Search this site

Hip/Hop artist JONES hails from Chattanooga, Tennessee, and plans to show listeners that his feverous passion never fades out. Undergoing various hardships throughout his life, JONES only uses his misfortune to propel his mindset and current way of life. Pursuing the music industry not too long ago, JONES has a crystal-clear focus on what it is he's wanting to build. His most recent music proves this entirely, as JONES set out to craft music that is not only compelling and fierce but music that shares a personal and important narrative. JONES released his anticipated single, "Identity Crisis," and we're absolutely living with it. The track begins with that quality high-energy that JONES is known to emulate in almost every one of his songs. The wordplay on JONES is quite insane, and once you give this contemporary Hip/Hop artist a listen to, you'll pick up on this almost right away. "Identity Crisis" provides similar energy for artists such as Eminem and primarily due to the pace of the track. "Identity Crisis" will have any listener stimulated in one way or another, which is a desirable trait of JONES. He hones in on that ability to captivate listeners with his interesting power dynamics presented in the song. JONES showcases impressive flow, and we've mentally noted that this artist will be able to arouse and vitalize us in many different ways. There's no doubt that "Identity Crisis" got listeners' hearts going! Would you say that this assertively expressive style you've acquired was something that felt natural to you, or was it a character meant to be crafted for your music? Identity Crisis, as a song, is meant to be a continuation of my story from my first album “Where I’m Going”.  The last album discussed heavy topics like anxiety, depression, and addiction and what it was like for me to go through that period in my life. “Identity Crisis” is the introduction to the next chapter of the story. The aggressive style of rapping in the song is one I felt was necessary to fit the feel of the instrumental and the emotion I wanted listeners to feel. I want to take the listeners on my journey with me into this next chapter of my artistry because it is not just “my story”. It is “our” story. Would you say that you're the kind of artist to share personal narratives throughout your music? Was "Identity Crisis" a personal narrative for you? Absolutely. I pour myself into my music. If you listen to the songs I write you’re going to hear the good and the bad. The ups and downs. Good times and bad times. I am a firm believer that as people, we all have a need to express ourselves and connect with other’s who understand what we are going through. I feel like the only way I can speak my truth/message to my fans is if I write music that is deeply personal and authentic. The world needs more authenticity. Identity Crisis was meant to be a narrative about the place I was at in my life during “Where I’m Going” and where I’m at now. I discuss coming from having no fans to almost 100k monthly listeners on Spotify through hard work. I talk about how internet trolls like to tear other people down online and how that can affect us mentally. I discuss how I fought to get sober and that now life seems very different. I used to numb my feelings and hide from my issues through my addiction. Now that I’m through that place in my life I see the world very differently, and in some ways, I am relearning to live again and navigate the world through a sober lens. Identity Crisis is meant to be the start of that story I will tell throughout my next album. Compared to other music you've released; how do you feel that "Identity Crisis" complements the overall theme that seems to present itself within your career as a music artist thus far? In terms of the theme of my music, I can say I don’t think “Identity Crisis” deviates from that. It is a continuation. I feel like telling my audience what I have been through in my music that I can give hope to them. They can know that they aren’t alone in what they are feeling. They aren’t alone in life. Somebody knows what they are going through. If the honesty I express in my lyrics connects and gives somebody who is struggling hope then I’ve done my job as an artist. I want to inspire and give hope. No matter how life hits you, or how far you’ve fallen, I want to encourage people to get back up and keep putting one foot in front of the other. My music is meant to speak to people like me. I call my fans “The Ones” because we are a family who care about, understand, and help one another through the dark times. Where are you hoping to go with your sound now that "Identity Crisis" has been released to the masses? Fans should definitely expect to hear more of this aggressive style, quick flows, wordplay, and more passion than ever. However, I also am striving to be more vulnerable in my music now. I want to connect with people on all levels. I would be nowhere without the support from my fans and those who believe in me. Their constant encouragement and motivation is what fuels me to keep pushing my pen harder and give them the best I can offer in my music. Expect much more to come from me…..I’m just getting warmed up. What has been keeping you inspired throughout 2020? 2020 has been an insane year, hasn’t it? The overwhelming support and encouragement from my fanbase has motivated and inspired me to work harder than I ever have at my craft. I feel like, especially in these times of sickness and divisiveness in our country, that we all need somebody to let us know they care. I hope my music can help get some people through this time. My fans know, I’m an open book, so anytime you want to shoot me a message or tell me anything feel free. We are all a family. We are the Ones. instagram.com/jonesraps facebook.com/jonesraps #BUZZMUSIC

"It was like being in a relationship where you're just comfy, but you're not in love with it anymore, and all the small things that go with that," is how Cory Hueston described his remaining moments as part of The Blancos. The Florida-native recalls feeling defeated over discussing the justifications behind their splitting, and now, comes out of the confines of his previous form, embracing an all-new mindset of his own. "I believe in making music I would want to listen to, that's it, no boundaries, I'm always trying to break new ground," he tells us when discussing his logic behind the rationale behind his new music's core. But out of all tragedy and misfortune comes a new beginning and a fresh rebirth. And that's what Cory has experienced in his manifestation as Hueston, and with the drop of his new single, "Change It Up." The track opens up with an ominously pressing sample that drafts on the edges of Hueston's Auto-Tune swelling vocal performance. Here, his production reflects the modern sport of empowering the thirty-second note scattering beat atop the hi-hats, but here, he exhibits a more meticulous approach in how he injects his orchestrations with stuttered pauses and a nice flex of his dynamic topline flow and melody. Probably the most potent aspect of this single comes in the sudden swerve into the B section, where Hueston steps closer in the mix and croons with enamoring effectiveness as he sings, "you changed, yeah baby you changed, yeah you changed, changed it up on me," in a totally new and encompassing atmospheric space. It's reminiscent of the type of experience that washes over you slowly but acts quickly in how captivating it attracts your allure, like a hot shower, or that quick dip from a hot tub to pool. "Change It Up" depicts a bright and exacting lust story and the allure of the nightlife in every city from L.A. to Luxembourg. With its sexually energized resonance and the dynamic expression he explains through his solo venturings as Hueston, this track truly begins to culminate into a lethal awakening of an artist snowballing in his own independent success. What usually excites your urge to create music, and does it resonate the same way it did when you first started dabbling in music? Everything in my life and every experience I've ever had, good or bad, dark or light, urges me to create. I am just as excited to create today, if not more than when I started. It's like being a samurai or some shit, going from a novice to a master. It's so fun using all the different tricks and skills you've learned along the way, but most importantly it is how over time, you constantly learn to simplify. When did you know which direction you wanted to go with Hueston, and how do you think "Change It Up" fits into that frame? I never really know what direction I'm going in, it just kind of happens. Just like the song did. That's my favorite part about this project compared to The Blancos. I feel way more outside of the box and I care a lot less about what people think these days. What's been the most liberation part about stepping away from The Blancos and extending out as a solo artist? The most liberating part is doing something that I knew that I had in me the whole time, but I wasn't able to purely express that because of my obligation to The Blancos. Every time that I had an idea, or I wanted to do something it had to be compromised to be a part of The Blancos, which was fine because I loved doing it for so many years, but I was craving artistic independence. I really wanted people to see how much work I actually put into my music. What can we expect to witness from you artistically as you continue to release new music under the unconstraining heading of being an independent artist? For me to push the boundaries and continue striving for greatness. I've been dropping new music every two weeks and I hope to continue that into dropping a debut album. Lots of writing for other artists and producing. Also launching my label/ publishing company, Young Hueston LLC. What has been keeping you inspired throughout 2020? It's hard not to be inspired when the world is on fire. instagram.com/iamhueston #BUZZMUSIC

Thunder Bay's perennially cool ensemble, Pedestrian Lifestyle, has subsisted long enough to establish the lines between their post-rock character and their prevailing shape as all-knowing oracles over the dominions of ambient indie-rock sound— never wanding off the magnetic course of display on 'Gorblins.' With the collaboration of Vision Of Doyle, and almost two decades after their debut in 2008, Pedestrian Lifestyle's latest studio album presents like a two-sided six-track record. But here, it's split down the middle, with each band devoted to one half. Featuring a concentrated potency produced from their combined creativity, and fulfilled with underlining inner-city garage-surf vibes attached. "Sink And Spiral" is comprised mainly of magical snapshot accounts of the band's harmony coagulating into something more mesmeric and melancholic. Here, human emotions are manifest in a spacious mix that's sketched into reality amidst quintessential instrumentation, evoking sentiments that spread through system naturally—like our minds, united by a network of impulses and sparks to produce movement. Next, the haunting ballad-like, "Master Of Nothing," is composed of an underlying melancholy that Josh Talakoski effortlessly permeates in the opening lines. "I am nothing, just a waste of time," he's almost whispering, "so lay me down, in the fading light, I'm unfulfilled," striking with a fatal gloom. Here, in an unwinding orchestration of strings, the accompanying sonics could affix to any situational emotion: from wandering the street aimlessly without any direction to struggling with existential angst in the comfort of your blacked-out-room. And still, we evaporate into this evolving ballad-like-hymn that swells into its final emulsifying spectacles before melting into the next track. "Suicide Pact"—the highlight on Pedestrian Lifestyle's half of the EP—is written by Vision Of Doyle while the lyrics were penned by Andrew Domenis. It's got a breakbeat character in the way the drum erupts onto the scene, opening the tune-up for the setting groove that reflects a garage-surf tone before it batters down on the one, leading into the chorus. With all its gritty weight and rawness supporting, the vocals present tastefully distorted and lo-fi—stretching and pulling from one sized room the next—evoking an immersive involvement into the industrious offerings Pedestrian Lifestyle has to deliver. The number of diverse textures highlighted on this record reflects the more collaborative measures taken during the two band's writing process. With each quartet mirroring on similar tones and characters, different points of diversity are notably apparent, making the six-track EP feel bountiful in its creative juices. It's a premeditated risk that winds up working, feeling exciting, and presenting like a supergroup collaborative, colluding over the sonic discharges found in 'Gorblins.' When the soft-crushing composition "Place," gives way to the insouciant bounce of drummer, Aidan Domenis—from Visions Of Doyle—who injects the psychedelic-tinged guitars with an unwavering bending effect that sounds like they've been governed through an old tape machine. It has the character of a quiet evening at home that suddenly turns into a "turn the volume to 11" beach-trip-getaway—all while expediting their more compact-sounding Indie aesthetic. One Vision Of Doyle concurrency often found in their dustier sounding music is their enamoring toplines, which always resolve into a feel-great-vibe for their choruses. On 'Gorblins,' it appears in the form of the light feathered three-minute highlighting song, "Scott": a song dedicated to simultaneously making thrifty sounding guitars pop as they blend in with the rhythm section on the hook. On this track, it quietly devastates with a reoccurring motif: "I don't want to be your baby, I just want to be your friend," Andrew Domenis resolves in the addictive melody, demonstrating a crystalline example of the charming weight behind their songwriting. As we come closer to the final cycles of 'Gorblins,' much to our surprise, Visions of Doyle's next song, "Zoology." This song is a cover song of three Pedestrian Lifestyle songs, created into one unique medley. Here, we experience a trippy rhythmic clamor over the rims of a drumkit. The wurling of keys subtly color in the spaces between the supported chugs of a saturated electric guitar and Andrew Domenis' nonchalantly sailing vocals. It all asks the ultimate question: "What are these two bands NOT capable of?" It's not too crazy to think that 'Gorblins' could stand as a banner for the prefabricated genres stretching between "Garage Surf," and "Indie Alternative Rock." But still, its parquetry of woozy ambiance and woolly insulating groove incorporates a version of Canadian vibe that subsists with pioneering textures, found throughout their combined catalogs. Pedestrian Lifestyle and Visions Of Doyle have always followed their creative intuitions. With the help of friendship, their combined 'Gorblins' stretches out—encompassing us with all the musical brilliance that it exudes. What were your headspaces like going into this record, and the upcoming months prior to its release? I think we were all in a pretty positive headspace when we did these songs. That being said it was kind of a whirlwind of an experience. We recorded our half of the split while we were on tour. We had a free day in Toronto so we had booked some studio time and partway through the session our van had got broken into which was a huge bummer but we tried to stay positive and truck on through it. The months coming up to the release there was a bit of anxiety and stress to make sure we were all happy with everything but it was definitely worth it in the end. You're often described as a band who blends melody and emotion together, but what imparting emotions did this experience blend into your own lives individually or as a band? I think the take away for all of us from this experience is sometimes shit happens and you just have to roll with it. You just have to take things as they are. Things get better and the stuff that is out of your control you just have to brush off. Is this format of splitting down records, one group a side, something you're planning on considering again in the future? For sure. We had a super fun time doing this project so we are already considering doing it again. Covering each other's songs and throwing a couple of original ones in there was an interesting way of doing things. It allowed us to experiment and try out different things. Could you impart some words of wisdom that would enhance your audiences' experience of listening to 'Gorblins' for the first time? Gorblins is essentially a celebration of friendship and being on tour with a bunch of people we would consider to be brothers. It was the first tour for Visions of Doyle so having that experience with them will be a memory we never forget. Friendship is key to being in a band. This split will allow listeners to get a taste of both bands but all in all they will hear a bunch of friends making music they are proud of. What has been keeping all of you inspired this year? What can we expect to see next from you? Well, this year has been pretty crazy, to say the least with everything that has been going on in the world but seeing bands still continue to put out records and new music has been inspiring for sure. Seeing that definitely gives one the confidence to keep at it. We are currently in the midst of trying to get back on track with finishing writing our new album and hopefully we can get out more music later on in the year. instagram.com/pedestrianlifestyle #BUZZMUSIC

Emanuelle Di Sabatini's music seems carefully directed in making you feel fully intrigued in its cryptic nature. It arrives without any concrete hints as to how it's going to unfold before your ears. The pseudonymous producer is based in Rome, but his releases are conceptually detached from that place; living in his own enigmatic world of dark tone psychedelia and electronica that snapshots with Hip-Hop reminiscent flow. He doesn't belong to Pop or any other cliche genre. Instead, he belongs to a particular clique with features a persistent following, and that manages to hang leverage for any ear to find enjoyment in its unique smokiness. You might call it experimental in a way. However, Emanuell—the performing songster performing under the stage name, "Jaws Elevate"—favors memorable toplines melodies and adjacent hooks found throughout the timeline of contemporary music. But his dynamic beats and overwhelmingly clever use of mysterious synth orchestrations exudes a totally eclipsing light over that descriptive mindset, as we filter and oscillate between the ambient expanses of his music. This loosely defined character is fleshing out ambient-electronic classics that manifest over sometimes dark, but profound expressions that shapeshift between the abundant effects featured all over Sebastien's lyrical slayings. On this record, his demeanor suggests that he's not concerned with these cryptic and hazy sounds purely being absorbed with the restrictions of identification and specificity in mind, and blossoms under his creative intuitions on 'Paintings,' the Italian's debuting Extended Play. This elusive record works on the level of Logic's discography, mainly in how it takes you a journey through its playback and immersive, otherworldly reality. Jaws Elevate's new record is just as bewildering as the mentioned works above but offers a more profound, darker, and buzzier spectacle. The consistency is part of his appeal, with catchy turns and flips mixed into every hooks reverb with every corner, giving the record its intricate yield and unique surprises. "Blue Paint" is a whistling pulse that sits unplaceable on the scale between eloquent and vibed-out. It sounds vaguely organic, as indebted to the banging 32nd note beat taking effect over the hi-hats, as the effecting ambiance seeps deeper into the hearts of our curiosities. "Divided By Pride," another achievement of layering hypnotic samples and melodic genius, feels more compact in shape, and nearly sultry in movement and sway—it's as adjacent to the sonics of mainstream radio this extend play reaches to, while still managing to sustain its glow in the cryptic omniverse Sebastian has created for his true audience. Though there are seldom any lead solo parts or instrumental cut-offs that affect the flow and linearity on "Paintings,'" the EP still manages to shine through with its haunting harmonies and myriad of layered vocal effects. Ghostly hums trace the contours of "Comfort Zone"—a mesmeric fractal of ambient electronics, intermingling amongst a wailing electric guitar and a robot-effected topline vocal—while "Don't Go" rises on dirty guitar squeals and sonic fluctuation that remind us of The Technicolors screeching guitars on "Tonight You Are Mine." It sounds like a song brewing over the tail ending of a relationship gone sour. "Blueman" recalls Sebastien's floating Emcee like cantor from his opener track, but this time the textures are more old-school reminiscent, centering around a more tightly knit production that unfolds like you're watching a theatrical performance; be-jeweled with a halfway transition that earns this track it's highlighting status over this record. With blips that feel like we're trapped in a room next to an otherworldly manifestation of Jaws Elevate, as he lays down his filmy flow over a sonic texture that oozes like it's coming out of an old record player. The track bleeds periodically into lo-fi radio like wanderings and ambient shams—transmissions of what genuinely manifests and reveals his most authentic and revealing form-an an innovator. We're hopelessly scrambling over picking up the pieces of our defragged minds when this cut fades out. On "Paintings," which invites similarly potent rhythmic fragments from the track before it, flushes deeper into a more desolate picture where his provocative burst and corrupted beats feel like a gibe; tangling and strutting with effecting elegance. The truth echoes out here, Jaws Elevate finds influence in the sonic prophets "Daft Punk" and "Denzel Curry," as his final cut from this EP offers up a rendering of robotized vocal effects, and disorienting rallying huffs and yells, that impact with such force, we'll be talking about the afterglow effects until late next year. Can you tell us a tiny bit about the struggles you've had curating this EP and its journey? It all started one year ago when I met MASO, my actual producer, and now a friend. We worked a lot and in a week we made “Blueman”. The idea of the EP came to life when we made the second and the third song, “Don’t Go” and “Comfort Zone”. I really like to paint so we put some of my paintings on the cover of the songs. Everything is connected, lyrics, colors, emotions. It is really difficult to be in front of the microphone in the recording studio because you feel naked, everything becomes real, and you have to fight with your demons again. What conducted you in your ideas of how one song should blend into the next? The idea of this EP is that every song is a painting, every song has a color, an emotion, and a personality. The desire of love, alcohol, and depression are the main themes. That’s what connects them. The first two songs are depression and rage; the third is the description of what I think as an attempt to suicide; the fourth regret; the fifth suicide; and the sixth song is a dialogue between me and my therapist. So as you can see the EP flows through the stages of depression. How do you fuel your artistic intellect on days when your motivation or focus is just not there and did you find yourself tapping into this ammunition for the record? Motivation comes from music, books, and positive people. I always try to stay inspired. I believe staying away from negative people that surround our lives and setting our goals is the best way to stay motivated. Goals are the most important thing and always necessary to keep pushing forward. I constantly use good energy to defeat bad energies and write bad things to exorcise them in a song. You brush on some profound and exposed borders on this record. How do you incorporate the energy and concise storytelling arrangements you seem to use effortlessly throughout your songwriting? When I write I listen to my inner part, bad things inspire me most, so I try to vent the rage and transform it in music. I listen to every genre, study lyrics, structures, and ideas of other artists. I always try to learn something new every day. Can we expect to see you streaming anywhere live this Summer or later this year to further promote this EP? Or maybe some new releases that will reach us in the tail end of August or September? I have four new songs that I’ll release between September and December, and they all are part of the new EP. I prefer to release one song per month because it creates continuity and keeps me inspired and motivated. I also have a live session project that I’ll record at the end of the month with the band I formed. I can’t wait to perform live with this new project. instagram.com/jawselevate facebook.com/Jaws96 #BUZZMUSIC

VV Snipes started out as an impassioned graphics designer studying at Northwestern State University before the influences of Lil Wayne, Mike Dean, and all the associated Busta Rhymes leaks from his father's bootleg collection established their grasp over the young Lousiana-based Rapper's creative presentiments. Fast forward to the present, this enigmatic lyricist embraces his ghostlike reverb and ammunition like flows in his music, creating a euphoric trap experience with a concise and definitive aim on his latest full-length cut, "Vvniverse." It plays like an unforgettable clandestine divulgence of potent toplines, trap textures and drippy tones for all his "KRVE."— a coined term for his fans. Since his conception as a force of nature in the rap music game, he has always committed to dispatching the same altruistic message with each new release: stay humble and genuine to yourself, and you'll be able to accomplish anything. VVSnipes recipe for this record is uncomplicated—a precise flow, a potent production, and memorable toplines—he uses these ingredients to render a rich, stimulating and thematic story, which provides a version of his subconscious that's tangible even to audiences who have never dabbled in the Lousianna rapper's enticing sonics and storytelling imagery. Here, the landscape VVSnipes designs are whimsical with an abundance of laid back, simmering trap-vibe hits, but they still extend into explosive depths when required. “I’m feeling like I’m in my zone, universe taking me home, the way that I’m living my life I am so far gone.”  he raps on "Dallas Heartthrob." It's like a short incantation before the intoxicating sounds of a lighter sparking up foreshadows the intoxicating fumes we're about to immerse ourselves into as we step into the hazed out track that oscillates and swells overtop a walloping backbone rhythm. As we surf on the otherworldy vibes that shine reminiscent of Travis Scott's "ASTROWORLD," this song establishes the core ethos for this record: hit-heavy and satisfy endlessly. "Denim Fleece," twinkles as the bright samples give the upcoming sixteenth note scattering beat a passageway directly into a swerving sub-synth in a song about his own introspections. On this track, we're immersed in an inebriated redaction of the ambient reflective spaces between Snipe's thoughts about money and his own self-awareness amongst ambient synth and echoing whispers and a danceable hook. As the record settles in, we're infatuated by the unique laid-back and vibey character of tracks like "Empathic," and "Topless Jeep," as they scamper with a hyped-up trap inducing swagger from the skittering hi-hats and potent reverb-drenched ad-libs. But the most highlighting impressions are left on tracks are the ones where VVSnipes uses his more aggressive fist-forward production approaches. Here, "400 Degrees" sits in the center of the record like the gooey core at the center of a jaw-stopper; developing flavor as each layer dissolves into the next until we're at its succulent center. Things are more fleshy, flows are slicing, and raw energy reflects off the coarse borders of the ominous-sounding samples playings off of VVSnipes's intoxicating unforgiving demeanor on this record highlight. The next track continues on this trajectory with a low-end that thumps lopsided in the way it sounds like it's originating from a busted subwoofer. But this only effects to highlight the rawness and consciousness fatality in each lyric: "It is a feast, but I'm the preacher, they listen, we gotta eat, the way that your living got reasons." The entire record dissolves as it passes on from room to room of echoing ad-libs, audio effects, and unmuted drums that always hold onto its cohesive and stimulating ominous aesthetic. A song like "Icetown" stands out on enamoring stanzas featuring a clear defining flow that divulges into a call and response natured mantra that becomes hard to shake off as we Milly Rock further, while "1 Kasket" feels like a reclining seat in the back of a phantom edition Rolls Royce as the low-end thuds shake the frames of the luxury cars exteriors, and the thirty-second note hi-hat riflings slip through the peeps of the tinted-windows. It starts to become clear that VVSnipes has a liking for utilizing atmosphere expanding effects like ghostly digital reverbs and meticulously saturated samples and altered subs to create a new tint with each predecessor song on "Gold Tanks," a song that draws effectiveness in its deep tonality. Here it's mainly attributed to the bouncing 808 blow as Snipes intermittently slays the chorus with a smooth flow that devastates like it's coming out of a shoulder strapped cannon. One thing that is notable about this Rapper's creative intuition is his tendency to find a hook and embody it in his productions through clear and conscience mini-manipulations of the record; each track finds its own unique voice and becomes a single in its own right. "Elephants In The Room" and "Seaux London," glides on an enamoring display of twinkling samples that paint a picture like we're flying up into the atmosphere for the final spins of this record. Here, VV Snipe settles us into a more R&B vibe, expressive as he croons in the hook and his breathy decays blend with automated harmonics on both tracks. It's impossible to not picture yourself dancing into your next DMV renewal appointment with a swagger in your step and an elevated mindset when listening to this cut from the imposing young topline lyricist. And based on the way every cut establishes an immediate familiarity after the first hook, it's not rocket science to think that that trap-inspired record like "Vvniverse" is VV Snipes bread and butter in the traditional sense; as a veteran painter to his brush or a masterwork guitarist to his strings. instagram.com/vvsnipes twitter.com/vvsnipes vvsnipes.com #BUZZMUSIC

"Evergreen's" remix feels like being in an ocean party, waves of melody crashing over you, plunging you deeper into a whirlpool of house music juiciness, and only letting you surface for the airiness in Lyncs's pristine voice. With oscillating pads and a punchy quarter-note pumping rhythm, this track is oozing with dance-like qualities. It's a world away from the original figure of Lync's original rendering, most notably with a refreshing tempo change and some production flares. Yet still, it works for its context and setting, giving this Lancaster-native a new magic carpet to ride on the waves of her musical success. Like most house/electronic dance happenings, it creeps on slowly. Lync's voice gives us chills with the way her carriage of the notes espouses with the magnetizing dance-beat. In the pre-chorus, Lyncs echoes dissolve into the atmosphere of this expansive mix, while an impending drop slowly builds below us. Before we have a moment to prepare ourselves, the initial drop carries us into the chorus's singalong like-hook, "they say to find it in me, and grow to be evergreen, evergreen, evergreen." As she rings out the words, her reverberations bend and morph into their own unique harmonies, and evaporate like clouds. It's easy to imagine this song pumping out of the thousand-watt speaker at VELD or Ultra Music Festival as the firework show erupts behind you in the closing crescendo of the night. And as the song evolves into its final chords, Lync's addictive topline and GOLDENHOUSE'S keen-edged production, make "Evergreen" present as a gift to any independent music lover who is ready to mingle with delight. What were some discerning features in this song that you think only GOLDHOUSE's could have come up with or provided? My favorite moments of GOLDHOUSE’s production have to live in the chorus. I really love the house elements he brought to the forefront as well as the added vocal effects and impacts. He really transformed the song and gave it a new life in a way I’ve never heard before or could have imagined. Who or what has had the most meaningful influence in your life musically thus far? My biggest inspiration for writing comes from small moments that we all can connect or relate to. I want to write songs that anyone around the world could feel or plant themselves into the story and I hope that resonates in my writing! Can you speak to some of your experiences collaborating and working with GOLDHOUSE on this remix? GOLDHOUSE is currently based in LA and I am based in NYC, so it was so exciting to work on a coast to coast project and melt both of our sounds together. I think one of my favorite moments was our first interaction, which was us talking about the meaning of the song and how he connected with it in his own way. Nothing compared to hearing the first demo he sent over and how he brought his own voice to Evergreen. Are you looking at any more collaboration for the rest of 2020? I am constantly looking for more ways to connect with artists and work on as much music as possible! Especially right now during COVID-19 while all of us creatives are stuck at home. The more the merrier! What has been keeping you inspired throughout 2020? 2020 has been a whirlwind of a year, I’m sure everyone reading this can relate! Keeping inspired hasn’t been too hard for me though. I’ve been keeping in contact with family and friends, and trying to still connect with new people in new ways (which is who I get inspired by the most)! I’ve also been able to still release videos and music on a schedule, which feels like a miracle. I truly am beyond impressed by other artists who are also able to release music and keep creating during this time. It’s amazing seeing everyone come together during unforeseen circumstances and I couldn’t be prouder of the music community in 2020. instagram.com/iamlyncs facebook.com/iamlyncs #BUZZMUSIC

Tongues Of Fire is a band that can adapt to many musical styles and connects with fans worldwide. Being true punk rockers at heart, the group brings a soothing edge to their music that perfectly compliments Tongues Of Fire's memorable melodies and polished tone. While under quarantine, Tongues Of Fire has been busy working on their most recent release "Numb," and we are finding ourselves putting it on repeat day after day. "Numb" is a song where it has both an exciting lift but a deep soft-spot within. "Numb" is a song that's about what it's like to lose someone who was always there for you in your life. It has us feeling incredibly emotional and thoughtful despite feeling energetic from the soundscapes within the song. Lyrics like "It's been a year and forty days, it never leaves, it never fades," we feel the emotional connection that Tongues Of Fire have to the song. The incredible vocal performance beautifully matches the edgy aesthetic from the band. Featuring a pounding drum beat, a beautiful singing bass, two guitars that hit us right in the gut, and then topped off with an ever-so attention-grabbing vocal that we cannot get enough of. Since listening to "Numb," we are officially huge fans of the art that Tongues Of Fire creates and cannot wait to hear what is coming next from them. We are terribly sorry about the circumstances that led to the writing of this tune, what made you want to express your emotions through song? As a guy, it's not really expected or encouraged of me to talk about emotions so I did it in the way I was most familiar with. Speaking about the song itself, what was the whole songwriting process like? Does the band write together? Or does one member handle that primary? I write most of the songs but we all get together to refine them. We will play through and look at what we could do better with them and keep doing that every rehearsal till it's the beat that we can get it. While listening to your music we felt deep chemistry between all of the members, how did you all come to meet? It's taken a while to keep a lineup because the music, recording, booking, promo, touring, etc that comes with it is very demanding. We expect a lot out of the people we play with so anyone that's in the band is serious about what they do. Nobody is going to help us so we have to do it ourselves. Being mainly a punk rock group while keeping commercially understood, what types of musical directions do you see yourself going in for future releases? It's been very hard to be a band like ours, there are not many opportunities out there and no easy scene to just be accepted into so we had to kind of create them for ourselves. Right now we're looking at the new music coming out that we enjoy and is doing well and trying to see how we can adapt what we do to become more relevant. instagram.com/tongues.of.fire facebook.com/tonguesof #BUZZMUSIC

New Jersey Hip/Hop artist Cash Burner 5000 is here to display his inner passion and drive for meaningful music. Cash Burner 5000 uses his platform to relay pivotal messages and mindsets to listeners, and his recent music release doesn't stray the furthest bit away from that. Already having five albums under his belt, Cash Burner 5000 has a strong sense of motivation and doesn't have any issues when it comes to creating quality sound. His latest release, "Black Music," focuses on many current events, bringing a story to all listeners willing to receive. Cash Burner 5000 gives absolute vitality within his track "Black Music" right from the very start, and he doesn't let up with it throughout the entirety of the song. "Black Music" had its music video released in early June, and Cash Burner 5000 keeps it concise and straightforward with the visuals. The video of "Black Music" has many striking moments, as Cash Burner 5000 hones in a ton of vehemence, and this is easily relayed through his character within the video. The track outlines various themes, such as black appreciation and oppression, allowing listeners to receive his sufficiently in-depth perspective on important matters. Cash Bruner 5000 has incredible high-energy, making it easy for listeners to vibe along to his passion-filled music. All in all, Cash Burner 5000 created the "Black Music" music video that strived to expose listeners to many truths. #BUZZMUSIC

Andy Penkow, the folk project of Sydney-born, New South Wales-raised musician, is warm and embracing. His lyrics are filled with wonder and intimacy, and when he buzzes over his instrumental backing, it feels as if he is blossoming front stage at a festival, spotlights centering in on his enamoring tenor. Here, the steel-string expressionism of his second coming EP 'Chasing The Sun' isn't just original, it is progressive, captivating, and quietly crushing in the sentiment it divulges. It might be easy to lump Penkow's voice in with the likes of Contemporary Country on the first impression, especially for an audience unfamiliar with the genre and style. Still, with little need for in-depth consideration, it's obvious that this Americana and Country-spirit amalgamating songster is in a category of his own making. With its inclination towards mystifying ambiance induced atmospheres created from the steel-string guitars and organic earth-shaking rawness, Andy Penkow creates a warm and embracing hug out of a world stuffed with gooey stories about love, and introspection like no other. The EP's opener and titled track "Chasing The Sun" showcases Penkow's multi-layered croons alongside a swelling and oscillating steel-string guitar gliding the distance and a steadfast acoustic strum for the stave. "When the light comes up in the morning, I'll pack my bags, and I'm gone," he declares with vigor in his spirit, heralding the Shane Nicholson reminiscent topline with another further rallying swell: "beyond the road again tomorrow, I'll be chasing the sun!" The words are outspoken and spear the apex of this track about following your intuitions and dreams to the end. With an impression that glows reminiscent of a warm sunset or huddling up to a woodfire, here, the record's prologue feels welcoming. Penkow's recording features songs about the heavy and paralyzing weight of love on the heart. On the steady "The Biggest Hearts Can Break," he sings about getting lost along the way to bring love-struck and coming up shortsighted and heartbroken. "Their words can sink into your skin and bones," he sings sadly, "leave a mark, a stain on your soul," you can almost hear his tremors move up and down the register of his whisper-like croons as he continues; steeping like tea before it boils over into the final addictive chorus. The boundless spaces between his lyrics and the reliable instrumentation of crisp drums and southern accented strings behind him can make it sound like Penkow is rallying with newfound strength over the hurt in his magnanimous heart; as if to embrace the realization he is facing. But still, even though first loves and first heartbreaks often devastate even the stoutest hearts, this song finds Penkow bestowing some empathetic cries over the sentiments he describes in this lock-sick ballad. "Chasing The Sun," is like a jukebox of southern reminiscent soothe songs touching affection and love. The EP runs totally just under twenty minutes long but feels abundant in how it stretches us emotionally and slows downtime; like being under a warming trance, as the delicate and tender words leave from Penkows lips. Then there's, "Vicious Fights, Sleepless Nights," a song that suggests like the final squeeze at the end of a relationship and the heart filling sentiments that follow, as Penkows ushers us past the candle-lit rooms of this profound and smooth delivering playthrough. "Remember that night, I drove out of your sight?" he asks recalling the irrevocable moments of his connection slip away, "I knew my world would never be the same," he sings in a moment of stillness, before the soft breathing percussion, tender piano chords and ambient drone in the backdrop seamlessly fade into quiet. He's introspective of what it means to leave for good, and whether it was the right decision as the final elapsing moments of the relationship as he drives off. But rather than retreating into the sounds of obscurations, conjecture, and grief with his tone and orchestration, Penkow takes control over his expression and establishes a new-form Americana on this track and the entire records as a whole; with a warming tone and in steel-string thematic. Andy Penkow finds a better and more precise perception of himself here—defining his own sound by always following his creative intuition and sentiment. What was it like working with someone like Shane Nicholson on this record, and did it feel surreal operating with a heavyweight producer like him? It was a dream working with Shane, I have always looked up to him as an artist, He's music is always on rotation. I trusted him with my songs and he didn't let me down. Which three emotions would you pick to describe the process of this record from start to finish, and why? I draw on my current life events when writing music, this EP is more Melancholy, I had just come out of a long term relationship so a lot of the songs come from that and the heartache I felt at the time. One Midtempo song "wildflowers," I wrote 10 years ago on the way to a gig in Parks NSW this was a happy time in my life. Chasing the Sun was a co-write with Lyn Bowtell, 9 times Golden guitar-winning artist and this was more of a free-spirited song. These songs sound very charming, but also personal. How do you find the strength and angle to approach your open book-topics on this record? Yes, it's scary when you release something so personal. I think it's really important as an artist to be truthful to yourself and the stories you are hoping to tell. I find writing good therapy also. I hope the listener can relate to the songs in their own personal way. What has been a lingering creative desire or high esteemed milestone in your career that you're excited to focus on this year? I have spent most of this year so far recording and releasing this new EP working with Australian Country Music Royalty, co-writing with multiple Golden Guitar winning artist Lyn Bowtell, also mentoring with Golden Guitar winning duo Carter and Carter. I have also been working closely with ARIA Charting artist Aly Cook and Key 2 Artists. I'm focused on releasing a few duets leading up to the awards season, I do have a few nominations which is great. And touring next year. instagram.com/andypenkow andypenkow.com facebook.com/AndyPenkowmusic #BuzzMusic

Settling someplace between pop and ambient soul, Lainey Dionne's trendsetting productions are ostensibly sutured together with thundering drums and the ceaseless vibe of her warm vocals as we embrace the addictive hook she lays before us. Lainey's takes hold of you immediately, as the spark to its flame as the song natural lands healthily in our chests. The well-rounded production envelopes over the catchy topline, "Hey London, my eyes are all red, I'm out of my mind and over my head." and the supporting video plays like an animated lyrical voyage as we're transported across London, England like a tourist, pre-Corona days. Each line that lands come with its mirroring transition in the video, as the downbeat lands seamlessly with every edit. The textures on "Hey London" are comparable to her early work: beautiful instrumentation, layers of pads, and a rhythm that holds steadfast. But somewhere along the road, there was a welcomed expansion into a more refined and well-rounded silhouette. "Hey London," hits with spotless accuracy and feels hyper refined—with fluid transitions from the bridge to the final chorus, that make the accompanying video a pleasure to experience—but what elevates "Hey London" above and beyond the atmospheric borders of today's contemporary pop music is Lainey Dionne's endearing vocals that glide atop this hit like a powerful current. Do you spend lots of time in and around London, and is there a more profound story behind the conception of this single for you? So I’m from a small town in the smallest state of Rhode Island. Rhode Islanders think traveling 15 minutes is far, but I caught the travel bug after college. I have an unfortunate or fortunate history of dating foreign men. Canadian, Dutch, Brazillian, British, you name it. Now I haven’t visited all the countries where my exes have lived, but for the British relationship, I did. I've been to London twice. The first time I was accepted into a program for my songwriting and had to travel to London where I happened to meet a guy. And then again when I went to visit said British guy for a month and we began seeing each other. This song isn’t completely about one guy, but multiple relationships I’ve had that weren’t in my interest and I was getting sick of staying in something like that.  I’ve physically been to every tourist spots mentioned in the lyrics but each place symbolizes an emotional landmark in my relationship where I realized I deserved better than how I was being treated and I am “so over it, hey!”. With regards to your creative process, what do you find to be the most challenging reoccurring roadblock that can sometimes manifest itself in your writing sessions, if any? Cliches. I hate them. Sometimes when I just free flow, the occasional cliche will pop in there and it makes me want to puke. Once I get in the ‘puke phase’ sometimes it’s hard to get out of it. Everyone wants to create something original, personal, and something that’s never been done before. That can be hard to do. I don’t really run into “writer's block” as in not being inspired to write, or not knowing what to write about- but I will definitely get stuck in a cliche puke and not want to finish a verse if I can’t pull it together. Was the control you display in your voice something you had to work on developing from an early age, or did that part come naturally? I feel very lucky that I’ve always had a good pitch and a natural understanding of music. When I was 6 years old I would harmonize with Charlotte Church in the bath. I didn’t know what the word “harmony” meant, but I could do it. Harmonizing is one of my favorite things to do. I’d also try to mimic vocal tones I would hear in the music that was played around me from a very young age. When I was 5 years old I would creep my sister out by mimicking Portishead or when I got older I would mimic the punchy vocals of Paramore or the deep operatic tones of Evanescence. My voice is naturally very breathy so it’s fun to make vocal tones that aren’t natural to me. As a teen, I taught myself to sing and play and then decided I wanted to do that for the rest of my life. I went to Berklee College of Music where I received intense music training but still felt boxed in vocally- like I was never going to be able to belt or hit long high notes. I was writing/singing folk-pop at the time and thought that was my bubble. As I grew into myself, I realized I wanted to incorporate other vibes into my music and pop the bubble. It wasn’t until I started working with my vocal coach Hannah Schaefer that I fully realized that my voice is a growing being of its own and can’t be put in a box. Since then, I have still had my natural folky breathy tone, but I am hitting notes I didn’t know was possible with emotion that makes me feel alive. I’m really lucky to have had the musical journey I’ve had. With Coronavirus looming over everyone's heads worldwide, what has been your primary source of inspiration during these last several months of isolation? Dang, well, Coronavirus has been insane for everyone. Personally, I’ve lost more gigs than I can count but I am very lucky to have my health and my family during this time. I’m a very adventurous person but I am also immunocompromised so I have really been isolating myself for the last several months but I’m itching to get out again once it’s safe. For now, I try to do whatever gives me excitement. I’ve taken a couple of new virtual classes in vocal training and audio production and I’ve been live streaming on Facebook and the new app Sessions, weekly. But I’ve also kept myself sane with other things like playing my Xbox, potting and repotting my succulents and chilling with my two dogs. Just staying sane with normal activities really helps me. If I focus too much on music and use all my spare time on it, it gets tedious. Like anything in life- my passion for music needs some time to breathe as well. I stay inspired by taking a break every other day from music to learn something new that will eventually come back into my lyrics one way or another. What can fans anticipate next from you, Lainey? I have two new singles ready to be released and they could not be more different. “Hey London” is this cheeky summer bop about self-worth. The next two are a different vibe. Cryptic Single #2 is a dark punchy banger about blind love that will definitely make you want to blast it in your car. Mysterious Single #3 is an explosive ballad with all the shadowy feels of what it’s like to be in a habitually depressing relationship. I literally cannot wait for these guys to be out there. Single #3 may be the work I am most proud of so far. After all 3 singles are released, which will be soon, a full-length album will follow suit. Subscribe to my mailing list on www.laineydionne.com to get sneak peeks and follow me on Spotify to be the first to hear my new music. instagram.com/laineysmusic laineydionne.com #BUZZMUSIC