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David Sainz, better known as artist Xyvo, is prepared to share his personal and vulnerable motives with listeners with a collection of new music. Originally from Arlington, Virginia, Xyvo sets himself up for success with the approach he takes on regarding his musical sound. Xyvo prefers to craft and create music that disparts from the norm, all while experimenting within the alternative music scene. Garnering influence from bands such as The Red Hot Chilli Peppers and The Strokes, Xyvo internalizes such influence in order to drive the foundation of his sound. As an artist who writes and records all of their own music, Xyvo strives for complete authenticity, which is heavily noticed within his debut album release, "The Loveaby". Persistent and eclectic guitar strumming is what opens up Xyvo's album, "The Loveaby". "Something Wrong" is a mix of various instrumentals, which ultimately creates a very diversified and eccentric soundscape. There's such a versatile variety of beats combined together, and although some of them may not necessarily be in harmony, they manifest certain eclectic energy that drives the passion of the song. "Something Wrong" offers wide-ranging instrumental perspectives, and this theme is held pretty consistently throughout the rest of the album. "Nova" is a bit more intensified, as the vocals are sung with more vehemence and passion. The song persists with its harmonic guitar rhythm, and once the balanced guitar is combined with the ravaging vocalism, the product is allowed to become full of fervency. The third track off of "The Loveaby" is titled "Choosemua", and it brings up the energy levels to a new maximum. Xyvo exploits his level of sound regarding his vocals within this track, choosing to accentuate each and every vocal chord in order to craft a more strong-willed record. The piercing energy eventually levels itself out near the end of the track, offering more chilled-out chordal orchestrations. Xyvo switches up the direction of "The Loveaby" with its fourth track, "Georgia". Here, Xyvo instills more of a laidback emotive into the track, and the rhythm ultimately establishes a lax listening environment for listeners. Xyvo further took the opportunity to showcase some of his vocal range, and the higher-pitched areas of "Georgia" are sung with a certain kind of alternative nuance. The calm and cool guitar strums keep listeners engaged, and seriously maintain that effortless vibe that emulates off of "Georgia". That same low-key atmosphere is maintained in "Ms. ARIZONA", as Xyvo ensures the vocal performance remains intimate. We wouldn't say that "Ms. ARIZONA" gives off lackadaisical energy, but it's more fitting to say that Xyvo has a way of creating tracks to feel nonchalant, but also very purposeful at the same time. The prominent guitar rhythm that's sculpting the majority of "The Loveaby" still remains present within the albums sixth track, "Faye". "Faye" feels very authentic, and Xyvo records the vocals of this particular track in a way that highlights the realness of his vocal offerings. A similar ambiance is felt within the next tracks, "Sandstorm" and "Meat", although "Meat" feels a bit more organized with its productional execution. Even more so, "Meat" felt cohesive and clear with its soundscape, bringing down the eclecticism slightly and honing in on a different element of Xyvo's artistry. "Ireland" is the first instrumental track offered on "The Loveaby", and is the ninth track on Xyvo's 17-track album. "Ireland" sounds like one of those tracks that should be on the playlist of life itself. The chosen instrumentals create vivid and bright imagery, making listeners feel as if they're on a journey of self-understanding. Xyvo follows "Ireland" with another instrumental track, titled "Amber". The two songs find contrast in their execution and rate--"Amber" is more fast-paced, offering coherently concise guitar exploitations that manifest a surging kind of energy. The clean guitar strumming is what stands out most prominently within "Amber" and truly takes the spotlight of the instrumental song. Xyvo brings spirits up with the albums eleventh track, "Lone Wolf". A summer vibe is more than imprinted into the single, and this definitely arises from the elevated production. "Lone Wolf" focuses on the mix more than anything, which gives listeners a different perspective in terms of Xyvo's crafted sound. "The Roll" follows next, and is almost identical to the properties presented in "Lone Wolf". "Lyanna" differs in the sense that the production is slowed down in the slightest and Xyvo feels a bit more reminiscent within this track compared to others. Energy levels are brought back up with Xyvo's next track, "Wailing Soul". The title of this track is quite fitting, as you can feel that strong emotion that's packed into every word being vocalized by Xyvo. "Rock Bottom Wishin" is the track that follows next, which brings back a similar sensation offered near the beginning of the album. We're getting that eccentric style back, with a slight beachy energy sourcing itself out. That same beachy vibe is found within "Dreamer's Lullaby", and it's easy to find yourself getting lost within this particular track. We found ourselves daydreaming quite often to "Dreamer's Lullaby", and we're also noticing a big correlation between the song titled and the affirmed ambiance set for listeners. "Dreamer's Lullaby" felt just as authentic as "Faye" in a similar sense, offering a very unplugged version of typical Xyvo performance. Xyvo's album ends with its seventeenth track, "Botana's Clove (Album Outro)". Introducing a recording within the track, Xyvo intrinsically ends his album with a song that feels like the end (but in the best way possible). We feel that we depart from the Xyvo experience in a humbling way with the style he chooses to follow within "Botana's Clove (Album Outro)". And with that, "The Loveaby" is completed and we're left with a multitude of thoughts stimulated by Xyvo's artistic persona. We're ultimately left intrigued, wanting more, craving more. The eclecticism that Xyvo so easily falls into genre-wise brings a certain kind of exhilaration with his music, as you truly don't know the specifics of what to expect. Discover the versatile artist Xyvo and his latest album release "The Loveaby" here. Hello David and a warm welcome to BuzzMusic. Firstly, let us start off by saying, 'WOW,' what an album 'The Loveaby' was. Featuring an incredible amount of alternative styles, the album sourced a ton of influence from all over. What was the main influence and/or motive that inspired the entirety of "The Loveaby?" This was the first album I ever made. The main influence and motive behind "The Loveaby" was really just me jamming and practicing, and using chord progressions and lead guitar parts/melodies that I came up with that I liked. Jamming and practicing with a former bandmate called Takaaki also sparked the beginning of my own songwriting/jamming process. I like to use looper pedals when jamming/writing to create several layers for my songs. I always get my instrumentals with my guitar down first, play them again and again, make a list of them and record them, and then I try to record vocals that compliment the songs. My sound was influenced by the work of various music that I've liked to listen to since I was a little kid (I'm 24 now). I tried to bring the same emotion, colorfulness, complexity, and intensity of the music I like to listen to into my own tracks. Some bands I've been influenced by including The Strokes, The Red Hot Chilli Peppers, U2, The Beatles, The Police, The Rolling Stones, etc. Was there a particular song within 'The Loveaby' that you felt resonated with you the most, compared to others? ‘Something Wrong’, the first track, resonates with me the most because it is the first song I ever made, and I've made many versions of it over the years. After some years of just practicing, It's the song that gave me the drive to start creating and writing more and more. What would you say was your main goal with the release of 'The Loveaby?' Would you say the album attempted to instill a certain kind of emotion and/or feeling onto listeners? Was there a theme you had hoped was communicated to your listeners with this album? My main goal with the release of ‘The Loveaby’ was to create catchy, melodic music that people could vibe with and enjoy. I wanted to keep listeners interested and on their toes. I wanted to convey a feeling of love and hope.  The general theme of the album is that even though you may not agree with every aspect of (or several aspects of) the ways of the world, and even though you may feel like it's overwhelming and impossible to make a change in a society that is so much bigger than yourself, you should still try to go your own way. Trying to succeed by being yourself and reaching for what you want and doing what you like to do. The best changes will come as a result of your uniqueness as an individual; through your own beliefs, originality, and desires. That's what makes everyone unique in my opinion, and I'm hoping that the theme of the album can help others. How would you describe the way 'The Loveaby' ultimately challenged you creatively? Are you the type of artist that enjoys being challenged artistically? 'The Loveaby' challenged me creatively in the sense that I wanted to make good/positive sounding music and it was my first time doing so. A lot of experimentation and practice was involved. Just finding the sound that I liked came through jamming, practicing over the years, and just sitting down, focusing, and deciding that I was going to try and create new music, no matter what. I enjoy being challenged artistically, but the best feeling for me is when different pieces and melodies come together to create a single track (a track that hopefully others will like the sound of). What can fans anticipate from you in the rest of 2020? Fans can anticipate the release of new Xyvo tracks for the rest of 2020. I took a 1 and a half-2-year break from songwriting, and I'm hoping to get back into the rhythm of creating full albums. I know the best is yet to come; I'll be continuing to practice new songs/melodies, and will hopefully get back to work and recording at a more frequent rate. I'll do what I can despite this Coronavirus epidemic and the things/situation that comes with that. I love you guys. Stay safe! #BUZZMUSIC

Tyler Boone is the captivating Artist poised at becoming our next beloved Blues and Alt-Rock amalgamator. The Charleston-raised songster has been release music independently since 2012 when he first blessed the niche club-rock scene in the Lowcountry bars of South Carolina. After a few years of self-development, Tyler rocketed to notoriety when he secured a Taylor Guitars endorsement during his nation-wide musical adventures, which saw the Americana enthusiast scintillating over his newly endowed sonic tool-kit with unrivaled affluence. Not long afterward, he maneuvered his way into Spotify playlists worldwide and eventually became sought after as a collaborator for legends like Sheryl Crow, The Avett Brothers, and Sublime with Rome; inevitably sharing the same stage as these Musical notorieties on tours across the States. These escapades have garnished his repute with an immediate association with Americana-blues music renown. Now, with his co-founded Record label—Artist Formula—Tyler Boone is working closely with Atlanta's Paste Studios for a feature on Paste Magazine, where he renders some of his infatuating tonalities in real-time, with a video feature of two of his most treasured songs. On the first featurette, "Paper Wings," Tyler Boone stands center stage, embracing the rich tone of two other acoustic guitars played by his supporting bandmates on either side. The string-trio mingles together to festoon Tyler's buzzing voice as he swells over his effervescent rasp. The accompanying band harmonize in unison and punctuate the last halves of Tyler's carbonated melody as each verse glides by. Halfway through, the rousing experience gains a whiff of kinetic energy in the form of an acoustic guitar solo. And as the riffled strings take this soothing endeavor back to into homeostasis, Tyler Boone's resounds once more in his tightly hugging top-line, "You took it all, except your little, paper wings!" "Next Life" arrives subsequent on the infatuating cut from the Paste Studio in downtown Atlanta. Here, Tyler and his musical confidants take it down a notch, simmering over their enveloping hymn-like incantations as they festoon the hook with a prismatic radiance. The acoustics here take on a more rhythmic approach, striking fervently against the strings to produce a disguising downbeat for the trio to spring off of. It feels like two worlds weaving into one another. The verses are a soft-intoned versification about love and longing, and the choruses are an anthemic uproar that finds all three of our highlighted musicians buzzing over their synergistic harmonies. There's no doubt Tyler Boone has something to offer any listener when it comes to Blues and Americana amalgamating Music. And with his feature for Paste Magazine, the South Carolina-native renders a performance that echoes confidence and passion—leaving behind an unmistakeable after-glow. Can you run us through your choice of songs for your Paste Magazine Session? Paste Magazine is a top tier songwriting showcase and if you're invited to do an event like this, you need to learn more on the songwriter, Americana side, etc...we chose "Paper Wings" and "Next Life" as there is a lot of room for harmonies and major guitar run lines in between the vocals. Who were the two gentlemen supporting you on the acoustic guitars during the performance? My dear friends Shane Williams & Warren Bazemore of Finnegan Bell! We have collaborated a lot with one another and a Paste Magazine session only made sense if they were apart of it. We've recorded a lot in the past, I love those sessions, they both teach you something each time, whether it is a life lesson in the music industry or a shot of Jameson :) Now that you've checked off a feature on Paste Magazine, what's in store next? The next plan for me personally is sitting down and writing a full record. I just moved out to Altadena from Hollywood and feel truly inspired out here. It's just far enough to get away from the city and focus on creating art. What has been keeping you inspired through 2020? When the world ended this year...you only had two choices...to accept it or to work harder than ever to get through it. The desire to get to the other side was a huge inspiration and in a small sense, I am grateful for it. Can't wait to start this new record. Any new releases before 2021? Yes, one more remix before the end of the year and it's straight writing mode. Stream the session here. facebook.com/tylerboonemusic instagram.com/tylerbooner twitter.com/tylerbooner tylerboonemusic.com #BUZZMUSIC

Mo_B1 is the type of Rapper who channels pop-cultures past and present to adorn his musical escapades with a sense of nostalgia and reliability. reliabilityOn his latest Extended Play titled 'Keep The Change,' our North Bay bar-riffler makes reference to Ice Cube, "Starwars," and even the HBO show "Game of Thrones," over his creatively relentless lyrical narratives. His aesthetic changes from track to track, but what remains cohesive throughout this playback is the Emcee's ability to channel his deep-reaching R&B roots over the melodies topline hooks he bestows upon choruses featured on songs like, "Make Believe," and "Tatoo." These two songs stand out from the rest, but not in how they formulate a completed narrative over the record's playback. On "Make Believe," the drums blast out of our speaker-cabinets using every use of wattage allotted to them. Here, Mo_B1 makes reference to his musical influencers from the golden area of Hip-hop when he buzzes over Ice Cube's lines, "You betta check yo self before you wreck yo self." The topline effects in the way a club-hooking mantra would, and as each verse churns more scintillating then the last, it's as if each variation of the North Boy Rapper that walks into the vocal booth for the verse is bolder than the previous. It's long arms stretch away from the vibes exerted over predecessor songs like "Connect the Dots," that found our protagonist taking full ownership of his 90's era aesthetic. On this track, a sense of head-bobbing is conducive to the smooth operating Emcee flow Mo_b1 manifests. Here, salacious bars flow with some of the hooking infatuating qualities of the late grate Tu-Pac, which he references in this song, unironically. A hard mid-punch explodes from the lo-fi styling drumset, which gives this song a nostalgia inductive sense of gap. It's the highlight of this Extended Play as the captivating pad samples, and his intoxicating vocal hooks synergize over the downbeat for an added dynamic. What stands out most about the next track is how it doesn't seem to fit into any cohesive space left for it on "Keep The Change." "Tatoo" is an outlier that would do well alone in its own right as an addictive Alternative-Hip-hop track, but amongst these other tracks, it creates confusion over the place it truly belongs in relation to what we've already heard. It's a symptom of why this record sometimes feels more like a compilation of singles than one cohesive narrative of style and aesthetic. Throughout the EP's playback, Mo_B1 borrows freely and with a connoisseur's taste from the most infatuating characteristics of R&B and Contemporary Hip-hop on songs like "King of the North," and "Rockin' J's," but his most enticing verbal jabs come from the support of The Finesser Professor on "Red Wine." Here, a minimalistic beat encourages us to focus on our Emcee's saturated intonations. As Mo_B1 sings over the choruses with a buzzing warble in his breath and a focus on his harmony, the verses lay open for his featured Artists to rule over. The Finesser Professor, an all-encompassing Emcee who riffles playful verbiage, draws reminiscence to some of Contemporary Hip-hop's best on his stave, while the next stanza is ruled over with the vehement drive of Alex in the Middle's measure—which produces a monochromatic vibe mirroring Donald Glover on "Because The Internet." As "Keep The Change," comes down to its final send-offs, we're bewildered over the effectiveness this Emcee displays over articulating his hooks and constructing songs that stay in memory for weeks to come; but his musical endeavor doesn't come without turbulence. "Pop Smoke," operates over an ominous sample that oozes over its own saturated harmonics. It performs as the highlighting captivator, but probably unintentionally, as we find Mo_B1's topline combatting for study over his production's overwhelming nature. Still, none the less, his presence adorns this track with a zealous discharge of captivating buffets of melody and hook that administers clever pop-culture references throughout the extent of its playback. On "Rockin' J," a lo-fi backtrack allots our Rapper room to occupy front and center, untarnished or stained compared to its predecessor song. Here, his flows converge over a short backing track that samples a piano, some crispy hi-hats, and bells that blend into the nostalgia-inducing aesthetic channeled from Mo_B1's '90s favoring creative intuitions. When we think back, "Keep The Change," stands as a testament to the talents and overpowering affluence that this Canadian Rapper has for crafting addictive hooks, incorporating clever references to Pop-culture, and enhancing his mixes with nostalgia-evocative textures. His aim for cohesion might not have been his most festooning quality, but his abundance of groove, knee-buckling bars, and intoxicating toplines are undeniable. Hello Mo_B1 and a warm welcome back to BuzzMusic. What was your process behind curating the dynamic flow and cohesion that follows when one song moves to the next on this record? When Considering cohesiveness I always try and make sure the project has a certain vibe. Keep The Change has a unique sound in the sense that it encompasses catchy hooks with hard-hitting bars.  I wanted to grab the audience with King Of The North and then follow it with the two lead singles Connect The Dots and Make Believe.  Rockin J's was a perfect last song to leave the audience wanting more and the others fit in from there. Can you explain some of the main sentiments and emotions you were trying to evoke in your audience through the multitude of diverse-hitting tracks found on "Keep The Change?" I wanted to make the audience think about the bars I spit.  Thought provokes creativity and inspiration which is my goal when releasing music, I want to inspire.  Keep The Change is a message in itself. Change is necessary, as a young black male, I believe we must keep changing as a culture and people.  Humanity is constantly changing and we need to change together for the better. Change is good, for all of us. We must be open to change and willing to seek out ways of destroying racism, discrimination, and injustice forever. When it comes to your clever references to topical subjects and Pop-culture, what fuels that stylists approach, and when did this become something you confide in during your writing sessions? During my writing process, I am.always looking for ways to engage the audience and pop culture references tend to do just that.  I have become accustomed to writing for mass appeal, which requires attention to pop culture and what's happening in the world at that time. If you could pick two songs from "Keep The Change" that represents you best as an Artist, which would you choose and why? My two lead singles Connect The Dots and Make Believe I think best represents me as an artist right now.  There is a certain maturity in my flow in Connect The Dots that I am excited to share with people.  Make Believe has a funky hook, that is catchy and unique and highlights my singing abilities which I like, personally. Make Believe demonstrates my attempt to think outside the box when creating, another attempt and blending the 90's early 2000's with the now. What are some ever-evolving and long-lasting developments in your sound and style that you can predict we might find on your next upcoming releases? My next release is an LP called Wedding Season. 8 tracks dedicated to love and relationships. Expect summer tunes that are uplifting. It really is feel-good music. There are a few unique hooks, my singing is on full display and there are alot of heart heavy bars. The intricacies of love are contemplated in a fun fashion. Wedding Season is Now available on all platforms under Mo_B1. Check It Out and Sing-Along! instagram.com/mob1theonly1 #BUZZMUSIC

Home exists inside all of us. It's a place to create memories, an atmosphere we covet, and our setting for development. Misa has captured the essence of those sentiments and emotions in her latest eclectic Music Video for her flippant track titled "Home." With style gathering the distinct textural element between Jazz, Folk, and Alternative, she folds over her reverberated echos with a sultry tonality that mirrors the 90's greatest Alternative intoners. This year, her creative intuitions drive her to manifest musical fantasias festooned with dark and earthy textures, reflecting the stock visuals she offers as intensifications to the overall experience of her latest single. As "Home" opens over the harmonious melodies of a crisp acoustic guitar and Misa's haunting voice, we immediately feel enamored by the songstress and her presence—both visually and sonically. She's dressed in a dress that adorns her with a bewitching aesthetic as she sings over the scenic backdrops of a rural forest overlooking an expansive lake. We meander at a mid-tempo here, governed by the fidelity of the riffing acoustic before the hook arrives over the ends of a muted snare, and a booming low-end—that's been provided by a discerning kick-drum. It does wonders for the cohesive flow of the waltz-like sway that's already been provoked, and between the poetic narrative of Misa's black and white visuals, the distinguishing stylistic croon of Misa's infatuating vocals soar to their highest atmospheres. Hello Misa, welcome to BuzzMusic. What was the initial creative idea behind having the Music Video for "Home" filmed within the backdrops of a rural-looking forest, and amongst a black and white rendering? “Home, the song, has distinct layers. It ranges from sadness, regret, resolution, and finally hope. We felt a black and white background worked well, insofar as people can project their own feelings onto it. Almost like having a blank canvas to make the video their own. We do not impose a mood upon them. The forest was a subliminal call to not seeing the forest for the trees, and getting lost as a result.” How does this Video Production relate to the narrative you established for "Home," and what sentiments were you trying to render throughout? “The one theme we wanted to convey was searching for something, anything that a person can call home. Home does not have to be a physical place, it can exist solely within your heart or mind. Finding the guitar in the forest is that moment of coming home.” Can you tell us about some of the milestones you've been aiming for in your creative career? How close do you feel to attaining the next one? “The year 2020, with all of its’ bizarre happenings, was the year I wanted my first album to be completed, and I was able to do it. It was my first large milestone. The next would be to tour the album, and also perform the newer songs being written now. Once the C19 issue has resolved a little, I hope to be on the road.” If you could collaborate with any visual or musical creator from past and present for your next anticipated musical releases, who would you choose and why? “I think working with Kate Bush would be an amazing experience. The way she crafts songs and then works the visual element in is exactly what I am trying to do.” What has been keeping you inspired in 2020? “Music. That’s the only thing that has kept me going, and I am so lucky to have it because so many people were left stranded by the virus outbreak. I cannot imagine having to be at home without my songs and music with me.” instagram.com/allaboutmisa twitter.com/Whois_Misa #BUZZMUSIC

Dittomaster is the Portland-Bred Rocker who infuses frenzied energy over his dance-punk inclining music. With influences that draw from the touchstones of France's Justice, England's Depechemode, and America's, LCD Soundsystem, this emboldened composer utilizes everything between the drum to a synthesizer to manifest the striking sonics he hears in his own mind. His debut from late June, "Happy Hour," granted him notoriety that extended far into the Summer months of July and August, and now, on the starting ticks of September, he's released the Sophomore single titled, "Straw Man"—an industrious Electro-Dance and Punk escapade that evokes synergistic choreography from our own feet. "Straw Man," gains effectiveness from a Synth pad that freely borrows from Justice's "Phantom"—from their eponymous self titled debut in 2007—but adorns his own prophetic glaze in the form of a vocal part that susurrates through the impactful layering of two vocal takes that fuse into unity. Here, much of the measure is similar to the aforementioned song, with a crispy downbeat that produces nostalgia invoking of that year's emanating brilliance. As his oscillating sampled pads resound over robotic stilettos—weaving between a scintillating bass-line and an affecting electric guitar riff—Dittomaster magnetizes the edges of his electronic-dance mix with a charged up electricity that finds a spark in his elegist-affecting hook. "Be still my beating heart, you make my blood run cold, be still my beating heart." He glides over his words with a propelling synergy that sticks like adhesive over his main top-line synth, and as the mantra engraves itself into our memories, he closes with a short slash— effectively shutting off the musical dynamo he's created through channeling his most magnetic influences on "Straw Man." Hello Dittomaster and welcome to BuzzMusic. How did you develop your affluence for the instruments you've listed as being able to play, and what stands as your primary choice when faced with songwriting? That’s a good question. I started with guitar lessons in the sixth grade. Then in junior high, I was in a punk band and after we practiced I started playing our drummers drums and started to get comfortable. Then we formed another band with friends and I played the drums in that band and many other small bands after that. When I was playing drums and singing in the Flying Eyes, I got a microkorg and started to mess around with synthesizers and started making recordings and writing songs that way on a laptop by myself. I also got a bass at some point and started playing it. The bass is really similar to the guitar, just minus two strings and the strings are bigger. I would say I’m a jack of all trades, master of none. When writing a song, I usually start with a vocal idea, that may end up turning into another instrument, but that’s usually where the idea for the song comes from- a vocal melody. If you want to see me play all of these instruments, you can check out my Instagram or YouTube. What have been some methods you implore to effectively avoid running into creative blocks with relations to instrumentation, melody construction, and your mix's balance as a whole? Voice memos. Sometimes I could be driving down the road or talking to someone, doing literally anything and a melody will pop into my head. So I’ll just kind of sing/hum it into voice memos and save it for later to develop. Even if there are people around you, you just have to stop everything and record it. When those melodies hit you, you have to record them, otherwise they’ll just fly away and never come back. It can lead to some funny moments of me excusing myself to go hum into my phone, but it’s worth it. After I have the basic idea, I’ll pick one of the vocal melody ideas and start to build it out in Logic, starting with software instruments and then adding real instruments when the composition is more realized. I usually just listen to the song over and over and if it’s boring me I’ll add elements, or take elements away, or write a new part, etc. It’s basically just an exercise in entertaining myself and hoping that it transcends to an audience. Regarding the mix, I try to keep things not perfect. I don’t want the recordings to be completely perfect, I want them to be raw and visceral. Kind of punk rock. I think there’s an emphasis today on perfect production and I do admire the skill that takes, but I don’t think every song should sound perfect. Some songs aren’t meant to sound like that. Turn it up. Do you have a team that supports you from the moment you conceive a creative idea, and to the point of its eventual release? Or has this been a solo venture from the get-go? No team, just me, myself, and I. I was in a band before the pandemic, but the pandemic kinda ruined our plans for this year. So I’ve been putting a lot more energy into the Dittomaster project because I can practice by myself much easier than with a band lol. When you think about the narrative behind, "Straw Man," what would you describe as being the biggest take away your audience should attain from this experience? Lyrically, it’s a song composed of polar opposites. Idioms that shouldn’t be put together or don’t make sense. I wanted to play around with that because the United States right now- it doesn’t make a lot of sense some times. Everyone is so diametrically opposed to one another in so many ways. And opposed to outright facts. And the leader in chief feels more like a sick clown than a leader. At least that’s what it feels like when you turn on the tv or go on social media. So if the song lyrics evoke some confusion- that’s kind of the point. Boiled down, the song is about wanting to love America as a whole, but being repulsed by the hateful rhetoric and division that has been sown between us over the last four years. Why is it so hard for people to be reasonable and truthful with each other and themselves and love one another? What has been keeping you inspired in 2020? My son. Hands down. The next Dittomaster song “Always” coming out October 2nd is about him. We just adopted him this year during the pandemic, so that has been a crazy whirlwind. Honestly making music helps to keep me inspired as well, especially during this time where there isn’t a lot of inspiration floating around in the world. Music helps to break up all the bad news I hear every day. instagram.com/dittomastermusic facebook.com/dittomasterjams #BUZZMUSIC

Oakrest is the blistering, high-energy Pop-Punk group based out of Newmarket, Ontario, that fuses addictive hooks and uplifting choruses that leave behind an after-glow so bright, you'll be wearing your favorite shades for days. More favoring in their pop aesthetic than punk, these Canadian musical machines produce songs that are dripping with radio-ready quality, with choruses that spur progressively over catchy hooks that feel adhesive in a way we won't soon overlook. This year, they've released their latest musical bestowment of radiant energy over their tastefully resolute guitars on, "Nothing Serious." This track teases us with a tantalizing lead vocal that blends seamlessly amongst the driving spirit behind the Canadian band's Pop-Punk orchestrations: gushing guitar riffs, heavy smashing drums, and a magnetic chorus that pulls us in. It's the type of journey that finds the vocals exuding with a fervent trill in the verse, and erupting for the chorus, as the transition from one section breaks through into the other with reinforced punk energy. The drums sound massive and encompassing as they synergize with the guitars and a rounded bass that bounces below; and there's no shortage of juicy double peddle kicks, cohesive buildups, and half time breakdowns. The whole endeavor presents with no shortage of conductive energy, and dance-inducing spirit on Nothing Serious, and the Newmarket Pop-Punk collective are sure to be riding the waves of its success through its anticipated release. Hey Oakrest, thanks for catching up with us. Where did you end up recording this single, and what was that experience like? We recorded Nothing Serious with our friend Anton Delost (who has also recorded our previous EP’s, 'This Story Needs An End' and 'Annamaria Dr.'). Working with Anton is like catching up with an old friend. We only see each other every now and then, but when we do, it’s a big vibe! How did fuel the creative intuition behind your compelling toplines and solid-clean Pop-Punk orchestrations with veteran professionalism? The thing that allowed me to get creative when writing was as simple as just trying it out and seeing if I liked it! Doing this has opened my mind and opened more paths I can take when writing. What are you most excited about as a band concerning your sound, plans for new musical directions, or even specific collaborations down the road? We are very excited to record our new record in the future! Quarantine has given us so much time to patiently write, and be picky about what we like and what we don’t like. This new record so far is something we’ve never done in terms of our sound, and with that being said our fans can expect a new direction from Oakrest in the future. What's been your most impactful inspiration or influence musically during these turbulent times we are living in? A huge influence on me (Jacob Szabo) was the new Neck Deep album (All Distortions Are Intentional)! The whole vibe on the record really spoke to me, and has inspired a lot of the songs on our new upcoming record! What has been keeping you inspired throughout 2020? The thing that has been keeping me inspired during 2020, is the fact that I gratefully get to work from home right now. When I finish my workday, it’s as simple as going downstairs, turning my amp on, and writing for hours! Being an introvert, even on my weekends, I still try to find the time to go downstairs and write. instagram.com/oakrestband facebook.com/oakrestband #BUZZMUSIC

The life long friends and collaborators James Gray and Nathan Athay have developed as musicians both collectively and independently throughout their time ricocheting through a revolving door of projects embellishing descriptors like Shoegaze, Indie-Rock, and even Space Rock bands. As time has shown, their expertise and character are sought out on projects of these varieties, but it's not their most customary archetype, noting influential artists from The Stone Roses and The Smiths to My Bloody Valentine as leading inspirations for the figures they manifest in their Indie-Pop amalgamating records. This new coming year sees them spreading their artistic wings as Soft Set, a collaboration of world-class quality produced by the iconic Mark Gardener. With the upswell of new-formed artistic spirits from this veteran supporter, the two lifelong friends bring us their best music yet, in the new anticipated record, "Love And Dancing," and in the highlight opening track, "7 on Up." "7 on Up," opens on the dissolving edges of an alluring drone that resembles something out of our deepest daydreams, and flourishes with a buzzworthy bestowment of wonder when it lays into the first beats. The groove here is straightforward and Lo-Fi, but punchy and weighted in how it lands healthy in our chests with an alluring drive. When the harmonies of James and Nathan synergize together over the top-line, and amongst the silver-lined expanses of this jovial Indie-Pop fantasy, we're instantly enamored; drooling over the vibes oozing from this cut. Its a musical venture that finds adhesiveness through a sparkling guitar riff on one end, and a mystical hymn-like chorus on the other; lifting the weights of gravity from our shoulders as it crescendos with the whispering lines: "cross your fingers, cross your heart, here we are, here we are." There's no escaping the all-embracing nature of this lovingly produced daydream-pop endeavor, and for Soft Set, it feels like a genuine representation of the bond they still hold together as musicians and ultimately, as friends. Hello Soft Set and welcome to BuzzMusic. What has been the best part about working with Producer Mark Gardener for this record? Mark was amazing from start to finish! The best part about working with Mark was his expertise and experience around the studio. We learned so much from him and it’s something we’ll never forget. We’re very grateful to have had the opportunity to work with one of our heroes. Absolute legend! What do you think is the reason both of you click together as both friends and musical collaborators over the years? Great question! I think we work together so well because we’ve been playing music together for over 20 years and our influences are pretty much the same. We both love harmonies and we’re suckers for a great hook. Haha! We also have the utmost respect for one another and we’re very lucky to have the friendship that we have and don’t take it for granted. If you could choose a few words that would act as the epigraph to your coming record, what would you want to say and why? The underlying theme to this record is nostalgia and that was totally unintentional. It just constantly popped up during the songwriting process which was a great surprise! We’ve also heard words like “honest”, “undisguised” and “sincere” when we played the record for friends and family. Hopefully, they weren’t just being nice! Haha! Can we expect to see any surprise guest features on "Loving and Dancing?" We do have a special guest on the album, but it’s not who you think! She’s not a celebrity, but she’s incredibly talented and we’re very thankful that she agreed to play on one of the songs on the album! Thanks, Madeleine! What has been keeping you inspired throughout 2020? 2020 has been a rough one on all of us and it was difficult especially at the end of March and April up here in Toronto and I’m sure everywhere else when COVID hit. We couldn’t go to the studio for almost 3 months and even when we were allowed to go, it just wasn’t the same for the first month we came back. We’re still being extremely diligent and wiping the place down before we get started just to be safe, but yeah…we’re happy to be back rehearsing for live shows and working on new tunes for 2021! instagram.com/SoftSetMusic facebook.com/SoftSetMusic #BUZZMUSIC

In 2013, Cali-power-rapper Sham Blak landed as a name to watch out for in the U.S. Hip-Hop scene with songs like "I Need Someone." Throughout his breakout record "Money Well Spent," he jogged his way through industrious productions that showcased his affluence for outlining the expanses of his mixes with his unrivaled Emcee flow. More currently, he's branched out into more captivating territories, where he incorporates sweeping anecdotes with reimaged cryptic musical constructs. Sham Blak steers far exceeding the limits of conventional modern Hip-hop sound that initially established his reputation through the multitude of life-struggle he's experienced and the discipline he's gained in direct retaliation, landing somewhere much more captivating. The most alluring use of his newfangled ominous texture finds him in a setting that marshals an ominous swaying track called "Bounce." On "Bounce," his latest collaboration with Legion X, he hovers over the Dark Hip-hop mix with a melodic hooking flow that settles somewhere between the sensation of terrifying and infatuating. In the verses, his lucid state raps slip through crevices in the morose synth riffs, as a buzzing array of subs and echoing ad-libs hum from left to right before dissolving back into the surfaces of the intoxicating hook. As we slide down the carnival ride of our more obscure dreams, it's Legion X that meets us in the middle of the spin. As he croons over his introductory monologue-type measure, a slow eruption is imminent from below. Before we have a moment to prepare, the featured Rapper riffles off and explodes into a stanza of clandestine proportions, where each syllable slices wide. When he transforms, it's as if a different rapper has taken over—less askance-like, more hard-spoken, and more bar delivery-oriented. Listen to "Bounce" here. Hello Sham and Legion X and welcome to BuzzMusic. How did you transform yourself stylistically from what we've heard from you earlier in your artistic career, and what stands out as a crucial moment of your own self-discovery musically during that process? SB: Stylistically I transformed myself into what I wanted to sound like. I think we are always growing and learning and if you are trying to monetize your music I think it’s important to know what’s selling. Also, it’s about staying true to you. My self-discovery was just recently actually. I had run a few tracks with my homie but then I started to hear it differently and that’s when I knew. LX: When I first started doing music I had no direction of where I was going. I was rapping for fun without knowing the platform I was on could reach hundreds to thousands of people. After a few years, I started to realize people were actually listening to what I had to say when I got on stage and what I put on record. The angst I would feel from everyday life would in fact be heard finally. The moment that changed me was when my big homie Taps ask me back in 2013 if I considered myself to be a rapper or an artist? Never had I been asked a question that would inevitably change the way I present myself musically. Since then I have worked extremely hard to be an artist over just a rapper expressing myself visually as well as lyrically.” What's it been like working with Legion X, and how did you two manage to collude so cohesively over the aesthetic and narrative of "bounce," with what seems like minimal laborious effort? SB: Working with Legion X was a dope process. The guy is a professional but he’s an artist and isn’t afraid to pitch his idea. I seen him around the San Diego hip hop scene and immediately knew, we are gonna do some work. Then boom. I found a beat that I thought would compliment both of our styles and I ran with it. This is just the first swing, we have some more dope in stores! Can’t wait for you to see the video, now that’s gonna definitely solidify this collaboration as one of the greatest! LX: I have always admired Sham Blak since meeting him at the ac lounge a year or so back doing hip hop shows. His style really stuck apart from the rest of the spooky gang to me. He has a west coast swag along with a versatile flow that I was a fan of right off bat. When it came to doing the track “Bounce” it was an easy, yes to be featured. He shot me a demo with the hook going “bouncing again my daaaarling” that got stuck in my head I couldn’t write to it if I tried. I believe we have very similar roots in what we grew up listening to so it came very natural writing to “Bounce”. Working on the visual for the song was another smooth sailing due to sham being so laid back and natural on camera. We both went in feeling and exerting everything we thought the song needed for an eye-popping and mesmerizing music video. We hope you all enjoyed it. What's been the most critical formula for making your core sentiments and lessons clear throughout each new song you release? Sb: My lessons are coded in the music and sometimes I feel like they are for an advanced audience. But it’s one of the feelings like, if you know me and are familiar with my energy then the messages in the song will resonate with you easier. I make messages across the spectrum. My formula is simple, take life and put it over a beat. LX: I don’t hold back on shit! I grew up feeling I had to somehow follow what was socially accepted. I write about my angst against the world, how I feel pressured to try and fit into a frame of mind that I was not made for. I’m a ma fu***n psychoooo! Each new song I release holds that standard of not giving a damn if you like it or not. Always going against the grain, always doing what I want to do musically independent. Never short yourself for other's opinions of what you feel is right. If you could describe yourself now in three words that resonate with the emotion, style, and texture you want your new music to exhibit, which would they be and why? Sb: Passion, truth, hope. Passion because I’m not here as a fad or because it’s popular or cool to rap. I’ve been making music since the mid-’90s. Truth because we all can’t fuck everyone’s baby's mom lol. And we all ain’t got a f*cking Maybach. I’m mobbing in my 2014 Nissan Versa because it’s easy for me to get to LA and back to San Diego without spending $100 on gas. Hope because it’s all we have in the unique times. Since our birth, we hope, for blessings, good health, fortune, safety a bunch of shit. My music gives hope to those staying true to themselves. LX: Surprising, extraordinary, and intimate. I want my listeners to be surprised at the songs I release in hope they notice how remarkable it can be to be free from the judgment of one's own self-expression. What has been keeping you both inspired in 2020? SB: The fact that anything can happen at any moment. All you gotta do is hit once and boom! Everybody winning lol. I’m a gambler. Love the craps table. Love buying scratchers. Love playing the odds. 2020 is going to show us who is really betting on themselves. Cause if you bust you don’t lose, you just learn. LX: The political turmoil that has plagued this year has kept me inspired and full of angst for much more music to come. instagram.com/sham_blak #BUZZMUSIC

The Italian (London based) chamber-pop singer/songwriter Heren Wolf releases a compelling and emotional single titled, "Empire." After his father's unfortunate passing, Heren Wolf found himself experiencing life with a little less glimmer and felt that creating a single surrounding life's fragility would create a moment of reflection and growth. "Empire" takes the listener into cinematic depths through Heren Wolf's delicate crooning vocals and gentle instrumentation. "I create music to make sense of all the sorrow and trauma I experienced, and I deal with it every day." A firm advocate for mental wellness, Heren Wolf infused this single with the realization that even the most extraordinary "Empire" is bound to fall at one point or another. Taking a listen to the mesmerizing journey that is "Empire," Heren Wolf's sublime and soothing vocals grace our ears with pure precision and a natural delicacy. With ambient soundscapes drifting in the background alongside soft droning synths, the entire instrumentation merges into a tender atmosphere with help from melancholy piano chords. Serene woodwind instrumentals make their cameos and create a heavenly sensation, inevitably giving listeners a chill up their spine. Last but very much not least, Heren Wolf's emotional lyricism pulls the listener in with relatable themes of facing devastation head-on and coming face-to-face with adversity. Without a doubt, Heren Wolf's single "Empire" will pull you into the depths of his consciousness, while reminding you that healing has no time-frame. Hello Heren Wolf, and welcome to BuzzMusic. How long was "Empire" in the making before its release? Seeing as it's such a personal and emotional song, did you have trouble being so vulnerable with your lyricism? I started writing Empire in January 2018, but then it took me a long time to sit down with it and work on the production with Agon Branza. Originally, I didn’t think I was going to include it in my repertoire, I’ve only performed it twice and did not feel too excited about it. I thought that I was moving somewhere else with my lyricism and sound, but now I strongly believe that Empire embodies the perfect prelude to this new journey. Being vulnerable with my lyrics has never been a problem. I have always been very open about my feelings and this has allowed me to weave deep connections with my interlocutors. Sometimes it’s scary because when we “take off the mask”, people see us for who we are, and they could reject or criticize us. However, the vulnerability has helped me to find people who can truly support, encourage, and validate me. People that are not afraid to enter the dark rooms of my consciousness and understand that compassion is a vital component of life. Why did you choose to keep the instrumentation so minimal yet compelling? Do you feel that this approach helped reflect and compliment your lyrical message? “Less is more” usually doesn’t work for me (lol). If I can be grand and majestic with my instrumentation, then I certainly will. However, it just didn’t feel right to go big with this song. The message is one of emptiness and numbness and the minimal arrangement helps echo it. Also, this is my first release after 2 years and the sonic identity that I am now expressing is quite different from the previous sonorities. So, I liked the idea of welcoming people back with a gentle embrace that would give them enough time to settle and slowly get comfortable in my new musical home. Seeing as you’re known for transforming grief into grace through music, how did you initially realize that music was your favored emotional outlet? Since I was a kid, my biggest aspiration was to become a professional dancer, so I spent many years working hard towards that goal. Unfortunately, some health problems stopped me from pursuing my dreams and that’s when music came into play. Music helped me to alchemize that trauma, aggravated by the death of my dad, into a resilient driving force. Music has the great ability to tap into the substrata of one’s consciousness, articulating emotions that couldn’t otherwise be articulated. Through music I have learned how to swim the dark waters of my grief without fear, finding a new place, and strength in the world. How do you go about writing lyrics that not only fit your current emotions but resonate with listeners and their problems as well? I believe that no matter how personal a story can be, there will always be some elements that will elevate it to a universal level. By performing songs about the death of my dad or the bipolar disorder of my mum, I was able to connect to many different people who had experienced something similar and felt heard and validated in my lyrics. We’re prone to believe that the experience of grief is isolating and lonely, but the reality is that we all grieve, somehow, and to know that there are people out there who empathize with how we feel, is incredibly healing and creates a strong sense of community. What has been keeping you inspired this year? This year has been particularly difficult. It’s been a year of collective trauma, during which we lost too many people because of Coronavirus. Others were killed by police brutality or drowned in the sea while trying to escape wars, poverty, or other threats. It’s been a terrifying time that’s left me completely uninspired and numb, but it has also reminded me that in spite of division and hate I must continue to exercise love and compassion and use music as a rebellious act of hope. During this worryingly fragile year, I was inspired by the resilience that humans are able to harness when everything seems to fall apart. This year, more than others has really shown us how interconnected we all are and how important it is to come together as a global community. Acts of solidarity can change the world and that for me is a great font of inspiration. instagram.com/herenwolf #BUZZMUSIC

As lockdown 2.0 makes its way over to Melbourne, Thomas Byrne releases his sincere single "Breaking Waves" for listeners to find peace. Written prior to the pandemic, Thomas Byrne felt that the lyrical message fits perfectly with the world as we know it. A beautiful song mixed and mastered by Harts, "Breaking Waves" speaks on the social topics of mental health, unrequited love, and the debilitating feeling of isolation/loneliness. With a variety of keys and celestial synth progressions, Thomas Byrne's calming single reminds us to hold onto faith with each empowering lyric he confidently delivers. "Breaking Waves" begins with filtered keys playing a moody and melancholy melody, yet once the transcendent synths rain down, the track transforms into this heavy introspective, and enlightening tune. Thomas Byrne's vocals enter the track with nothing but peace and tranquility, while he sings lyrics of breaking out of old habits and fulfilling himself with actions that better oneself. As the song progresses, the underlying keys and synths create a beautifully vivid atmosphere with each echo. The track gradually builds into a soaring and psychedelic instrumental that effortlessly feeds the soul. We have the repeat button on for this beautiful single, and in regards to hopeful and optimistic isolation songs, Thomas Byrne's "Breaking Waves" takes the cake. Listen to "Breaking Waves" here. Hello Thomas and welcome to BuzzMusic. Seeing as you wrote the emotional single "Breaking Waves" before the pandemic struck, why did you choose to release it now during Melbourne's second lockdown? Well, I actually wrote about 75% of ‘Breaking Waves’ just before the pandemic hit. I wrote the second verse, the bridge, and recorded the song during the first few weeks of lockdown. I chose to release it now as these feelings of anxiety, social isolation, and unrequited love were coming back when lockdown 2.0 was announced. So I felt my audience would connect with the transparency, rawness, and vulnerability now more than ever. Your lyrical message within "Breaking Waves" is incredibly sound, serene, and emotional. What did you want your audience to take away from your lyrics? I am glad that the serene message translated. I think in a way I wanted to normalize feelings of loneliness, social isolation, and unrequited love. Then I wanted my audience to think about ways they can ground themselves when the ‘thinking mind’ takes over. What kind of feeling and atmosphere did you want listeners to grasp from the instrumentals within "Breaking Waves?" How did you craft the sonics to create such a mesmerizing space? Great question. So there are a few sounds going on in ‘Breaking Waves’, but I would say it is still fairly stripped back. Primarily, I kept myself to a single vocal track. This was to create the raw, transparent, and vulnerable feeling which is portrayed in the lyrics. The atmosphere created is as if I am talking straight into the microphone, akin to a Shakespeare soliloquy. For instance, at the end of the second verse, I speak “but instead” straight into the microphone after I sing “sometimes I wish I could just fall in love”. The foundational keyboard sound is a swirling Rhodes in stereo with another replica Rhodes which is running straight as a mono sound. These keyboard sounds work perfectly with the theme of a relationship breakdown when I sing “I’m trying so hard to keep the sanity” – a certain questioning of my fluctuating isolation headspace. The second sound is an effect to create the oceanic atmosphere. The third sound which is probably the most prominent is a retro-synth sound. Listeners have compared it to the retro-wave soundtracks of current tv-series like Stranger Things. This was to create a certain cinematic nostalgia in my audience. As lockdown feels comparable to a classic Sci-Fi film. All of this layered with a modern-sounding bass-synth creates that mesmerizing sonic atmosphere. During Melbourne's current and second lockdown, do you think you'll be creating more music that notes your current view and perspective of what's going on (internally and externally)? Another great question. I have the goal of releasing something every two months before the end of the year. I don’t want to reveal too much, but the next song was written in the midst of lockdown 1.0. I posted a demo on my Instagram the week before a catalyst event with the lyrics “division this world’s in; we gotta let go”. It is therefore my hope we can find some inner peace amidst the current events. After that, I plan to release an upbeat groovy track as we head into Spring and Summer in Melbourne, Australia. I am currently deciding whether to collate these into an EP. What has been keeping you inspired throughout 2020? At the beginning of lockdown in March I was missing gigs so I decided to jump on the #Elisecollab with Elise Trouw. My first recording jamming along to her drum sample was favorited and reposted on her page, so that inspired me to upgrade my home set-up and record a collection of originals. I have also had some inspiration from artists such as JJ Heller and Dave Barnes when they liked my renditions of their songs. I am also planning on writing a soundtrack to a short film written by Darya Bradshaw who I met during quarantine as part of her documentary on creatives during the lockdown. She is a filmmaker from New York who is currently editing the music video for Breaking Waves and has been keeping me inspired since March 2020. Lastly, I have to mention my cats as they keep me grounded with their ability to stay present during these unprecedented times. instagram.com/thomasbyrnemusic facebook.com/thomasbyrnemusic #BUZZMUSIC