from our Emcee standing front and center. He's precise with his lyrical jabs and witticisms, and as he divulges his vaunting narrative, he draws reminiscence to the late Nas by way of a steadfast cantor and his outlandish swagger. It's no surprise our fingers are already reaching for the replay button as the Urban metrist evaporates amongst the playbacks age-less fadeout conclusion. What were some of the sentiments you had to focus on during the recording of "The Don Way" in order to establish the texture and character you've become recognized for? I haven't recorded music since last November. I've been itching to record music but due to the pandemic, I had to put the recording on the back burner. Every time I record new music, I try my best to improve as an artist and make the project better than the previous one. While recording "The Don Way" I had to continue to get into my zone of confidence to ensure the delivery and beat were in sync with one another. I knew going in that the song was going to be featured on Fat Joe's mixtape, so I wanted to make sure I was bringing the energy and bars. It was refreshing to record again after an 8-month break. What fuels your artistic intuitions other than the fact that Music stands as a form of mediation for you personally? Things that take place within our society fuels me and allows me to think independently about what's going on, both good and back. I am a fan of studying history and researching so I like to compare and contrast societal problems from the past and present and write about it. Do you feel like your education had a considerable influence over the technique and aesthetic you render up as an Urban artist? I believe so. I consider myself a lifelong learner so I'm always studying something whether it's how to improve as an artist or something pertaining to our society. In one of my studio sessions in the past, another guy was present while I was recording with the engineer. In one of my songs "The Briefing Room," I said, "In regards to 13 let's study thee amendment, indignant, inhumane insane infringement/abolished slavery except as a punishment for crime/slaves used as state property doing time/". The guy looked at me and said "a man after hearing you I need to go pick up a social studies book or something!" To me, that was great feedback because, with my music, I want people to think about what I'm saying because my lyrics have substance. If you could give your audience a few words that would serve as a prologue to the sonic enterprise you're about to take them on, what would you say? Thought-Provoking, energetic flow. When you hear "The Don Way" think of some of the most popular mafia movies, figures, etc. What are some of the creative Milestones you've been aiming for this year, and what steps are you taking to inch closer to your goal? I hope to work with more producers and get more music on all platforms. I am trying to be innovative but remain genuine at the same time. I'm striving to create unique concepts for songs, create thought-provoking music people can relate to, and move in the club as well. I'd also like to collaborate with other artists across the board. instagram.com/buddy_luv23 facebook.com/Buddyluv23 #BUZZMUSIC

Rytis is the Jamaican-born Rapper who manifests as the sonic cohort of ominously infectious hooks, riffling verses, and innovative tones. He transverses the bordering genres of New-age Hip-hop, and Classic R&B, amalgamating them unitedly over his seven-track Debut, 'Da 5 Senxes'— an intrinsic journey through the ingenious mind of this New-York bar-dispenser. Over the course of a fifteen-minute runtime, Rytis delivers a concise and compelling tasting of his fresh and cultivated character which renders up a doomy texture over his antagonistic tonality and hefty tenor. The opener, "Five SenXes mantra Intro," is a New-Age excursion, establishes Rytis's Ominous, slow meandering, and intoxicating textures. It's all found throughout his varying flow as his barred measures penetrate through the minimalistic Hip-hop beat found on this track. The venture picks up mid-way through, turning on the turbo-drive for Rytis and his riffling stanza of scintillating bars, before returning to the Mantra-like incantations of the cryptic-sounding Hook. It's a refreshing take on contemporary Intros designed to festoon the upcoming playthrough of an album's trajectory. As we slip into the first of three highlighting Anthems found on this record, "The King's Anthem," lays up for a slam dunk with a twinged-out electric that inaugurates the runway for a warbling R&B-reminiscent topline. Here, the melodious hook wreaths this track with a swaggering accent which glides mid-tempo over a meticulously resolute inflection. When Rytis enters the spotlight for his verses, it's an excellent illustration of this Emcee's affluence for toppings his productions with an innovative and back-lit textured versification. It's a Debut with excellent cohesive flow from one song to the next, minus one outlier that draws an accurate tribute to his heritage, but feels stunted due to the mix's over-saturation with prismatic sonic toys and hooks. Here, on, "Needy Tings," Rytis takes us back to Jamaica's fair-weather shores. This number lands with a Dance-Hall tropical vibe that would have anyone bouncing over the simmering sonics that oozes over the congested verses. It's an endeavor that spins out of control and borders the edges of becoming overwhelming during some of the filtered-out transitional sections, but somehow, still manages to fit into our heart-shaped boxes with ease. This one is definitely an outlier to this album's cohesiveness as a whole, but find a nostalgic place in our Dance-hall adoring cores. The next anthem to show face on this playback is titled, "The Hater's Anthem," and it renders as a dubious attempt at channeling the touchstones of New-wave cryptics by incorporating veteran Emcee confidence amongst buzzing harmonics that blush over the infatuating Hook. It all culminates in garnishing this second Anthem with its R&B reminiscent vibes. This track stands unsurprising as the second in a three-part trilogy and shines similar to its predecessor's mystifying production. With only a minute and a half runtime, this Anthem feels short and sweet, leaving a festering afterglow that quickly dissolves as we venture into the next Eponymously titled track, "The Robber's Anthem." On this track, Rytis takes a detour into more lethal territory where our bar-riffler approaches the mic with a hoodlum attitude and the Coup de Main of someone who is finished playing childish games. Our enticing Rapper makes diligent versified maneuvers, describing his cunning steppage as he resounds over the reimagining of a classic nursery rhyme that takes on a much more ominous and hair-raising rendering. There is an Anthem for all listeners on "Da 5 Senxes," and as each dissimilar melody passes, it's clear that the Ochos Rios-bred Rapper has a knack for set-up his dominos in the verses and riffling them down in the chorus. "Ryt Ventricle" opens over the nostalgic sounds of waves crashing over sun-bleached shores. It sets the tone for the smooth intoning essence of the melodies found on this track. Rytis still sounds bold and undaunted here, but with a lower-mid-range cinch that oozes from his vocal tonality as he versifies with an effortless breeze. This song is another extension of the closely intertwined tracks found throughout this record that channel the same classic R & B influences by utilizing an indisputably catchy melody in the resounding hooks. He shows veteran affluence when conducting between verse and chorus, letting his collaborators work their magic with their infatuating vocal incantations. The last track, "Strive & Go," pulls up with a Lo-fi backbeat that molds together with its title by way of slicing any doubts one might have in this Emcee's ability to exudes disarraying bars with the proficiency of a weapon designed for mass destruction—his Emcee flow. When we think back, it's undeniable that Rytis is onto something consequential as 'Da 5 Senxes,' takes command over our senses for a brief fifteen-minute interlude—rescuing us from the modern chaos we live in. instagram.com/rytis_inno #BUZZMUSIC

Kem'Yah is the Toronto-based Rapper who amalgamates the worlds of R&B, Hip-hop, and African-vibe into one. Moving through a revolving door of Reggaeton, Soul incantations, and Urban-bars, this Congolese-traditioned Emcee takes strides over great lengths with a mindset fueled by meditation, the 'good' smoke, and prayer. His presence behind the mic exudes spirituality in the form of embellishing enlightenment. With influences that traverse notorieties like Buju Banton, Koffi Olomide, and Kendrick Lamar, it's clear that the Canadian has a well-rounded taste in music. Over the years, Kem'Yah has shared the stage with Mystifiers of the identical caliber, but that's not to say his collaborators define him. His individualistic character penetrates through the barriers of mind and soul. It translates effortlessly through the dynamic and provocative sound he's achieved on records like "Rvse of The Fxllen" and "Pressure." So naturally, his latest endowment of infatuating Urban escapades comes in a rendering of a plump thirteen track congregation titled, "KNOW THYSELF," which demonstrates Kem'Yah's sweet-intoxicating melliferous flow on every cut. There's no sense in fighting it, the intoxicating island vibes are here to stay, and Kem'Yah is the newest operator behind the entire fad. Songs like "Ritual"—Ft. SunRaae—are prismatic exhibitions of the Torontonian's infatuating verbiage. There's a soca-vibe here that channels the sunniest and most far-reaching shores, but somehow renders up a feeling so close, it sticks like a nectar adhesive to our hearts. His accompaniment isn't far off from the same description. SunRaae attaches herself to edges of the mix as the punchy percussive rhythms synergize over scintillating keysets and a low-end simmer that buzzes underneath it all. Kem'Yah sings with an infatuating after-effect on his voice that warbles over his raspy tonality and reminds us of Modern Hip-hop's most trending notorieties. "Slide." lands heavy with a perforated low-end and a sundering cross-stick. The production here resembles a new-age Urban-swoon that operates over our mindsets with a smooth buzzing topline. The whirly-edged vocals manifest by penetrating through the twangy samples that steadily pluck at their lines with weightless fingers. There's no denying the island-vibes here, as our intoner accentuates each word with a nonchalant lethargy that becomes common-place amongst the record. Probably the most infatuating detail that embellishes this cut is the manner with which Kem'Yah produces magnetized dynamics through the transition from stanza to hook. It's like a roller-coaster ride; the ride up creates the butterflies in our stomachs, and when the incline reaches its maxima, it's Kem'Yah's liquifying hook that catches us from falling too hard. As we transition from one dulcified cut to the next, "KNOW THYSELF" starts to feel like a cohesive assortment of aesthetics and character that plays like a remarkable glissando; every note is scored, and the ones that don't have the benefactor of a featured Artist that bares knuckles to the challenge. "Master Life" seldom features far-stretching restraint when it comes to a copy-paste use of the 16th and 32nd note festooned beats that reign over the 808's and exacted trumpet-tongued trap sounds. With a feature from the bar riffling "Black Da Don," the song reconstructs itself into a slow-weaving cut with an aggressive and piercing stanza at its core. On "Make Things Right," Kem'Yah consolidates another featured artist, Zene Soul, and ascertains his actions' full compensation. Here, a simmered soca-inspired bounce gallops over the mix's mystifying edges, which become festooned with Zene's enchanting call-backs and hymn-like mantras. Kem'Yah sings here too, and it's just as beguiling, getting even better when their voices inevitably synergize together. By now, we've seen the Torontonian super-charge the atmosphere of each track with a magnetizing energy thanks to the unmistakable flowing and verbiage he exudes confidently. His production levels are on the same playing field, but sometimes, one producer tag might be more than enough to let us know who's responsible; here's looking at "High Aura." Songs like this one, and "Stay With Us," find spirituality, though. They evaporate into existence from wavey sonic particles that smooth glide over the topline's air-pressurizing delivery. It's a resounding hook that croons over the sometimes distorting backdrops. There's a doubling of Kem'Yah's voice that acts as a call-back, and it sounds like it's reverberating from a distant car AM car-stereo: giving this captivating cut a tame sprinkle of innovation. "Know Thy Self Again" is a cheekily titled track that mirrors its label by enticing wordplay and a vivid narrative that describes his hates for the low-lives and the law. "Flame" is the highlight of this record thought. It lands on this final crescendo of a track that renders like butter over the steady dial-down of Kem'Yah's enchanting glissando track curation. It's a whimsical panorama that finds the Canadian Urban-intoner weaving and blending amongst his duplications and ad-lib-like harmonizations. There's no escaping the low-drone that dissolves upwards from bellow here either. It signifies the build-up of magnetized energy that festoons the tracks healthy landing hook each time the transitional sections mute the endeavor for its theatrical effect. The afterglow we experience from 'KNOW THYSELF' is one that lasts for days, and as the last notes bare down on our cores one more time, we're left darting for the replay button and the "save to favorites" but at the same time. Hello Kem'Yah and welcome to BuzzMusic. How did you manage to make such a cohesive playback between the multitude of different collaborators who worked on "KNOW THYSELF" with you? The music I create is spiritual, so being cohesive is in its nature regardless of who the collaborators are. What's something you invested a lot of time in perfecting about this record, and how did that experience help you grow as a creative collaborator amongst your peers? I invested my energy in perfecting the message of Afrikan excellence in a manner that I hoped would be well received, remembered & enjoyed. If you were to pick two or three songs from this record that you feel describes you best as a Songwriter and Artist, which would they be and why? Know Thyself, Make Things Right & Flame. Three completely different styles and genres of music, each challenging me as a writer because they aren't the type of production I'd normally entertain, however for that reason pushing me to Excell & expect excellence from myself; & as an artist allowing me to tap into the unexplored potential. Everyone has an ethos for why they do what they do, and we're wondering what yours would be when you think about who you are now as a creative mind after, "KNOW THYSELF?" My self, my wife, my children, my nation. What has been keeping you inspired in 2020? My soul & a clear mind. instagram.com/kem.yah twitter.com/kemyahmusic #BUZZMUSIC

Despite struggling through the stifling grips of addiction combined with a gloomy mindset steeped in depression, Dylan Belanger—who performs under the cognomen "Tribulationz"—has reconciled into sobriety. In turn, his music garnishes a newly embellished positivity that broods over his introspections as he encourages his audience, who might be venturing down a turbulent beat, to keep looking up. When it comes to the enigmatic Artist's sound, his sonic characteristic transverse the bordering genres of Hip-hop and Alternative, utilizing suggestive and fat acoustic instrumentations to influence the vibe of his New-age creations. Each new lesson throughout his tumultuous history has embellished him with a fresh perspective. And as he grows more robust as an individual, so does his music. This is especially apparent on his latest album, 'New Day,' where Dylan Belanger escapes his comfort zones over brief but fleeting moments on an infatuating record that leaves behind an indescribable after-glow. "CRAZY!" opens up 'New Day' with a Gypse-inspired sonic backdrop. Here, Belanger utilizes warm saturated decaying horns—that sound like they're being played off a clandestine tape machine—and a bouncy measure that pays homage to the swing-dance formations of the roaring 1920s—with a modern Hip-hop garnish in the form of this Emcee's word flow. His spastic bars move in hyperdrive and draws reminiscence to artists like Watsky and Eminem through this record's playback. And "CRAZY!," is a fitting introduction to the joyride that "Tribulationz" foreshadows throughout his librettos on this cabaret festooned track. We shift down on the next cut titled, "Eaglez," where Belanger takes a captivating hold over our attention-spans through the descriptive narrative he divulges in his notorious canter. He has a way of punctuating each syllable with a fervent rasp. Even playing with the measure as his words interweave and traverse over the smooth rumbling production below. Here, on the record's main head-bobbing track, Dylan Belanger spreads his arms out wide and embraces us with the uplifting mantra found in the chorus. It's a song that attempts to encapsulate the sensation you feel after coming out of life's most tribulating moments. Swerving into left-field, we enter a fantasia of R&B focusing harmonics found throughout "Found My Path," which features soft-pressing Wurlitzer keys, a crooning bass-line, and twangy electric guitars that give this song its loungy-vibe. As each new track dissolves into the next, only one thing seems to render a sense of diversity: the instrumental productions that Belanger apportions his Emcee discharges over. There are no Contemporary machine-gun riffling hi-hats here, and definitely no earth-shattering 808s. But what is almost always constant is the persona he takes on under the Moniker, Tribulationz, where Belanger lights up the backdrops of each mix with an effervescent hue, thanks to his colorful verbiage and distinguishingly bouncy-bars. "I'm Alive," and "New Day" operates as the mid-tempo burners on 'New Day.' Here, Tribulationz assembles his influential touchstones with a connoisseur's ear. He sounds like a new-formed man between the guitars, earthy drums, and a half-wavering tempo that diversifies the record's cohesiveness. It's clear Belanger is letting go of his past and embracing the newfound light on these two tracks. With a criminal mid-tempo hook and devout riffing sonics, the strangely affecting Sister-tracks sound like a Modern rendition of an F.M. radio single. Especially when Tribulationz adorns some of his New-Age Hip-hop texture and all it's attached magic over both song's hooks. The last track, "Raining," plants woody rhizomes in the New-age incursion of his own meticulous designs. And as it persuades us over a Watsky-inspired flurry, the beat productions lay low. Here it's all about giving Tribulationz room to stretch and perform over his wordiness. His solid foundations show up now and again, especially on the sung hooks that usually feature our protagonist swooning with short bursts of melodic hymns. Though it anchors his music invitingly, it starts to present 'New Day' as a true account of his newfound personage and ethos: You can't appreciate the sun without a little rain. There is no kitsch here, just lively, adroit Emcee verbiage, amongst a plethora of well-fitting and divergent New-age Hip-hop productions. How did you go about curating this record's flow, especially regarding how one song's narrative transitions into the next? Originally these songs were going to be a part of a larger album. A few months ago I upgraded my studio equipment and started working with a new mixing engineer so these tracks were not up to par with the quality that I am putting out now. I've been working on another full-length album for a few months now and these tracks kind of got left in the dust after the transition, so I figured I would lump them together to make this EP. Which song from this record stands out as the most robust representation of the new persona and ethos you've adopted after struggling with addiction and depression? Definitely the title track "New Day" for the most part, although "I'm alive!" I created last year when I got booked to play at Canada's largest recovery festival, I really wanted a song that people in recovery could shout out loud, the energy that thousands of recovering addicts share when they get together is quite exhilarating.  Eaglez is also about recovery, in the sense that I felt like a lonesome bird perched on top of a desolate nest before I found the recovery community. I felt so alone and different and couldn't relate to many people, then low and behold I moved to Vancouver and met all these other people who thought the same way, and I found my flock. How long did this record take to write and record? And what did you learn about yourself as an artist throughout its production process? It's hard to say how long it took because I wasn't consciously working on this EP I was just making music with the intent of putting it all together as a bigger album down the road. This was the pivoting point in my career, all my new unreleased music actually has the sound and authenticity that I have been working towards that I didn't quite achieve on this project. I was still very fresh in recovery when I wrote alot of this project and still not quite sure which direction I wanted to go with the music. I was very hesitant to even put it out because of that. On all my new music I have dialed in my recording techniques and working with the engineer who mixes and masters all of rapper Tom Macdonald's music, It very exciting now that I have a solid system to release quality music. How do you keep yourself inspired when some of the familiar negative sentiments of the past creep their way back into your mindset (if at all)? I have found Yoga and eating healthy to really keep me focused, although I rap alot about how great life is, I am far from having everything figured out. There are months where I don't write at all and have to take a step back to focus on my health, life is still quite the rollercoaster, its like a rollercoaster through a tropical island, its got its ups and downs but it's still much more pleasant than the ride in addiction. What has been keeping you inspired in 2020? I've had a hard time being inspired this year, I found before that playing shows and connecting with other artists helped my creative juices flow. I haven't written anything in a few months but I'm finally just getting back to myself again and ready to go full tilt on my next project "Lay Low and Stitch." instagram.com/tribulationz tribulationz.ca #BUZZMUSIC

For years now, the L.A.-based songstress Emiko can be found on countless publication placements with SONY/ATV and Universal Music Group performing with her trusty Keytar, Carlos. Her voice—sharp and somewhat smokey—sounds seriously refined. The character presented in her music is entirely her own bestowing, "L.A. After War," Emiko's progressive contemporary new-wave record, attaining all the perks. In the years prior, Emiko has formed her own peculiar songcraft through an enormous catalog of over three thousand songs, contributing to the handling of her sound and the aesthetic she finds, transforming alternative music with every new release. These days, Emiko seems invigorated, and her new record (produced in the confines of isolation) is an encouraging collection of fastidious anthemic contemporary molded by her tawny vocal topline melodies and home-vibe instrumental orchestrations. "L.A. After War" is Emiko's second release supporting her long time moniker following her 2017 debut Extended Play, Look At Later, and it stands individual from her preceding work; across ten cuts, she details her anthemic contemporary pieces with a dense palette of synthesizers, punchy drums, keys, and midi chords, bringing her even closer to the singer-songwriter Hall of Fame status that she deserves to be. "L.A. After The War" is immortalized by its two most potent tracks: "Thick As Thieves (I can't love you anyways)," and "Man In The Ivory Tower," which are also the record's most uptempo and rocksteady minutes. The first mentioned prioritizes three main elements: an impactful orchestration of drums, a piercing synth hook, and Emiko's sensuous layered vocals, stacked like a stack of crisp bills. "Man In The Ivory Tower" is a song about a relationship built on fragile sands—where Emiko refrains, "You're the man in the Ivory Tower, and you're building your castles on the sand, and you're wiping the blood from your hands!" But the number is presenting like a journey as much as it is a warning: you might be standing in your own sandcastle way out of the reach of true love. With a tangle of electric guitars, gritty synthesizers, and a synergized turnaround amongst the rhythm section, it's challenging to recount if the story ends in loss—but Emikos does it with an anthemic and nuanced procedure. "My Light" is likewise just as anthemic but with a bittersweet touch, ducking between a lush piano melody and an airy vocal performance with phrases that sound slick in the expansive and atmosphere resembling mix. "I just wanted to give you my heart, even though I swear that baby I'm still stuck in the dark, I love you cause you are my light," she croons, before the song is rinsed away in an organic downpour of organs, groaning basslines, and swipes of strings for the chorus. Emiko's administration of her vocal prowess is especially appealing on this track—she crescendos with invigorating spirits on the chorus, but then proves her dynamic ability with her contrasting soft and whisper-like laments. It's a welcome revolution to contemporary melodies and melodies you would find on the radio today. Emiko's skills as a composer and writer are obvious throughout "L.A. After The War," as she sets herself apart from countless budding artists coming up in the L.A. music scene. For instance, the groovy interlude "Doctor" is particularly magnetic—a slaw of vocal harmonies and callback with key and organ fragments chopped at a movement soaking with a funky vibe. There is abundant evidence of funk and soul immersed throughout the record. This cut is revealed through this four-minute running conserve of funky jams highlighted with everything from potent electric riffs, a heated drum part, and Emikos supercharged vocals, especially in the closing track, "I Know". Emiko may still be developing her aesthetic and sound, but "L.A. After The War" delivers a compelling case for the sound she's elevating and basking in for now. Discover "L.A. After the War" here. Hello Emiko, it's great to have you back with us at BuzzMusic. What do you recall being the most impacting emotion your experience once L.A. After The War was fully completed and on it's last push before release? The most prominent emotion I can recall is really LIBERATION! I thought long and hard about this (great question by the way!!) and it’s definitely a feeling of total and complete liberation on so many levels. One that I am finally able to put these songs out there. The album concept is almost six years old, and some of the songs I haven’t been able to play publicly due to personal circumstances (those who know the story know why). And to have self-produced the entire album plus recorded it all during a global pandemic when we were all ordered to stay at home really showed me what is possible if you put your mind to it. It was an extremely freeing and liberating feeling when I gave final approvals on everything and when I checked off the last thing on the production list. I definitely felt a sense of celebration and of “WE GOT THIS AND WE DID IT!!!!” If you were to describe this record and the three emotions one could expect to feel when listening to it as a whole, which would you pick and why? Hmmm.. great question!  I think the album in and of itself is an evolution and a journey (it’s a total concept album, quite literally) so I’d have to say: strength, resolution, and motivation.  If I was allowed to pick a fourth, I’d say perseverance because the whole album is about fighting a war with your own personal forces of evil and having everything thrown at you, having life as you know it has taken away completely, but finding that the “wins” you have far outweigh anything you could have ever imagined. It’s an album about growth and surviving the walk through the proverbial fire. How do you endeavor to continually grow as an artist every day? Another really great question.  I thought my answer would be different in times like these (what with COVID, etc) but honestly, it’s all about pushing my boundaries and getting out of my comfort zone. This means creatively, musically, as an artist, but also looking at different opportunities and connections as a producer, a studio owner, and a business person.  For example, I’m now in the midst of presenting two video podcasts a week, one on gear and one on the importance of mental health in the music industry.  I’m co-hosting these with a couple of super well respected and amazing folks who I’m lucky enough to call friends, "The Gear You Hear" is a podcast I co-host with Scott, the Pedal Guy, and then" Across the Board," I co-host with Grammy Award-winning producer and engineer Mike Exeter (who produced such legendary bands as Black Sabbath and Judas Priest). Between that, and running two companies (my production company, Rose City Media Group which I’m thrilled I can now say is an award-winning documentary production company!) and my studio as well as having other upcoming projects including something very special and instrumental, the possibilities to stay creative are endless. I suppose it comes down to staying open-minded and welcoming new projects and connections as much as I can. What often tends to fuel your creative energy during a songwriting session? So, I’ve said this often - my writing process is a bit on the unorthodox and somewhat unglamorous side, I’m afraid!  When I sit down to write a song, oftentimes, it’s already finished in my head so what I’m doing is literally getting it out and onto paper or into a session file if I’m demoing something.  I don’t have a process to speak of other than I’m basically in a real hurry to get the song out and committed to a medium where it can start to live (and out of my brain). I would say that sense of urgency fuels me almost entirely. Can we expect any more singles coming from your extensively large catalog? Maybe even a B-side with all the tracks that didn't make it on any of your records thus far? OH. HECK. YES. Haha, but really though, the answer is, absolutely!  I’m actually working on a couple of projects right now that will result in songs in the vault coming out and seeing the light of day. We’re working on a vinyl project and super high-resolution audio project at the moment.  I also have a top-secret instrumental thing I’m working on that I hope everyone will tune in for, so absolutely yes! instagram.com/emikomusic emikomusic.com #BUZZMUSIC

San Francisco's producer and songwriter Racayan teams up with singer and co-writer Courtney Bennett to release a highly relatable and vulnerable tune titled, "Believe in Us (feat. Courtney Bennett)." Fresh off the release of his single "Deep End," Ronald Gacayan Jr. (Racayan) is aiming to capture the same vibes and atmosphere with his latest hit, "Believe in Us (feat. Courtney Bennett)." Doing this and more, Racayan delves deep into the sonics of R&B/soul and places incredible serenity across the song's entirety. Courtney Bennett captures immense passion with her delicate lyrics that stick around the listener's mind. "Believe in Us (feat. Courtney Bennett)" begins with soft electric guitar melodies giving a west coast feel. As Courtney Bennett's soothing vocals appear, Racayan drops the soulful beat with a wide array of drum patterns and stunning vocal layering. Courtney Bennett's honest lyrics bring such a heavy aspect to the song, as she sings of repeating grueling cycles with someone who will always have her heart. Around the hook, Racayan delivers soft and haunting strings with impressively intricate drum arrangements that push R&B's boundaries. Not to mention celestial synths that add a magical flair, Racayan has truly mastered passionate production with this track. "Believe in Us (feat. Courtney Bennett)" brings this unrestrained passion that reaches out and shakes the listener with a sense of relation. Racayan and Courtney Bennett have outdone themselves with this soulful single, and we're hoping for more collabs in the near future. Hello Racayan, and welcome back to BuzzMusic. When starting to create your single "Believe in Us (feat. Courtney Bennett)," what made you want Courtney Bennett to feature and co-write the lyrics? Courtney is an amazing artist, I fell in love with her vibe and voice initially. She has this essence in her music that resonated with me. Then the more I listened to her, I started connecting with her lyrics and I fell deeper in love with her music. Her writing is so raw and vulnerable, it connects with you deeply, making you feel a way. So, it just felt right having her on “Believe In Us”. Regarding your songwriting process with Courtney Bennett, what was it like co-writing such a vulnerable piece of music? Was the process equally split? For this record, I had a vision of the overall vibe and idea. And there is this poem that I had written prior to making the beat, which I felt matched her essence of my initial vision for the song. After setting the foundation, I sent the poem to Courtney and just let her do her thing. I believe in her artistry so much, I just wanted her to have all the creative freedom. What she wrote was amazing, it was more than what I had envisioned and I only had one small line edit. It’s always good to see things manifest, especially when it comes from such a vulnerable place. Taking that vulnerability and turning it into making it into something people can relate to is a beautiful thing. Your production and sonic arrangement within "Believe in Us (feat. Courtney Bennett)" is truly mesmerizing. Do you usually create such unique and intricate drum patterns within your songs? Thank you, that means a lot to me. I take pride in doing subtle intricate things with my drum sounds and patterns, it creates a different dynamic to the record. Some songs are a bit more obvious than others, but I’m always crafting each song by paying attention to little details that add to the bigger picture. Seeing as "Believe in Us (feat. Courtney Bennett)" brings this vibrant R&B/soul atmosphere, could you tell us more about how you achieved this? What was your production process like? When I create I’m always channeling a feeling, so when making “Believe In Us” I was just trying to reverse engineer a feeling I get when I listen to 90s R&B music. When I produce, a lot of the time I’m just vibing out. I’ll light some sage, put a certain movie on mute, set the lights a certain color, and just start creating with the intent of capturing a vibe. We've noticed that you tend to collaborate with other artists rather frequently. What's your favorite part of the collaborative process, and what have you taken away from these sessions? I feel that collaborating is a huge part of creativity. Interacting is what we do as humans and with music the main goal is to connect, so when I create with another artist essentially what we are doing is capturing the essence of being human. My favorite part of collaborating is just seeing what manifests once to creatives vibe together. instagram.com/racayan_ #BUZZMUSIC

Gloom Balloon is definitely not a music group to be slept on, and we say that with pure emphasis. Gloom Balloon is an eclectic band that brings together the best of old-school Jazz/Blues with flairs of modern-day production. Their sound is flavorful and never lacks that smooth richness completely characterizable to them. One of their most recent delectable singles, "Long Distance Love", brings forth a variety of their collective strengths as music artists, as well as opens up listeners' palette with the versatile mix of funk and shimmer. "Long Distance Love" is ultimately a track that has a phenomenal layered sound. The song has a retro-sounding production with faint flairs of contemporary stylings, typically arising from the distinct piano melody. With a dynamic mix of genres, "Long Distance Love" tends to source influence from the alternative music scene, and once such elements are combined with that jazzy blues soundscape, the product is absolutely uplifting. Earlier this month Gloom Balloon had released visuals of the song and the essence it captures is incredibly warming and light-hearted, ultimately stemming from the youthful presence they exploit in order to raise the barriers of the emotionality of the song. The narrative of "Long Distance Love" is perfectly captured within the music video, following along the story of long-distance love (surprise, surprise) and detailing the struggles and gratitude that come along with it. The track continues to elevate itself once a prominent soulful integration ensues,  and "Long Distance Love" becomes that much more sentimental. All in all, "Long Distance Love" by Gloom Balloon is very affecting and will have listeners experiencing a multitude of emotions. Hello Gloom Balloon and welcome to BuzzMusic. Without a doubt, Gloom Balloon is a music group that has a distinct and stratified sound. How do you go about consistently manifesting songs like "Long Distance Love" and be able to insert such a strong level of expression? I think a song is like a blank canvas and you have an unlimited palette of colors to choose from. I really do believe making music is like painting with sound. How you express the movements of your brushes with emotions and colors has always been the thing that fascinates me the most about making music. "Long Distance Love," for example is at the core just a little love song that can be done on a piano with just voice, but in my head, I wanted to sound like it was traveling to the long distance love in life whether it be through the phone, a postcard, or hell through the stereo, I want it to move and groove on the highways and byways of love. I hope it comes across that way. For those who have yet to listen to "Long Distance Love", how would you describe the way the track is meant to make them feel? Well, maybe I just answered that in question one. But I feel like missing someone's love truly makes your heart feel like it's going to burst. It's one of those songs that you can dance to but could also make you cry. Those are my favorite types of songs. I love going to a wedding dance when the DJ drops a song that is pretty much about suicide and everyone is throwing each other up in the air, but they have no clue how much hurt is in the song. The music video to "Long Distance Love" captured the essence of the song perfectly. What thought process went behind choosing the visuals as strategically as you did in order to leave the most lasting impression for viewers? he video for ‘Long Distance Love (Waterloo Sunset)’ was filmed by Cotton Bro who is based in Saint-Petersburg, Russia, I got the footage from him and edited it. I kinda wanted it to feel like the scene in ‘Virgin Suicides’ when kids are calling each other over the phone and playing records to each other, cause I think that scene is so magical it's one of my favorites in all film history. You know it's like the show "The Wonder Years," it's kinda from the boys who are infatuated with the girls' point of view. I love that, what I can I say. I relate to it.  But instead of calling each other and playing songs, they are writing songs to send to one another. There's almost a therapeutic feeling exerted through the ethereal melodies in your music. Compared to other singles, "Long Distance Love" feels tamer in the sense that its melody is much softer. Would you say there was calculated reasoning for this chosen blend of harmonies in "Long Distance Love?" I kinda wanted the song to be a duet, but also a reprise to other things on the record. So it actually pays homage to itself, and to some tunes from music history like Waterloo Sunset by the Kinks, Waterloo by Abba, and then it also reprises the first track on our album, Tru Love Waits. I feel like love has changed during a pandemic, even someone you love who might be just down the street seems like a long-distance love if you are social distancing. This song was actually recorded long-distance, too, as Mumbi Kasumba, who does the female lead vocals on this song, was in Zambia. I really wanted her to sing on the song, I played a show with her a few years back and she just floored me with her voice and performance, so I asked and I was so happy she said yes, even though she was halfway around the globe. She found a studio, and I sent her the track and lyrics via e-mail, and she recorded her vocals at The Native Studios in Lusaka, Zambia where a recording studio only costs 80 dollars a day! She sings so beautifully. So lucky to have her on the track! What can we expect to see next from you? Well, the full-length album, So Bergam Uses Bach To Get His Point Across, I Feel Like I Have Chosen Rock But At What A Cost comes out on Grand Phony September 25th. I will be filming a release show special with Christopher the Conquered who also has a new record out that day on Grand Phony, that I co-produced with him. If you pre-order the record or follow us on Spotify I think you get a free ticket to see the special! Also, I will have a music video for every track on the album, so I look forward to Disney letting my Visual Album appear next to Beyonce's (wink, wink). Also, I kinda want to put out a Christmas single in early December. I have some sad Christmas songs I want to get out in the world to cap off this very sad year! instagram.com/gloomballoon #BUZZMUSIC

The Calgary-based Alternative 4-piece Homeless in Hawaii returns to BuzzMusic with a lively outro to summer with their single, "Faded." Bandmates Tanner Cyr, Devin Taylor, Leonard Menon, and Layne Murdoch have been busy tweaking their upcoming album "The Fear of Missing Out," surrounding self-improvement and modern anxieties that stand as obstacles. Garnering a fanbase across Canada through various tours, the boys are back and ready to continue their vehement venture in the music industry. Homeless in Hawaii's newest single "Faded" swiftly satisfies their eager fanbase with an anthemic feel that easily exhilarates anyone with ears. The blistering brass and up-tempo beat brings a natural drive to send summer off with a bang and reminds us of warmer nights pre-pandemic. Taking a listen to "Faded," Homeless in Hawaii opens with an upbeat brass intro through high energy trumpets, a gripping kick, and an equally gripping bassline. What we love about this group is that whenever we hear there's a new single, we know it will capture a thrilling groove that keeps our toes tapping. Once the lead vocals kick in with this rhythmic and clear tone, he begins singing a message of being separate from someone, yet still enjoying the present moment with optimism. The scorching hot chorus takes the cake for summer anthems, indeed a refreshing experience with the band's unique alternative sound. The bridge offers Daft Punk-Esque robotic vocals, ending the track with another dynamic layer to peel back. With a groundbreaking and upbeat single, Homeless in Hawaii's "Faded" brings multiple levels for the listener to explore while grooving away with the track's natural pull. Hey Homeless in Hawaii, it’s great to have you back with us at BuzzMusic. What was your initial inspiration for "Faded?” What pulled you to create such an anthemic and lively tune? Classic rock and party anthems of any sort were the initial inspirations for our new song, Faded. Our approach evolved to incorporate personal experiences and a social commentary on self-destructive habits over time. The carefree culture of partying and endless distractions young adults hide behind presented us with the opportunity to not only comment on potentially detrimental habits but to do so in a musical reflection of the happy-go-lucky party facade. We strived to capture the energy that you would find at the typical house parties, clubs, you name it. Below the surface, however, we found the room and space to say how we feel about this kind of culture. Ignoring the negative impacts of such a lifestyle can unintentionally damage immediate and personal relationships for those coming into themselves or struggling to do so. Our message is that everyone comes to a certain point in their lives where they must grow from their past mistakes and past selves. Sometimes that can be hard for the younger generations who already have so much to deal with. Our fears and anxiety toward self-reflection can prevent us from deserved growth. We wanted to discuss personal responsibility and accountability in the face of poor personal decision making while not necessarily condemning it outright. The atmosphere of party culture is fully embraced with our song and with that, we believe Faded brings self-reflection and self-worth to the forefront for the listeners in a very fun way. Diving deeper into "Faded," what lured you into creating these uplifting and exhilarating brass instrumentals? Did you frame the rest of the song around the brass, or was brass the needed touch? The brass elements of Faded grew to have enormous importance in the end but started out as an afterthought. The demoing for Faded was a more classic rock in some ways. It was bass, guitar, and drums only. Much simpler than where it exploded into. The framework for Faded was entirely written and structured around the bass and it was that foundation that we built upon over a two-year process. Faded was the fourth song written together starting back in May 2018. Up until a month before release, we’re still tinkering with every aspect of Faded. It was the addition of the brass that lend us down this very experimental path for Faded and we’re grateful for where it brought us with the song. The brass ultimately defines Faded for us when we look back on it. "Faded" captures many dynamic sonic levels through hi-fi electric guitar, bass, brass, synth work, vocal filtering, etc. Seeing as the track is so textured and unique, was it a lengthy creative process? Did you face any challenges with the song's creation? Faded was very much a lengthy creative process and in many ways, sits among some of the toughest nuts we had to crack with the forthcoming Homeless in Hawaii material. It took two years to get from point A to point B with just Faded. We had moments throughout that time where Faded was beloved by us all and then there were all so those moments where we were frustrated with Faded. It was a headache to come back to and address from time to time. Some of the biggest problems, funny enough, were relatively minute. The bass tone was a huge talking point for us all the time. Redoing it over and over again. With that too was the percussive elements. The kick and snare were always being adjusted or changed. Some of the more creative changes that become necessary over time were many guitar parts that we ended up throwing out and going back to the drawing board. Now that it’s all said and done, we couldn’t be happier with Faded which makes us very proud of the song. It’s a treat for us to now be able to sit back and just listen for fun. Will "Faded" be featured on your upcoming album 'The Fear of Missing Out'? Why did you choose to release the single at the time you did? Faded will in fact be featured on our upcoming album, The Fear of Missing Out, and so will every song we release from now until the final record. It was a simple decision early on that Faded would eventually become a single. Faded holds special importance to the grander narrative of our full record. The significance of Faded’s release right now is to establish the foundation for a small narrative we’ve also developed to span across the next slew of singles and their music videos. The music video for Faded which can be found on YouTube or Ghost Killer Entertainment is only Chapter 1 of this short story/narrative. We’re extremely excited for more songs to continue this visual story and fill in the puzzle pieces purposely left empty by Faded. These creative aspects were developed long ago for us to achieve such content now and best explains our current choice and release for Faded. The importance of such thematic narratives is our highest priority for Homeless in Hawaii and ‘The Fear of Missing Out’ right now. We are huge fans of connective tissue and the small things that make investing in content worthwhile. What can fans anticipate from your upcoming album? We can't wait to hear it! Fans can expect a unique and adventurous album that won’t be defined by any one genre necessarily but rather defined as Homeless in Hawaii entirely. From the beginning, we approached creating this Homeless in Hawaii album as a concept from the ground up years ago. Of all things, Cinema and specifically the Marvel cinematic universe of films and characters have been our truest and biggest inspiration every step of the way. We set out to address adulthood, death, life, self-growth, self-reflection, anxiety, and more through grand and elaborate metaphors within a universe, we’re building for ourselves and our music. To understand that is to understand the framing of The Fear of Missing Out as being a hero’s origin story. To come from who you have been, whether that be good, bad, or villainous (as our album will show), to becoming your new and best self; a hero. What we hope for is that everyone takes the time to listen to this project fully when it’s all available. Even while each song is intended to also be enjoyed on their own respectively, the entire album experience elevates them all. FOMO isn’t your typical album and in our minds, is a musical movie somewhat. It’s an event and journey that we cannot wait to share. At the heart of the album are life’s relatable emotional peaks and valleys. All of which accumulates in a ten-minute album closer called “Superhero” that’s akin to Jesus of Suburbia by Green Day. Our promise is that our album will offer something for everyone! instagram.com/hihbandofficial facebook.com/hihbandofficial #BUZZMUSIC

"Desolate Days" is Chellcy Reitsma's smooth crooning rendering of sonic and visual inspirations directed into reality from witnessing Valletta—a Mediterranean city, where the California-born intoner herself performed regularly—in skeleton form, post-COVID-19. With support from the orchestration of Edward Misfud, and in tribute to the Artist Residency program in Malta—InnovAiR—the eclectic Chanteuse glides over a fantasia of tastefully spaced reverbs, fervent instrumental backgrounds, and a chorus that captivates almost immediately. It's a sonic journey that comes attached with the laborious work of rendering over 800 hand-drawn from charcoal images into a stop motion video endowment that Chellcy herself produced in her time spent away at home within the creative isolated caverns of her mind. With a title like "Desolate Days," it's no hard to imagine a melancholic ballad with glittering and gloomy expanses that draw rainy clouds over our heads; but that's not the case with this Alt-Rock record. The sonic escapades open up with a buoyant bass and a vibraslap accented down-beat. As our singer lulls us over her soft-spoken canter, and warbling electric guitars makes their presence know, there's an unmistakable sense of evolving energy that creeps up from behind. In no time, the entire band—earthy drums, sizzling guitars, and a wholesome bass—erupts into their allotted expanses within "Desolate Day's" alt-rock panorama. When the resounding lines, "friends near and far will sing along," beat down on our hearts before the tracks infatuating hook, it articulates like the synergistic trill between two cherubic intoners made from Chellcy's amalgamated harmonies. Here, we're led into a galloping mid-tempo theme via Chellcy's elegist-like cadence, where she reigns over the dominion of Wonder and Sound with an empyreal brilliance. The band's sound draws reminiscence to the late '70s from the earthy texturizations endowed by warm vintage sounding saturation subtly present throughout, and the sweeping guitar solos that festoon each of this song's transitions. "Desolate Days" is a swooning sonic endeavor that benefits from our lead Chanteuse's incredible warm tonality and unperturbed expression as she chaperones us from scintillatingly smooth stanza to galloping melodic motif. Hello Chellcy and welcome to BuzzMusic. Can you expand on some of the emotions you had to channel into the get the vocal performance you ended up with for "Desolate Days?" Throughout this project, a mix of emotions ran through me. Considering it's a song about the Covid-19 isolation experience; as a full-time artist a whole myriad of conflicting emotions came up from desperation, disappointment, and anger at everything being canceled and there is no work available to curiosity, excitement, and uncertainty about the future and what will happen to artists and the music, arts, and culture sectors. To feelings of camaraderie, unity, and community with other artists as we all faced the murky unknown together. No matter how famous, established or how new artists are, we are all in the same boat together learning to cope with a pandemic situation that for the first time in the history of the music industry has literally brought most everything to a screeching halt. So I tried to express all of these conflicting emotions in my vocal delivery as well as our shared isolation experience through the artwork in the animation video. What were some of the most crucial aspects of this song's orchestration did Edward help with actualizing, and did you find that this song would be the same without his support? Initially, the first draft of the music and lyrics were written by Edward. When he shared them with me I really liked it and saw potential, so I asked him if he would like to work on it together and apply for the Valletta Cultural Agencies InnovAiR: Artist at Home artist in residency program.  We applied and were pleasantly surprised when our project was accepted.  At this stage, the hard work began as we only had 3 weeks to complete the entire project.  I reworked the lyrics (as Ed had written it in a poem-like form) to make them singable and worked on the melody lines. Edward's strength lies in composing music more than lyrics and my strength is lyrics and melody lines, so in that way, we make a great team. Then we worked together for days reimagining some of the musical bits and had a session together with my vocal coach Julie Pomorski as well. Next, we started production with Peter Borg at Railway Studio's MT who also contributed to the musical composition in addition to producing, mixing, and mastering it.  In the final mix, we have myself doing lead and backup vocals, Edward on guitar and backup vocals, Robert Spiteri on drums, and Peter Borg on bass and guitar.  Edward and I worked together side by side every step of the way during the song production and mixing. The stop motion animation lyric video on the other hand was solely created and produced by myself. Why did you choose to go with charcoal instead of the multitude of other visually artistic avenues you could have taken for the video feature's aesthetic? I chose to do a black and white, stop motion animation video in charcoal and chalk pastel for a multitude of reasons to further support and contribute to the concept behind the song and video. For me, no other medium can convey the passage of time and the long, lonely, quiet waiting of isolation like a slow and arduous process of stop motion animation. Likewise, no other medium than the timeless and ancient use of dusty, fragile charcoals can express the ephemerality of both human existence and the pandemic isolation experiences. The starkness of black and white and shades of grey help to create a feeling of nostalgia for our previous way of life, exposing the harshness of our reality as we are faced with this life-changing pandemic and our own mortality. On purely technical and convenience levels, drawing in charcoal is a faster, more workable, more forgiving medium allowing for working more efficiently under a tight time constraint, cheaper, and a more environmentally friendly, natural medium with fewer materials used and no waste. Using charcoal allowed me to create nearly all the 800 drawings on only 4 sheets of paper. The rest was done digitally.  Furthermore, the act of teaching myself how to do stop motion animation and learning a new skill while in isolation is also part of our shared quarantine experience. If there were a few words you could express to your audience as an Epilogue to the experience of "Desolate Days," what would you say and why? "Artists and our entire creative industry will not be silenced. We are united and we will all get through this desolate time together. We are resilient and strong as individuals and communities." Because I think the whole world needs to hear this message and believe in it. What has been keeping you inspired in 2020? A sense of community and camaraderie between artists, collaborations, new projects, working my bum off writing poetry and new songs and painting and drawing. The small wins and successes I've had with my last two song releases 'Cross the Line' and 'Desolate Days', which I continue to push daily.  Most importantly, family and hope for our future. instagram.com/chellcyreitsma facebook.com/chellcyreitsma #BUZZMUSIC

Based in Los Angeles, the tranquil dark Pop princess Aimee Saturne drops her deadly debut single, "Don't Tell My Boyfriend." The recording artist and actress thrives through serene and lustful nights within the city of angels, while her intriguing lyricism and mysterious presence bring a naturally gravitating sensation. Living in various states, Aimee Saturne was pulled to live in Los Angeles and allow her music to flourish within the western music culture. Her recent hit "Don't Tell My Boyfriend" totally captures that dark pop L.A. vibe; the throbbing basslines and hefty mid-tempo beat serve the ultimate ambiance with an intriguing pull. "Don't Tell My Boyfriend" begins with vibrating sub-bass that naturally makes us want to hear more. Aimee Saturne begins vocalizing with this poised and mysterious presence, delivering a heavily sultry and sensual lyrical message where her description of intimacy paints incredibly poetic moments. Without wasting any time, the hook drops with an intense atmosphere through gripping night-vibe production. Aimee Saturne switches up the lyrical story where her boyfriend is nowhere to be found, but instead, she expresses the pain she's endured through a troubled relationship where lust is still present. Ending the track off with incredible production elements that swell and heat the atmosphere with musical lust, we genuinely love the ride that Aimee Saturne took us on with "Don't Tell My Boyfriend." Hello Aimee and welcome to BuzzMusic. Why did you choose "Don't Tell My Boyfriend" as your debut release? How does it set the tone for your future projects? Don’t Tell My Boyfriend was the first song I recorded with my new team, and I really feel like it represents me as an artist in all aspects. It’s dark, it’s fun, it’s sexy and it’s evocative— which is exactly what the entire record (and more) is going to capture. I want people to see a deep, almost private side of me that has been there all along, and Don’t Tell My Boyfriend is sort of the key that unlocks the door to that world.  What sort of atmosphere did you want to create while making "Don't Tell My Boyfriend"? How does the track's sonic arrangement reflect your lyrical message? Funny enough, I literally walked into the studio and said “don’t tell my boyfriend, but..” and it sparked the whole idea and creative process for the track musically and lyrically! When we actually started working on the song I wanted to capture a vampy, provocative mood. I made it abundantly clear from the beginning that I didn’t want anything too bright and happy. I wanted to keep my heart open and offer it to the song because of the subject matter being in the same manner. Lyrically and sonically it all intertwines like an audiovisual. The lyrics give the story and the music is the soundtrack.  Do you have any musical inspirations that might have influenced your deep and dark pop sound? What initially pulled you towards this modern and powerful route? I grew up on and still love all kinds of music in all kinds of genres, but I’ve always gravitated towards the darker side of pop music whether I was creating it or listening to it. I like the idea of music creating a mood rather than just being something to turn on for background noise. Dark pop, to me, has all of the mysterious elements but still keeps a crucial touch of the excitement that regular pop music has. I’m fortunate enough to not be forced to squeeze myself into any one genre, but dark pop really captures who I am at heart. Plus it's just so much fun, too!  Now that you're living and thriving in Los Angeles, what has the city offered to your music career that was difficult to achieve in other cities/states? I’ve always had a twisted love affair with Hollywood and knew from a very young age that it would be the city to offer me the most opportunity. While I was dabbling in music in other places, I was never able to forge the same kind of friendships or take my music as far as I have in LA. There’s a certain kinship with the creatives here. We’re all doing the same things within our own worlds and we all understand each other's struggles. It makes things easier, especially when things get rough. Nowhere else have I ever been as inspired as I have been here. This city has always given me its best and it's worst through all of my endeavors, and I’m grateful to it for keeping me grounded in that strange way.  What can we expect to see next from you? I’ve been steadily working on plenty of new music for my debut record, as well as some other little creative projects on the side that I’m very excited about. I’m grateful I get to do everything I love and that I get to share it with everyone in the upcoming months. I’m not going anywhere anytime soon! instagram.com/aimeesaturne aimeesaturne.com #BUZZMUSIC