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Popcorn Kid is the persona of Nikhil Narayan, an Indian musician bred in Chennai, based in Bangalore, which came to life in October, 2018. Popcorn Kid is bringing the 80’s and 90’s music trends back in vogue with his new single and video, "Franklins In Stacks". The song also features Sarah Kneeland and Noxigen. "Franklins in Stacks" is from the concept album Paradise and has 2 protagonists doing a bank heist, where one of them gets caught at the end of the song. It's their biggest project as criminals and it goes well until the mishap. Through the entire song, they're boasting about how good their life is going to be once they've completed the heist. Sarah Kneeland was a crucial part of this song contributing most of the lyrics to fit the narrative and melodic ideas too. It's a duet like most of the tracks on the album." ‘Paradise’ is his most recent work alongside Noxygen (on vocals and the guitar) and many other talented musicians. This splendid album is dynamic, comprising a variety of songs from Disco to Funk, to Synthpop. The track was produced by Popcorn Kid and Noxigen. instagram.com/popcornkidofficial facebook.com/PopcornKid90s twitter.com/iampopcornkid

Casanova Records commemorates Fly Wizzy and brings awareness to the crisis surrounding drug use in young artists on, 'Everything Will Be Okay,' compilation of uplifting and good-vibe cuts from various artists and friends. On March 5th, 2020 Wesley David Masko, known professionally as Fly Wizzy, passed away due to a drug overdose, a crushing sentence to communicate about anyone's fate. It's a staggering blow to the community of Pittsburg, PA.—where the young artist was originally from—even provoking the establishment of a go-fund-me page for the rapper's funeral expenses. It speaks to the enormity concerning the problem we are encountering surrounding drug use in the artist population, and how important it is to bring awareness to it. Fly Wizzy's career as a Hip hop recording artist was only just beginning to blossom: being featured on Hype magazine late August of last year, and releasing his breakout debut single 'I'ma Dog.' His propensity in injecting any track with his addictive hooks and toplines was unmistakably one of the reasons his career was on the trajectory upward before the disaster transpired. In commemoration of Wesley's memory, his friends at Casanova Records released a compilation of music from artists and friends to honor the Pitsburg hip-hop artist and bring awareness to artist drug abuse. This compilation record features a large arrangement of cuts ranging from rap songs with Shotgun-firing hooks and Swedish house music with a fist-pumping vibe to old-school '90s nostalgic hip-hop classics and rockabilly. It's a verbose expression of reinforcement and upliftment, featuring fifteen different songs altogether, and totaling an hour of run time. The record opens up with 'Closer,' a house track by Thebluemonkey, which builds with an enormous vibrant surge for the chorus. It features potent intermingling synths over a constant dance rhythm that supports a ghostly female protagonist vocalist. The unique euro-texture brightens the expanses of the mix, and even our own mindsets, as we continue with an invigorated ear. The next track continues the trend of classic thumping drive found in an electronic successor that resembles something more along the lines of AVICII or something similar you would find on the radio. It's a song that runs on the current it produces from its dance-inducing powerhouse rhythm. With steady meandering between synths and a well-rounded low-end, this song fits hand in hand with this genre's aesthetic and vibe.  As we shift further down into 'Everything Will Be Okay,' we come across Not Today, a track featuring Fly Wizzy himself, and Royale. It's a potent rap song with a stand-off like vibe, featuring fuming synths over a rumbling and gritty low-end with countless hooks amongst the magnetic mantra-like topline: "not today, not today, not today." The song is about standing up to the haters who reject based on their own envious hearts and hindered spirits. As the song comes to its end, we're left with mixed feelings. On one hand, embracing the memory and talent of Fly Wizzy in all its glory, but on the other, trying we're to cope with the enormous loss. The next venturous turn on this record is a rockabilly track called 'No More Cry,' a simple running slow-burner meant to focus on The Meteors' poem-like lyrics. It's a song with acoustic guitars, tambourines, harp-like keys, and a honey-like electric that all come together to give this song its ballad-like silhouette. "There'll be no more crying, there'll be no more crying," are the mantras enamoring melody, with beautiful call-back harmonies evaporating from ear to ear. The track feels like waking up to your morning coffee; refreshed and ready to take on the world with its challenges and adventures. Then, this compilation takes a turn on the more funky side of things with 'Roots,' a song by Harambre featuring the usual suspects in any contemporary funk: vibey vocals, a dancing slapped bassline, crispy drums, and deeply saturated keys. The highlight here is the mini-guitar solo that blends into a ghostly bridge section before it all resurfaces into a grooving wilderness. The song is repetitious in its unswerving hammering of the hook. Still, it never crosses the line of becoming bothersome, and instead of leaving us with an elevated bounce in our step.  The next song swoons its way in with a groove that runs unmatched in the groovy sway it provokes in your hips. 'Green Light Go' from John Smith and Da Ja, plays like a vintage find from your local thrift shop; no one else realizes it, but you've just come across a gem. This song features a totally instrumental production with all the bells and whistles attached: congas and tubey horns, deep vibey guitar work and flute solos, and even an addicting topline melody. It inspires a release of sorts, and help to find a shine of light amongst the crisis this compilation record endeavors to highlight.  The song 'Hush Mode' by Ms. Vame swoops in with a deep punching sub synth with an attack that could only be described as drilling. With an orchestration of crunchy claps and a descending scale with which the bassline slides down for the transitions, this song drips with its outrageously magnetic vibe. It pulls us in as it uncovers its tantalizing layers. A vocal sample fly through the atmosphere of the mix form time to time, returning us to reality before we're completely absorbed into the immersive world this reminiscent ominous electronic track builds. The next track germinates an even more mysterious vibe with mirroring productions featuring a more filled out mix and the feeling of wonder amongst twinkling synths and changing pads. Here, 'Tranquility,' like the title suggests, makes you feel exactly as you would think. It is a serene getaway, like a daydream into a world where everything is peaceful, and your heart is at unity. The song is super reflective of how this record plays out when you listen to it in one sitting. It feels almost like a meditation of sorts, but not in how it brings relaxation over you, and more so in how it helps you express different emotions through its diverse arrangements.  'Everything Will Be Okay,' pushes the message home: we're facing a drug crisis, and we can't afford to lose another talented artist to its fatal grips. Listen to 'Everything Will Be Okay,' here. #BuzzMusic

The Calgary based alternative-rock group, Homeless in Hawaii is an alternative 4-piece band that will lock you in with their music, the moment you hit play. You are emersed by their soundscapes that fill the room, combined with their lyrics and vocals that will be sure to leave an impression. Especially with Homeless in Hawaii's latest release “Darker Days.” With the use of unconventional rhythms and structures, Homeless in Hawaii have us constantly at the edge of our seats waiting to hear what they will release next. Taking inspirations from icons that include Billie Eilish, Music, and even Queen. Homeless in Hawaii knows how to make something that will catch the listener's attention and continues to push the boundaries of what music is capable of. With their upcoming album 'The Fear Of Missing Out' due to release soon and being two years in the making, the only thing we can be sure of is that we are completely ready to be taken to a new world. instagram.com/hihbandofficial facebook.com/hihbandofficial #BUZZMUSIC

Brooklyn, NY. born Elodie Rêverie writes, performs, and produces her own vibrant music with fierce independence. Her songwriting is very personal, which carries her clever lyrics and creative beats, just like in her latest single, "Under the Radar".   Rêverie says, "Like the majority of my music, my latest single "Under the Radar" originated from an iPhone note. Weeks later, I was surfing splice and found an interesting loop. The loop sparked my decision to turn the iPhone note into a song, and serves as the foundation of its structure and melody." This self-reliant nature is born of confidence gained the hard way. From hours at the piano as a child in Brooklyn, and as a history major in college. Also, gained over months of primitive living in the Nevada desert and from interning for a blues legend in Nashville. Gained from her time recording at the famed 4th Street Recording Studio in sunny Southern California. “Under the Radar” was produced Riley Urick (Kanye West, System of a Down, Akon) at Oasis Mastering. lodiereverieofficial.com twitter.com/Elodiereverie instagram.com/elodiereverie facebook.com/elodiereveriemusic

Visitor is the Alternative Rock foursome from Detroit, MI., who combines layers of rock melodies, gritty metal licks, and heartfelt, harmonic lyrics. They have a brilliant video for their new single, "Involuntary Crimes" off of their forthcoming release Origin Threshold.  Like planets orbiting a sun, the four members of Visitor have always gravitated towards music: Randy Gray (lyrics and vocals), Steve Dombroski (guitar), Dustin Buckley (bass) and William Pierce (drums). Dombroski says, "Involuntary Crimes" was written about internal conflict and the clarity that ultimately comes from the chaos. With the lyric video, we wanted to use the movement of a busy city to represent that chaos and the calm resolve of traveling towards a greater outcome represented in the choruses to bring that idea to life." Visitor’s music embraces themes of soul searching, forging paths, doubt and loneliness, but they’re underpinned by hope and optimism. When you feel like a stranger in a strange land, Visitor’s music reminds you that you aren’t alone. "Involuntary Crimes" was produced by Grammy Award-winning Producer/Engineer Chuck Alkazian (Pop Evil, Soundgarden, Tantric) at legendary Pearl Sound Studios (Asking Alexandria, Eminem, Filter). visitorband.com facebook.com/visitormusicofficial twitter.com/visitormusic333 instagram.com/visitormusic

Alexander Poe has always followed his intuition. Relocating to Los Angeles before turning nineteen, the Ukrainian dreamer invests all his creative drive into creating grotesque and massive sounding electronic-influenced productions. And now, after so much progress and artistic co-ordination, he erupts under the guise of his one-man-band The Hate Club. With this years, Poe's latest cut—"I AM A DISEASE," re-imagines the tropes of Rock, Electronic, and Industrial Metal music; evident through sweeping guitar solos, massive drums, and a wall of sound production that provokes the synergy between distortion lathered riffs and a consciously gritty low-end. As we listen, a saturated fuzz permeates throughout "I AM A DISEASE"; giving it a supernal and otherworldly dark quality, while still feeling tangible and profound. It's like a track that you always play first, despite being the third track on the record. As the song divulges further down its abrasive trajectory, a mix of his social satire and aggression can be understood and felt throughout his mysterious, warbling voice. "My hands stained in blood, that's mine," he buzzes with a harsher yet more refined cantor than we've seen on his previous works; while still keeping his fearless, raw, and controversial authentic image at the forefront of all his creative endeavors. After the track's playthrough, it's not hard to see why Alexander Poe and all his commanding grit and grotesqueness have come this far. It's because I AM DISEASE (and all his Hate Club cuts) seem to linger with you. Kind of like the feeling you get attending a local underground-metal show that gets weird, you just can't shake off. How long did it take you to establish your roots in L.A.'s dissimilar western landscape and all its overwhelming nature after first immigrating? It happened quite naturally and fast, being thrown into an unfamiliar environment you only got 2 options, either to “figure it out” or not. Within 2 weeks after moving to the US I was already playing in a band and going on a small tour. Looking back at it, everything was so wild, magical, and new. A huge part of me always wants to be traveling and waking up in new places every day. That’s when I truly feel alive. When things change faster than you’re able to grasp what happened, I hate comfort, it makes you stale. Did your flash of industrious genre-blending spirit begin in Ukraine, or was there another creative enlightenment somewhere along the way in Los Angeles? Not at all! I was massive jazz and classical music nerd. Then I started playing in indie bands while playing in a jazz band and a couple of other projects. At the same time, the electronic music scene also started exploding and I took interest in various DAWs learning how to produce and engineer my own records. After playing in multiple projects I went solo, that’s when The Hate Club was born. At first, THC definitely had an alternative/electronic feel to it, until one of my friends showed up, Alex Hilton - drummer from Another Lost Year and played some Gojira’s records. That’s when I realized I really want to make metal. If you were to describe any scenery of place with which your music would fit perfectly, what would it be? It would be a world where metal is being played in the hotel lobbies and shopping malls, The Hate Club Legion is the only judicial power and cannibalism is the preferred diet. Music festivals require mandatory attendance, and corpse make up is required at schools and work. What a lovely place that would be! What can we expect from you this year as you continue to follow your creative intuition? Are you in the works for any collaborations or a full-length album? I just released a new EP - DEATH OF THE PROTAGONIST, working on a couple of covers and music videos. Also, THC’s debut album is in the works, 2021 perhaps? I can’t say I’m a big fan of collabs, mainly because it became more about “making content” than making music, all this “cross-pollination” lacks soul and feels too mechanical and faux. I want to discover myself and look inside, break walls and suffer, struggle and inspire, make mistakes and reincarnate. What has been keeping you inspired throughout 2020? Knowing that humans need art, knowing that since the virus took away social interactions and live concerts we truly need to move the needle and persevere to come out on top victorious. Knowing that we need to aspire to create meaningful works of art that will leave a footprint behind. instagram.com/thehateclub facebook.com/thehateclub #BUZZMUSIC

Texan artist Gianna has been focused in the arts since a young age and has consistently blossomed her sound since music has been privy to her. She's always intertwined with the arts and cultivated a genuine appreciation for expression. Today, Gianna is a singer/songwriter who has recently shared very eloquent and glamorous-feeling music with her listeners. By striving to aid others in finding their identity through music, Gianna hopes to inspire many listeners to understand themselves and their own truths. Gianna created a very atmospheric vibe with her latest track, "Beleave Me (Don't)." There's an otherworldly sense to the song, as it combines mystical soundscapes with echoing vocal styles from Gianna. "Beleave Me (Don't)" feels very luxurious, making the listening experience extremely stimulating. Gianna knew how to captivate an audience with her vocal trance, and she creates a nonchalantly wavy harmony. There are many opportunities to pick apart the various expressions embedded into "Beleave Me (Don't)," and Gianna ensured that listeners would maintain charmed throughout the entirety of the track. That's one component to the music of Gianna that we find ourselves appreciating most--her natural charisma that flows and penetrates each song she crafts. We are definitely keeping an eye out for the future music of pop artist Gianna. "Beleave Me (Don't)" felt very lush and sensual. Was it easy to hone into this vocal persona, or would you say it takes a bit of crafting in order to master the right vocal sound? Thank you, I definitely want to evoke those sensations in my audience. It actually has taken a bit of work. Honestly, I don't consider myself a gifted singer in any way, but I know I have good ears and the creativity for music. I've had to experiment and work with my voice since I do not sound like some of my favorite artists. And I actually did that with this single, "Beleave Me (Don't)." I had been very frustrated with the songwriting on this beat, but I loved it so much and it touched me that I had to make it work. And I eventually did. What kind of personal expressions were you hoping to emulate through "Beleave Me (Don't)"? I was writing about my personal experiences a few years ago. I used to be a very fickle person and in the midst of that, I unknowingly strung people's feelings along sometimes (romantically). In this song I basically tell the person I am involved with to leave me and that they are wasting their time with me, despite me wanting them half-heartedly and physically. I do not mean to promote any "toxic" and controlling behaviors, but I wanted to express that unique experience, and looking back, I have matured. As an artist who has been very keen to the arts in many different aspects, how would you describe the way creating music feels compared to other properties of the arts you've been passionate about? I've grown up drawing my whole life and love it. I love creating beautiful experiences and expressions with my hands. But when I made my first song it was mind-blowing! Even though it was a low-quality SoundCloud song at first, it was such a transcending experience. I think I love both drawing and music equally, but music is just a bit more rewarding to me, personally. There are so many elements in music - the lyricism, instrumentalism, mixing, music videos, and visuals, etc. What kind of response were you hoping to receive from your listening base with the release of "Beleave Me (Don't)"? Was there a certain emotive property you wanted listeners to receive throughout the track? As long as it made my audience feel something, I feel like the song has done its job. Personally I feel like this song can fit different situations - chill late night car rides, intimate moments with someone, sad music to get in your feelings to, etc. I think that's the beauty of art and music, it can be whatever you want or need it to be. For me, it's cathartic and I feel empowered (because it's my work). What has been keeping you inspired this year? It's honestly been a tough year for everyone to stay inspired I think! It's been difficult no doubt. I feel like for creatives especially, a lot of us go through rollercoasters of inspiration. High highs and low lows sometimes. But, I'm graduating this December with my Bachelor's degree in Psychology and will be moving soon after. I keep telling myself not to give up because I want music to work out after undergrad. I've also been connecting with a lot of creatives during this time, and they inspire me so much. Things are so much more bearable when you have people around you who empathize with your emotions and experiences. instagram.com/itsgiannak #BUZZMUSIC

The Ricca Project is South Florida based jazz and funk amalgamating trio who just delivered their first Extended Play, 'The Melody Ave Sessions,' since their 2018 debut title, 'Jazz For Beer Drinkers.' The record manifests like a smooth jazzy silhouette, but with a deeper pocket and groove that can only be attributed to contemporary funk. It's like wandering into a bar you didn't know, in a city you've never been to, and discovering the sleekest band playing the night away amongst a bustling crowd in the backroom—playing all night long. The three-piece come off bouncy and playful but well-defined, then organized and engaging melodically, only a few moments into the playback. With an electric guitar that translates cleanly over warm saturation, a well-rounded and crispy low end, organ keys, and the locked-in-the-pocket backbone from the drums, The Ricca Project—Elijah Taj Gee on keys, Tj Prystal with the drums, and Jesse Ricca over the guitar—has developed a fusion sound that penetrates through on each track; providing this record flowing character and musicianship. "Miami Move" is probably the highlight and climax on this record. Using a tempo ideal for dancing your way into a bet you can't lose, the song grooves like funk. It welcomes shadows of jazz's past, while still occupying a more novel territory in the soup of fusion and all its accompanying prefixes. Jesse Ricca, the band's conductor of vibe, uses the silky mid-range of his guitar to take the lead in pumping up the trajectory of the music with an electrifying onset and spark. They turn on a dime from straight forward and groove to measures that might make you pause at the excitement it produces on "Dig That Shit." Breaking back and forth, the bass, drums, and keys give pockets for the guitar to play with. We end up face to face with a world-devouring keys solo morphs into an organ halfway through and hit us with a well-needed hit of dopamine—even synergizing with the bassline like it was a prophecy. As the vibration and vibe intensify, The Ricca Project lays us back down to lean reverse on their comfy recliner in the sonic form of "Making My Way To The City." It's an instant favorite for anyone who regularly finds themselves shaking their hips to tunes while doing anything leisurely. It's easy to notice how breezy the music makes you feel, yet the band is tightly in information throughout the track, and even in totality when looking at this session as a whole. The Ricca Project comes barking, with a biting groove to back it up, issuing a notice to open up already and embrace the magnetism that is pulling you toward the Jazz-Fusion trend. What was the experience of record 'The Melody Ave Sessions' like and was this a live off the floor session? It was a great experience recording and shooting the videos for these tracks. We really just ran through tunes and picked out our favorite takes that showed more musical character. I'm happy because even though these were done in a studio they have such a live feel because we are playing together and you can hear the communication between Elijah, Tj, and I (Jesse). What were your mindsets entering into 2020 with relation to your next intended milestones as a band? Well, the plan before COVID was to really push playing out of town more and more. We were hoping to play all over the east coast and try to get into as many festivals as we could. That's still the plan once things are normal again. We are a small band so it's not too hard or expensive to travel. Where does The Melody Ave Session's deep-rooted groove come from when speaking about influences and inspirations artistically? I (Jesse) write all the music beforehand and then bring it to the band. I let everyone interpret it how they want, leaving room for the band to really make it their own. Sometimes magic happens in rehearsal, and I have to change the arrangement from what I had written. That's what really makes the songs become a group effort and everyone a big part of the final product. My biggest influences are Soulive, John Scofield, Lettuce, Snarky Puppy, and a tone of straight-ahead Jazz, Be-Bop, and Swing. George Benson, Joe Pass, Wes Montgomery. Have you guys broken the seal on new releases coming our way this year, and can we expect more of the same groove and fusion found all over Melody Ave on your next planned releases? We do have a bunch more material written and ready, but I'm not sure when the next release will be. Hoping to do a second full studio album in 2021. What has been keeping you inspired this year? This year has been a rollercoaster of emotions and just plain scary a lot of the time. I'm just trying to use this downtime to work on my playing, writing, understanding of the music business, and myself. instagram.com/thericcaproject thericcaproject.com #BUZZMUSIC

Hailing from South London, ADANNAY is a budding singer and songwriter who is already making waves in the UK music industry. Known as a Neo-Soulstress, she stands out with her unique voice, catchy melodies and storytelling lyrics. She draws musical inspiration from a variety of genres, including Alt-Pop, R&B, Caribbean Folk, and Gospel. ADANNAY is no stranger to musical success. She has played at Cross the Tracks Festival, Cheltenham Jazz Festival, and 110 Above. Before the pandemic, she also planned to attend Cheltenham Music Festival, Oxford Pride, and her own UK tour. After reaching many adoring fans with her debut EP “Her Favourite Song,” ADANNAY is back with more soulful tunes for her listeners. ADANNAY has just come out with a song of the season called “Summertime.” This track feels like it’s meant to accompany a long drive with windows down, a day with friends at a beach, or a late night campfire. With flavors of electronic dance music, ADANNAY does a great job keeping her song laid back and youthful. The soundscape effortlessly flows back and forth between tranquil, playful, and upbeat energies. Making use of unique electronic sounds, ADANNAY showcases her musical personality by keeping “Summertime” original and lively. Hints of Adannay’s ever-so-slight South London accent make her lighthearted vocals even more unique. The backtrack of “Summertime” occasionally cuts out to spotlight her voice. You told us that you are inspired by Alt-Pop, R&B, Caribbean Folk, and Gospel when creating your music. How do you incorporate flavors of these genres into your songs? I guess there are so many ways that my music crosses genres and takes inspiration from what I listen to. When I describe my music as Pop/Neo-Soul it’s because when you listen to my work you’re usually going to get one or the other! Long before I was born my Grandma started the Caribbean Folk Company, a group that performed Caribbean Folk music across the country. Every Friday the group comprised of my parents, family and family friends would rehearse at my house - so I’ve grown up with that musical style. What’s special about Caribbean folk to me is the way in which it tells a story, which is something I always try and do in my music. At the age of 9, I joined a Gospel Choir and fell in love with the genre. So even now, when I write and record the vocal arrangement and harmonies play a huge part in how I express or tell a story. Can you tell us about the creative process for “Summertime?” Summertime came about in an unusual way for me! Usually, I write most of the music for my songs first, but that wasn't the case here. I have been writing a lot with Fraser Bernstein over the last couple of years -  we've known each other since I was about 12 - and we have started working with producer Takooree. The two of them had a session and wrote the demo of the music for Summertime, and when I heard it I almost immediately came up with the lyrical concept of Summertime. Over lockdown, at a time when I felt the world needed a little slice of happiness, I wrote the lyrics of the song. It’s a relatable scenario – you find someone during the summer, hook up, and then wonder if, for them, it was just a seasonal fling. Then the three of us went back and forth on Zoom calls and WhatsApp messages to complete the track remotely during the lockdown. We then got Sam 'Corduroy ' Brown to mix and master the track for us and here we are! What do you mean when you call yourself a Neo-Soulstress? Haha, I guess It’s a fun way of saying that the way I sing is rooted in Neo-Soul. Neo-Soul is the genre I trained my voice with, from listening to Jill Scott, India Arie, Chrisette Michelle, and many other vocalists. This comes out a lot when I perform live. You had many plans to pursue more performances and tours before the pandemic put them on hold. What do you plan to do after this break? Yeah, it's been a strange time for live music. I think for me it's been difficult because performing live is what myself and my band really thrive on, and it's the best way for me to share my music and show who I am as an artist. But the last few months have been an incredible time to reflect and write and learn new skills musically. When things start to reach the new normal, I think my priority will be sorting out a UK tour, so I can keep playing my music to new audiences. What has been keeping you inspired throughout 2020? Honestly, it's been such a massive year for so many reasons, I am endlessly inspired. The way in which our lives here have all changed in an instant due to pandemic, and how that has affected the way we communicate,  affected the way we gather, affected the relationships we have with loved ones far away, and the way it's changed how a city like London works, is all fascinating to me. Of course, the Black Lives Matter movement has emotionally charged me to really analyze the world and the people around me. During the global protests I felt so seen and connected with other black people and our allies - but seeing it all play out in the media a few weeks on and I'm remembering just how much work is left to do. The psychology and social dynamics of that really inspire me and have kept me writing a lot this summer so far. instagram.com/adannay.music facebook.com/adannay.music #BUZZMUSIC

Betty Moon prefers to mix her intimate interpretations of pop with a contemporary rock to create results that beam with an anthemic culmination. Based out of Southern California, the singer/songwriter has a propensity for exploring her sound and advancing in her search for the most potent outcomes. Across two albums, she has swiveled continually in her evolving character; from the laid-back daydream-like states found in 'Without You' to the sass-fist rock of 'Crazy (What You Make Me),' a synth-wave amalgamation that presents as the last animated flutterings of a robot cyborg, as it eats up its remaining battery charges. After a year of meticulous and persistent work in the studio, Betty Moon has reached a breakthrough. On this new record, she has stepped away from her restraints in her 2019 album 'HELLUCINATION.' She advances guns blazing with an all-encompassing talent she holds in the practices of creating electronic, indie, funk, and dance energy in her catalogs. Here, Moon—who was signed to a major label in the '90s—performs under a distinct silhouette titled 'the queen of DIY work ethic,' having since self-released nine full-length studio albums through her label "Evolver Music, Inc." Continuing to record in the studios with professional session bands, the L.A. based artist's newest full length, 'Little Miss Hollywood,' presents like a taste-tester for all the pop-alternative sounds Moon has to offer—complimented by her alluring, robust and internationally recognized voice throughout. She didn't neglect to bring her vibrant character with her this time. It comes to life throughout these ten tracks; from the way she employs electrically charged harmonies and quick rendezvous between her topline wizardry, and lyrics. 'Little Miss Hollywood,' feels at last like Betty Moon's real breakthrough discovery—expressing songs of melancholy and frustration, but rendering them with the quiver and clarity of someone like Sharon Van Etten. This second album suggests it's not just a passing phase, but the beginnings of a new chapter in her ever-expanding grips over her genre amalgamating boundaries. The sensual tension on 'Your Dirty Love,' presents with a counter-swaying measure pronounced through ethereal like hymns as the mix holds us tight in a rhythm and vibe reminiscent of Chet Faker's Gold—with all its delicious fusion-pop goodness. On 'How Do You Like Me,' Moon reveals a more stout edge in her character with a heavy-rock track engulfed in gritty and distorted guitar riffs, her own Axl Rose evocative howls, and a thundering '80s nostalgic rhythmic backing. She accosts this track with a sassy candor, looking less to avoid a fight and more in the way of instigating one. "How do you like me now?" she sings with a stand-off-ish demeanor in the main hooking points before her voice swells from side to side in a trance-like haze for the bridge. Slipping in and out of musical forms with supernatural ease, Betty Moon remains a shapeshifting chameleon as she evaporates from one color to the next with every pass. She jabs with some compelling grungy alternative-rock mixes in an electro vibed "Don't Stop Now" and wafts through languid Pop-soul steam for "Monsters In My Head," an easy-going classic that finds excellent relevance through its addicting laid-back groove and compelling modulating topline effects. The saturated vocals of "The Liar" glides on comparable deep-house sails of some of the Top '40s most trending, with a synth beast-mode attitude engraving its presence all over our pre-frontal lobe, and spreading throughout our central nervous system with an alarmingly warming embrace, relaxing the state of our mind as it settles in. There is seldom a long-lasting cohesion in uniformity and flow found in the record, as her frameshifts perpetually from one song to the next. But that's not what she was aiming for, to begin with. Here, much of 'Little Miss Holywood' hinges how independently distinguished and complete each cut from this record presents separately. A song like "All He Is," is dripping with enough of the 2000s most tantalizing vibes: a barbed keys-centric escapade that served as a cornerstone in Betty's record. It's fitted with crispy pressed drums and deeply saturated keys. Then there's "Find A Love," which is reserved, and more contemporary with its use of samples, proving an outlier as one of the more house qualifying notes on 'Little Miss Hollywood.' An amalgamating soup for her soulful effect-driven vocals on, "Take Me Downtown" conjures the candlelit majesty of a galloping pop-anthem that levels with each downbeat and inject with some much-needed dopamine. Moon's rousing voice swiftly articulates like an antiquated recording from the future and synergizing with the duplicates of her modern gloss as the track draws a check-mark over the boxes of dance music. "All the life in me, all the death in me," she jeers, "all the darkness makes me feel alive," as though ready immerse herself into the unknown. For the most part, Betty Moon handles heaviness with inevitable danceability, finding new flexibility with every rebounding shapeshift. She's unusual, extroverted, and potent, distorted enough to feel authentic with each tinge her music impersonates. Even "Little Miss Hollywood,"—the title track—where she opens the record with 80's provoking vibes that venture out and survey over the enormous pop and rock landscapes that Moon is known for. The album elevates us to higher limits with her topline hook as it lifts us above ground and onto a more even playing field to experience this journey on. And, that's the chief delight of settling into 'Little Miss Hollywood': you never know what you're going to discover, but you're sure to find some escape in it. What was your headspace and mindset like when writing this record, and the upcoming months prior to its release? I started on Little Miss Hollywood and many of the songs before the pandemic and a handful of those ended up on my EP Translucent that was released in June. I tend to just write ideas every day, which means one day may have one energy which varies from the next. I think once things started getting weird I found myself having enough time to not only finish that EP but also get everything together for the album. There was something oddly exciting about that, as we have so many distractions in life that take us outside of the house almost daily. In the month or two leading up to the release, I was really hoping things would have been better but I went with the flow and set the release date. People need music more than ever, so why not give it to them as often as possible? What proved to be the most challenging part of the recording and releasing this record? I know this isn't the worst problem to have, but honestly, it was just choosing the final tracks to mix/master. I had at least 20 tracks in the hopper and wanted to just make a decision. For us creative types, we all know that calling something "final" is a huge deal. I would just try and avoid the news and focus on getting this music done as my biggest priority. I would have others help me choose the best tracks to sort of reinforcing what I thought was best for the album. Your music sometimes feels reminiscent of well-known artists from the past and present, but who has had the most significant influence on your life musically thus far? I would have my debt to Soundgarden for introducing me to next level rock n' roll and live shows. I have so many influences from early years across so many genres, but it's hard to pinpoint to one artist specifically. I'd rather thank my cassette, vinyl, and CD booklets over the years that got more use than anything else in life. Soundgarden though, I'd have to say still gives me all the feels and I soaked in their energy more than I can imagine. They instilled a sense of taste and lifestyle that I wanted to achieve in my own unique way as a musician and artist. What can we expect from your latest releases later this year, and are you planning on serving in any new directions for 2020 artistically? What has been keeping you inspired throughout 2020? Since Little Miss Hollywood just dropped I'm going to focus on singles and music videos from that album for at least a couple of months. I have a ton of other songs finished though, and will probably piece together another EP or a series of singles for Q4 2020. I'm keeping motivated by just appreciating what I have, not focusing on the negative aspects of things in the world, and staying in the studio as much as possible. The great thing is if you have one of those days, writing a song and recording some ideas can really make things better. As far as new directions go, I'm sure I'll continue doing the electronic/guitar rock thing but trying out new ideas that I've been inspired by lately. I go down the Spotify rabbit hole almost daily especially going way back from songwriters of the seventies. I've been listening to a lot of rare groove and old soul lately which truly is the ultimate for inspiration that you can count on will lift you up, make you dance, or bring you to tears. I find those old songs and crank them as loud as I can get away with. facebook.com/BettyMoonmusic bettymoon.com #BUZZMUSIC