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The Toronto based singer/songwriter Omar Jaber is an artist who creates music that comes from deep within his soul. Taking in notes of country, and dashes of soft rock and folk, Omar Jaber then uses his guitar as a tool to create memorable hooks that beautifully compliments his own honest voice. We found this especially true in his most recent release “Scars,” it is fully explicit on how Omar Jaber accepts mistakes he has made in the past and how he will move past them to be better. All in all, Omar Jaber is an incredibly positive person and has a positive perspective on life, and this is the type of energy that a lot of people need to be hearing right now. With an upcoming single titled “Wedding Season” set to release soon and then an EP in the fall, Omar Jaber has a lot of new material for us to absorb. Discover more about Omar Jaber here. instagram.com/omarjabermusic #BUZZMUSIC

Alt/Pop artist Jaclyn is back, and this time we're taking a walk down memory lane with this enthusiastic and sultry artist. The last time we spoke to Jaclyn, she had just released her debut, self-titled EP. And what an EP that ended up being! Jaclyn proved to be an absolute powerhouse with her previous releases, igniting a flame within listeners due to her pure ferocity. Jaclyn has a natural way of connecting to her listeners, and ultimately being able to ensure a wholly absorbed ambiance. It's appropriate to describe Jaclyn as an old-soul with contemporary flairs. With many different factors taken into consideration, it's sufficed to say that Jaclyn is all about authenticity. She allows you to feel like you're personally connected and in-the-moment with her, and she's able to do this with incredible versatility. It isn't simply straightforward with Jaclyn, she enjoys the exploration with sound, and we see this within her eclectic range regarding both style and vocal execution. All in all, Jaclyn is the artist to keep your eye on this summer, because she's coming in at full speed and not planning to slow down anytime soon. Discover the music of Jaclyn here. instagram.com/hellojaclyn #BUZZMUSIC

On its exterior, Oh Solemn Night: The Pvrple Tapes—KunD! 's second full length—feels like a tonal and stylistic break from the relentlessly peppy and bright-eyed pop hits found in the car stereo these days. On Oh Solemn Night: The Pvrple Tapes, composer, and bedroom producer KunD! lands healthy with a quietly devastating impact. His music captures the essence of transcendent musical prophets before him, building on enigma before humbling us with its dwarfing limitless qualities. The calm, filmy moments connecting cognizance and dormancy can be discovered here, while the approaching grandeur foreshadows the cosmeticized walls of this mesmeric journey into KunD's outer-space experience. He settles into a soundscape ancestry somewhere between The Weekend and Frank Ocean—extraterrestrial in their significance and division. These are Composers that invoke the unveiling of existential beauty through their music, and there are moments in KonD! 's The Pvrple Tapes, that live up to that ambitious and emotional tenor. KunD! Sets himself apart from contemporary R&B casuals and instead invests all of himself into his persona. His faithful commitment to a sense of mesmerizing twilight, in the track opener, is overwhelmingly appealing as he earns pilotry over the most in-depth segments of our inner thoughts. Seldom has he let cliche or regurgitated toplines congest his work, and it's only the inception on the first track "Twilight." Here, KunD! 's production remains a harmonious ingredient; over synth pads, low-rumbling-subs, and a dusting of tape saturation for the delays, he has managed to make the expanses of this industry-shaking performance pop. It feels like we're undergoing a consequential moment of transformation. Over a crushed sub and delicate synth pads,  "Nightbounce" creates that warm, buzzing condition we get when we're vibing out—and it does this twice. With Part 2 subsequently rising from the ashes of its predecessor track, featuring a bounce that obviously eludes the tracks inducing title, the second half of "Nightbounce" incorporates a dark tint for the window openings of this star cruising rocket. KunD! frequently uses the spaces in his mix to make his reverberations that much more impactful. It feels like he's guiding us from one magical room the next as the spaces shape-shift and morph from one song into the next. This is a notable characteristic of  "Apogee," which serves as the interlude on this record, bartering between oscillating spaced-out synth pads in what feels like an expanding luxurious chamber. It serves to further dive into its enamoring and expansive qualities, while the trajectory this record has already taken becomes more psychedelic in tinge. KunD! is hardly forced out of his comfort zone in "Moonwalker" as his dissonance and 80's reminiscent influences glisten through during its chorus. This song sounds like a meaningful artistic leap in a new direction for anyone else, but for the Brooklyn born artisan, these sorts of hintings of his incandescence are manifested throughout his catalog. Occasionally KunD! gives us time to breathe before the emptiness quickly fills back up with an incredible low rumbling. Entering stage front, his voice diffuses all pressures of life and invokes internal release on, "Final Phase/Dawn," playing like a spiritual meditation before opening up with the scattering punch of its drum part. It widens into a more angelic amalgamation of harmonies as we delve more in-depth, and KunD!'s harmonic echos flutter in the atmosphere. "The cycle never ends when one phase is done, a new one just begins," are the last words whispered before we descend back down under the pressures of gravity. With a sense of afterglow, we're left looking back up into the heavens with complete admiration over the journey we've just experienced. Hello KunD! and welcome to BuzzMusic. What a heartfelt and intricate journey you've provided with your EP "O, Solemn Night: The Pvrple Tapes." Could you take us back to the very beginning, what initially inspired you to create this project? Thank you so much. So, I began work on this project around July of last year. ‘Moonwalker’ was the song that started this whole project. I had been working on some beats late at night that day, (which became the norm for the rest of my work on this project), and I started playing around with synth key melodies until I found one that kinda called to me. Once I heard it, it just stuck. The concept for the song came to me immediately at that moment, and even though I didn’t have all the words yet, I knew exactly what I wanted the song to be about: someone, aimlessly walkin’ about in the dark, searchin’ for a glimpse of light to spark some inspiration, just like how I was that night. It was from that concept that “The Pvrple Tapes” came about, but it developed over time. I didn’t have the concept of the project until around late November/December last year, about 4-5 months later. I didn’t even have the title for the project until about a couple of weeks before I sent the project out to stores. But it was from that initial synth melody, that I was inspired to create the EP. What can you say about the production and the overall sound within your EP "O, Solemn Night: The Pvrple Tapes"? What made you lean towards these deep and dark atmospheres? I think it really started with the initial synth melody from that night. For most of 2019 after I released my first project, “Fledgling”, I was going through a pretty rough creative block; I hadn’t been feeling very inspired for most of the year, and I had been dealing with other personal things as well, so it wasn’t a particularly bright year for me. So when that melody came to me, it was so relieving. It was a solace for me, not just because I was able to create something again, but more so because it resonated with how I was feeling at the time. I decided to create this project in a darker vibe because I wanted to use the project as an outlet for myself, my feelings, and my thoughts. That’s why the ‘night’ became one of the central themes of this project; it ties together my love of the nighttime (I’m basically the definition of a night owl lol) and it also acts as a metaphor for the darker side of life, the other half of the whole that we have to deal with. This is what inspired me to make the production of the project darker, heavier, and deeper. I wanted my production to paint dark backdrops, I wanted it to create worlds you could get lost in, I wanted to make a soundscape that would express everything just as well as the lyrics would. Did you have any influential albums/projects in mind when creating "O, Solemn Night: The Pvrple Tapes"? Or did you create this EP out of pure and original insight without any exterior influences? When initially creating the project, it started from me trying to capture and express how I was feeling at the time. But I definitely drew influence from artists such as 070 Shake, The Weeknd, Tame Impala, Frank Ocean, and Travis Scott to name a few. Do you have a favorite track off the EP "O, Solemn Night: The Pvrple Tapes?" Which song meant the most to you, and why did it have this much of an impact? Well, I love all of them of course. Because I made all the songs on the project myself, each song holds a great deal of meaning to me. So, instead of choosing one song, I’ll talk about my personal favorites on the tape, and those would have to be ‘Twilight’, ‘Apogee (Interlude)’, and ‘Final Phase/Dawn.’ I love ‘Twilight’ because of its ambiguity; it’s formless, unassuming and it sets the stage for what's to come in the project. 'Apogee (Interlude)' is special to me because it's the first real moment of vulnerability that's shown in the project. The word 'apogee' refers to the point in the moon's orbit when it's furthest from the Earth. The term is also used to represent the climax, the highest point. The song is about trying to find an escape when the problems get too loud, but in your efforts of escaping, you get a little too far from everything else. It's the breaking point, and this song represents that. And lastly, 'Final Phase/Dawn.' I love this song because it was definitely the most fun to make, but also because of what it symbolizes as the last song. It’s a two-part song about ultimately overcoming your doubts and fears to focus on your own path and keep moving forward, despite what you’re dealing with. I think it was the perfect song to end with because it rounds out the project with optimistic energy. What advice do you have for artists and musicians that might be facing a hard time staying inspired through these tough times? My advice is: to always focus on the music through everything because music is the focal point, it’s the constant. It’s why we all do this, why we go through what we, as independent artists, go through to ensure that we can make a living doing what we love. Music has always been there for me, and it came through for me at times when I really needed something to help me make sense of my life. I urge my fellow independent artists to never forget the music as we continue to navigate these murky times, because it may just be the thing that heals us all, at least I hope. Also, always remember to talk to someone you trust and love about what you’re going through. If music can’t be the outlet for you sometimes, then definitely rely on the ones that love you and care about your wellbeing. Even though we’re independent, we don’t need to deal with things alone. instagram.com/kund.ii #BUZZMUSIC

Truth Gordon raps a lot about how he's commandeering over all his competitors in the rap game. Many of his songs feature laid back weight: setting the measure for the wordsmithery found throughout his story, enhancing transitions, and tastefully sharp production hooks. But, soulful flow without guidance and direction is simply scattered vehemence, and where his preceding Volumes 1 and 2 occasionally favored these efforts in balancing this concept to further develop the tone of his records, the new one, "Volume 3: Skinny Dipping In Maine," suggests he's putting those disciplines into cohesive motion. His quarrels with the defects of society and the authentic MC endorsed carriage of his lyrics are found here, as Truth Gordon is no longer hampered by a lack of injunction, exhibiting quickly. "Damn, I've been appalled, people been telling me my music raw, I say it's rare," he states on Skinny Dipping, heated over the ignorance in the representation of his music, as he bears down further, "but they like it over-cooked, that ain't their fault." The effect: his most alive and cloudless Volume yet. These songs aren't just about pluck and boast anymore; they're about full transparency—using his experience as ammunition for his lyrical artillery. In 2017's Volume 1, Truth Gordon named the record Low Tide, setting the course of foreshadowing internalized since his conception in the industry. Through his subsequent releases, he proves his method and course are always evolving, stretching and morphing from their core, until settling into their final information. On Skinny Dipping In Maine, the transmutation is bombastic, and there is even more efficiency and focus behind his bars. The staves on numbers like "Mufasa" and "Broken chains, No charm" are effortlessly smooth, even baring reference to a Yasiin Bey masterwork in the final verse of those above, and never decreasing his immediacy in the pursuit of leaving a long-lasting impression on your mind. The rapping on Volume 2: High Tide, the record he released in 2018, was a cogent antecedent for things to come, and here, Truth Gordon pairs with dynamism with brevity for a third-round tip-off. Dress Code and In Focus feel like B-Sides ripped from a limited press in the way it surprises you with its potency. Truth Gordon cites his methods on All Facts, where the beats are gorgeously flowy and intrinsic yet straightforward as he blends bop and soul—sampling from his influences—displaying the accuracy of his raps in a more prominent rendering. On Comrade sound like an anthemic rally for everyone alike—you can hear them in his ad-libs, ascetic hook bending measure, and heavy-hitting candid production. After producing the first two predecessors under the Volume monikers, he takes another full step forward with Skinny Dipping In Maine. Everything is put on the table here, and without introjection, the most imposing design of his career so far. His composition on Last Time is elusive, and the layering of his vocals envelops the song like a hurricane swirling tumbling aground. Reflections, by comparison, is more tantalizing and invigorating, making use of trendy sonic accompaniments like twinkling keys from a warbling Wurlitzer. There's a lot of punching verses where it feels like Truth Gordon is bestowing knowledge onto a younger, more naive generation. In S.W.I.M., Gordon is lettering his way out each conjunction with an open mind and collected thoughts over an addictive hook. But his vowel-chimes have never signified more intimately and profound than they are on "Communicate" and "Open Wound." He unbars these songs with probing samples, before Truth Gorden finds his way to its center, imparting the retrospection of his mind for the total experience. Lessons he has learned are often working as his G.P.S. for a majority of his music, and by now, it's clear that the dynamism in his lyrics and layered vocal supports are a vital cornerstone in his catalog. "Do your thing cause it's love, even when there's no one to love you," an affirmation of growth he aspires to express on Nobody To Love Me, only further describes the point. Here, his introspection has had some impact on how Truth Gordon interprets life, mainly in how he approaches constructing a future and developing himself personally. In addition to providing sanctuary in his extended hour and three-minute clocking record, he's maneuvering to its keystone messages and hooks through songs like NovaCane and Dates. These songs aren't just connected together by all the wisdom of his separated life experience; they expand the grips hold of your conscious and exercise a session of easy-going-reflection through the groovy doctrine of electric guitars and harmonizations. "Astronomical you niggas struggle being extra fly," he raps on Drying Off, the record's outro; a self-sufficient rap as definite as to its commandeering Gambino-reminiscent R&B vibes. "I see a bunch of boys who still believe they are the man inside," he adds, "this is what I leave you with...free game," he's leaving the rest to us as un unprovoked manuscript, one to come back to, and to reacquaint with when we crave for the perspicacity in his lyricism. There is still plenty of unwavering wisdom and entertainment to be had on Volume 3: Skinny Dipping In Maine. It's easy to get the sense that all the things accumulative of his striking swagger Truth Gordon are radiated on through this record. Hello Truth and welcome back to BuzzMusic. What led to the lengthy run time of your last two records? Did you feel you had a lot more to express, or is there a more underlining construct? Truthfully, there was A LOT of content created going into the projects recently. However, sonically, if it didn’t have a certain sound, and feel, I didn’t place it. My goal was to start giving my fans options within my projects to where they could get a full experience and a timeless project. You've mentioned being compared to J-Cole and Kendrick Lamar in terms of your lyrical competence and flow. When do you think this descriptor really became more prominent and is it something you're more or less aiming for in your productions? Now I just want people to understand that I can take it there at any given moment. Lyrically, I want to be remembered to a point where if you hear a certain phrase or statement, you instantly think Gordon. What has been the most impactful lesson you've learned through the release of your record trilogy, and have you surpassed any milestone you have aimed for since your come-up? I have gained so many organic fans from regions I’ve never stepped foot physically. I definitely learned that good content, quality, storytelling, and lyrical poise won’t ever die; no matter the current trend. I also learned to never ride waves. Where is the trajectory headed for the next record? Can we expect a Volume 4 in the works sometime soon, or is there a new window opening in your creative mind for the next musical venture? The next project is near completion and I’m aiming to make it more like Volume 2. There will be more vigor, attitude, and demeanor in this one for sure. What has been keeping you inspired this year? “I’m almost there, push harder…” that’s all that reverberates in my mind. Sooner or later, I’ll be able to place focus within pushing an entire catalog and letting them do the work necessary. Who knows, I might even release some RnB. instagram.com/Truth_Gordon_Lives twitter.com/Mr_MyCrown #BUZZMUSIC

Keyshaun Dudley, known artistically as Keysh, always found himself captivated by the music and the various productions that could stimulate such emotions in listeners. Alongside Keysh's innate passion and love for sound eventually came his motivation to pursue the music scene himself, and today he proves to be a rapper with an ear for aesthetically-sounding music. As an Oklahoma artist, Keysh is all about extending his sound and advancing within the music industry, and with his latest release, we definitely find him a step closer to doing so! There's definitely an audible low-key vibe to Keysh's latest track, "Hallow Body's". Listening to the track through its entirety, we hear many influences stemming from the style Keysh has, such as Kendrick Lamar's vocalism tied to a J.Cole production. The overall effect sets up quite the ambiance, and it's definitely a late-night, chilled-out type of track. Keysh is very organized with his wordplay and executes each verse with confidence and resilience. Ultimately, "Hallow Body's" housed an attractive sound, and the song easily drew us in from the start. "Hallow Body" stimulates a multitude of senses, and Keysh knew the right way to captivate listeners with a lo-fi production attached to his charming way of expressing his inner thoughts. "Hallow Body's" had a productional sound that was incredibly easy to vibe along to. How do you go about the process of choosing the production for the track and to ensure that it matches the right kind of atmosphere you're trying to get your listeners to experience? Well, when I'm making my tracks I try to be as creative as possible so that my listeners can hear all types of sounds and feel the energy that I'm putting out. I try to put the audience in my mind when they hear these songs. What would you say was the main takeaway from "Hallow Body's" that you hoped listeners extracted from the track? The vibe I want the listeners to take from this is just to be at peace and be in the moment as you deconstruct the sounds, words, and melodies that you hear. As a young music artist, are there any challenges you've experienced thus far that ended up propelling your career? I can say the biggest challenge for me was learning how to Mix & Master/Engineer all on my own, it took a lot of hard work to perfect my sound but even to this day, I'm still learning! Where do you see yourself music-wise within the next few months? I see myself still learning and growing my fan base in the future with my music growing as well. I hope to have lots of new people on this journey with me to be the great artist that I want to be. 2020 has been a challenging year. What have you been doing to stay inspired? Meditating every day, being in my own world, and just staying positive and never letting the outside world get me down. instagram.com/p/CCERLT4h3Im #BUZZMUSIC

Coming from a musically-driven family, Indie/Pop artist Rebekah Ruyle has always known that the music scene was where she wholeheartedly belonged. Already performing in front of large crowds at the age of four, Rebekah Ruyle has consistently shown that music life is most definitely her forte. With a heart full of passion, and a head full of personal stories, Rebekah Ruyle has finally debuted her EP in which she opens herself up to all listeners willing to receive her messages. Rebekah Ruyle's EP, 'Where There is Love, There is Life' begins with "Forever in Love", a mellow ballad that holds significant perspectives of Rebekah Ruyle's life. "Forever in Love" holds a certain quality of innocence, and follows along with a love story personal to the artist. Listeners get an in-depth walkaround of the emotionality involved in Rebekah Ruyle's intimate life, as well as all of the positive thoughts that come along with it. We definitely felt an easy connection to Rebekah Ruyle in "Forever in Love" because it was quite easy to tell that she was sharing a vulnerable side of her to listeners. The same kind of vulnerability extends itself for the EP's second track, "I Am Because You Were". With this particular song, Rebekah Ruyle slows things down in order to focus on the flow piano melody, and bring a certain kind of melodramatic feel to the song. She successfully did just that, and with the tracks serene properties, Rebekah Ruyle is able to wash a sense of angelic affection over listeners. Further, once you focus on the actual lyricism of Rebekah Ruyle, you may very well find yourself captivated by her understanding of life. 'Where There is Love, There is Life' ends with the third and final track, "Photo Booth". Rebekah Ruyle adds a lighter feel to this track with her vocal styling, but the meaningful pull of the track is still ever so present. "Photo Booth" picks up the mood and brings a more energetic essence to Rebekah Ruyle's EP. There's a certain liveliness to Rebekah Ruyle within "Photo Booth" that leaves us with the impression she has a natural spirited persona. There's more to "Photo Booth" than just the refreshing and stimulating production, and if you keep a close ear to Rebekah Ruyle's vocals, you'll successfully be able to follow along with her personal anecdote. In the end, 'Where There is Love, There is Life' turned out to be an EP with various takeaways. Rebekah Ruyle has an inert passion for sharing her perspective, and we're intrigued to see other truths that Rebekah will unleash upon listeners in the near future! Hello Rebekah and welcome to Buzzmusic, its great to have you with us. "Where There is Love, There is Life" brought about so many intriguing points about love, life, and all that comes in between. For our readers who haven't yet heard the EP, are you able to share what this release meant for you personally, considering how many personal thoughts were shared with listeners? Good question! “Forever in Love” and “I am because you were” we’re both written during very tough times in my life. It was so important for me to share those songs with my listeners because it shows them what’s in my heart and they aren’t uncommon things to deal with. I’m hoping that it speaks to people who have gone through similar things and can relate and realize they aren’t alone. My main thought of releasing this whole EP is how proud my dad would be. He passed away almost 4 years ago when I was still a teenager transitioning into adulthood, and my whole life he was so supportive. He truly believed that music was where I was meant to be. I dedicated this whole EP to him because I wouldn’t be where I am if it weren’t for him. Out of the three tracks presented on "Where There is Love, There is Life", which track required you to step out of your comfort zone artistically and personally? I would definitely say “Photo Booth” made me step out of my comfort zone artistically and personally the most. That song was the most recent song written and I was going through a phase of writing more and learning where my sound comes from when it comes to guitar-driven music. It was written 100% acoustic, but when we got in the studio it totally transformed into a Banger I didn’t even know the EP needed! What's new for me because my songs rarely turn into something that bumpin’. Haha, This specific experience/story in the song didn’t happen to me, but I always get little details from my personal relationships intertwined in my songs so it’s still personal to me. I actually got the idea from the movie “When We First Met” and it morphed into a happy love story. What kind of spirit are you hoping to impart to listeners with your EP? Are you always hoping that you impart a specific feeling/emotion onto your listeners, or are you fluid with what they take away from your music? I am definitely fluid when it comes to what my listeners experience when hearing my songs. I know how I felt, but everyone interprets things differently! As long as it impacts them in a way that they needed, that’s what I’m here for! What kind of next steps are you looking to take now that "Where There is Love, There is Life" is available on streaming platforms? I’m looking to build a more sustainable audience. I would love for people to tell me what they would like to hear next! Fans are the most important part of any artist's career and I can’t wait to see how it grows and the impact I can make on even a single person! What are you doing to stay inspired and passionate about your music throughout these tough times? Music is a way to express what words can’t. I’ve definitely been fueled off of my emotions that have been brought up recently, whether it be compassion, anger, hurt, etc. even happiness! Because there’s always light in the darkness. I look at the media, I reflect on my personal life and what affects me, I look at my friends/family and see what they’re experiencing, etc. I use these emotions that I feel to create the sound of a song and then write lyrics from there. I try to write daily because it’s so therapeutic and I feel rejuvenated each and every time I finish a song. instagram.com/rebekahruyle facebook.com/bekahruyle #BUZZMUSIC

Miami based Singer/Songwriter and Producer Jessica Morale release an empowering single on self-love titled, "Love Me Better." Known to be an advocate for mental health and female empowerment, Jessica Morale has taken this new sonic turn towards dark electro-pop and continues to wow her audience with stories of pain and imperfect beauty. With her latest release "Love Me Better," Jessica Morale sings a powerful message of loving yourself better than anyone else can and overcoming pain to finally live freely. With brilliant pop production, the track belts out intense synths and intricate drum patterns all to become one with Jessica Morale's sultry vocals. "Love Me Better" opens with Jessica Morale's vocals at a softer tone, establishing that dream-like state where pain and pleasure seamlessly fit together. As the beat begins to grow with celestial pads, filtered kicks, and subtle keys, Jessica Morale leads the song into the fire with the scorching beat drop at the hook. Heavy electronic brass instrumentation takes the drop by storm and shifts the track into this empowering anthem of self-love and confidence. The dynamic shifts from verse to hook create an intensely deep and contemplative space where we can think over what's bringing us down. Jessica Morale does an immaculate job portraying the journey of self-love with "Love Me Better," and we're patiently waiting to see what else she has in store for us. Hello Jessica and thank you for sitting down with us at BuzzMusic. "Love Me Better" portrays a tedious journey of self-love. Could you share the tipping point where you realized that you needed to create an empowering single about loving oneself? I'm someone who has depression and anxiety, and I often tend to wallow in it. I won't answer messages for days, stay up till the wee hours of the morning, and sleep through most of the day. I'll pick myself apart and often overthink past and present situations over and over like a broken record on repeat. When you're depressed you become accustomed to the feeling of sadness, like a warm blanket that both makes you feel safe and suffocated at the same time. It's almost as if I'm afraid of the power happiness would bring me, because I know it's only for a fleeting moment before sadness takes over again. I wrote "Love Me Better" as a way of acknowledging that happiness is not a destination I'll just arrive at one day, it's a constant journey and process of reassuring myself every day in the mirror that I am worthy. I usually write empowering songs when I'm feeling this way, but I wanted to acknowledge my self deprecating habits and the need to be kinder to myself for a change. It's a nice change of pace, and I want to be much more vulnerable in my music rather than hiding behind these empowering songs all the time. My demons will always be a part of me, but it's about not letting them control me. Do you usually create songs that incorporate such hi-fi production elements like "Love Me Better"? Why did you choose to make the track so vibrant and powerful? I always want my songs to feel cinematically captivating and to lay the best bed for the story, lyrics, and melody. I first started writing "Love Me Better" at the piano, and I always knew I wanted the production to feel booming. The chorus is more like a repetitive chant, which differs from much of my previous writings. I wanted that chorus to have an alarming booming electronic brass, almost like a siren or a booming newsflash to myself that I need to get a grip and start being kinder to myself. That brass definitely highlights the chant of "Got to love me better, love me better" in the chorus. The verses are a lot more ambient and underwater which is a nice contrast to the booming chorus. Seeing as you're also a producer, did you produce "Love Me Better" yourself? Or did you have a team help tweak the production to suit the atmosphere you were going for? I wrote the song and produced the demo myself in Logic Pro, which included all of the ideas and elements you hear in the final track, but my friends Uma Beats and Alex Athanasaw really helped me bring it to the next level. I'm not the best at sound design, especially for a booming electronic pop track, so I took it to my friend Jared, aka Uma Beats who makes electronic music to really give it that booming energy sound design-wise. The song wouldn't be what it is now without the help of collaborating with my friends. We've heard that "Love Me Better" is the first single off your upcoming album dropping in 2021. Why did you choose this track to represent what we should expect from your album? I chose "Love Me Better" as the first single because it perfectly sums up the concept for the upcoming record. This album is a coming of age record and a culmination of the past few years of my life, and the trials and tribulations we all have to go through to become who we're destined to be. Listeners can expect cinematic percussion, sparkling synths, gritty vocals, and everything in between indie to electro and alternative pop music. I always want to experiment and want to be more than a one-trick pony. I'm so excited to get this new music out there. What has been keeping you inspired throughout 2020? What can we expect to see next from you? Lady Gaga, Halsey, and Taylor Swift have all released really dope vulnerable and experimental albums in 2020. I think all of these records have inspired me to sonically experiment a lot more in my music. I've also been painting a lot. At the very end of 2019 and the first half of 2020, I had a health issue with my vocal cords that caused me to go on vocal rest for a few months at a time. It was extremely debilitating not being able to sing and rarely speak for a few months and do what I love. I was in the midst of writing most of these songs and had to put the recording on pause for a while. Since healing, I've been back in the studio recording a bunch of records, so it's safe to say that you can expect lots of new music coming from me! I'm so excited to show the world what I've been working on! instagram.com/jessicamoralemusic twitter.com/JessicaMorale #BUZZMUSIC

The Denver based Alternative trio Backseat Vinyl is one of those acts that are able to bring together electrifying atmospheres, aggressive sounds, dancy rhythms, and a fun love into a single song. This dynamic combination of styles together is what makes us absolutely in love with everything Backseat Vinyl does. With their latest release “Forever Fun” having us feeling both nostalgic and in awe from hearing something so unique, Backseat Vinyl showcases their anthemic side and it is the perfect break tune for their upcoming album “Scared of Everything”. Now with all of the stones set in place for the pending album release - over a year of planning -, Backseat Vinyl is now patiently waiting for release day to soon show off to the world the type of magic they have been sitting on for the past while. We are extremely excited about this new album since listening to “Forever Fun” and we can’t wait to give it a listen on release day. instagram.com/backseatvinyl facebook.com/backseatvinyl backseatvinyl.com #BUZZMUSIC

The Massachusetts born thrasher Hilson Hollywood festers over the fakeness of social media and its associated trepidation on "Yuck." Here, the now L.A. Based rapper projects a defining image in the shout-rap tradition more often than he does in the contemporary emcee one; his voice stabs through the track with an intense demeanor and bays with saturated crispiness as he croons over rip-offs and fakes online. Over a meter that rolls stead on the hi-hats and punches readily like Muhammad Ali, Hilson Hollywood announces his refuting judgments on these individuals in a concise manner. Each time he chants, "You look like yuck, oh damn, yoo what's up? I think I had enough," it manifests like an anthem and demands a callback as his adlibs distribute the potency in his view across the edges of the mix. You can almost feel the intensity of his words as they leave his lips and the dynamic levels of rogue fulminations that peel back to reveal the multiple dimensions of his temper. He's perplexed by what he has seen online and conjures menacing rhetoric—creating a road map from our phalanges to our scalps, preparing us for the next chorus's imminent rush. On this track, Hollywood feels like he is under the guise of a rapper, but honestly, he functions more like a mechanism of brutal candor on this track—uttering devastating cuts to the "monsters," "fraudulent bodies," and "quarters" that he points his lyrical weapons at. Listen to "Yuck" here. Hello Hilson and welcome to BuzzMusic. Can you tell us more about how this track manifested itself as your debut single, and what prompted its intensity? My personality is big and bold and it manifests within my music. I like metaphors and catchy punches which is why “Yuck” was the perfect debut track from this project. A bit funny and full of aggression it serves as the more dominant and confident side of my personality. How do you feel you've developed your own sound and character through the inspirations like Lauren Hill and some of the R&B's classics you've mentioned? My style developed by taking my vocal training and fusing it with my passion for hip hop, developing a more melodic r&b approach to my aggressive rap style. The aggression is much more of my personality shining through my performance but my affinity for harmonies and dancing from word to word was inspired by artists who I listened to growing up such as Lauryn Hill and Mary J Blige. If you could choose anyone out of the modern music scene to collaborate with, who would you want to do it with? I would love to collaborate with Doja Cat one day. I love her ability to spit hard and keep the element of fun while creating beautiful melodies that are more pop-leaning. I find us similar in our versatility and our level of involvement in all aspects of the creation. Our collab would be epic, sexy, funny, and in your face. What influences the type of music you enjoy producing, and can we expect more of that on the upcoming Extended Play this September? I continue to be inspired by the world around me. I write and produce every song through my personal experiences and the lives of those close to me. The EP coming in September is loud, aggressive, and dark because it mirrors the experiences of my life at the moment we were approaching the project. Expect a similar vibe and level of intensity on each track showcasing different stories about my experiences since moving to LA. What has been keeping you inspired throughout 2020? What can we expect to see next from you? Truly 2020 has been a challenging year in every aspect and my defense mechanism has been to channel my energy into music. I find that our struggles and our need for support have inspired me to find the strength to stand up and speak out for black lives and the LGBT community not just through my music but on the front lines where it equally matters. instagram.com/hilsonhollywood facebook.com/hilsonhollywood #BUZZMUSIC

Chrome Friends Music presents the Canadian trio Manteasah, and their debut single/music video, "The Minister." Creating music that's truly unique in sound and themes, Justin Makemdef, Nique, and Jodie B take versatility to the next level with their recent single "The Minister." What starts as an intricate hip-hop beat turns into this overpowering monster of musical creation. Not to mention their eerie music video that touches on supernatural themes of witchcraft and the devil himself, Manteasah has truly haunted up the music scene with this intense debut hit. With sonics that ranges from hip-hop into a dark and eerie electronic space, we're caught in the belly of the beast with this track. "The Minister" opens with deep and dark sub-bass that pushes the track down to the depths below, which is precisely what Manteasah's music video portrays. With wicked symbolism, frightful edits, and incredibly haunting imagery, Manteasah has captured the essence of a solid music video solely with their debut release. While Justin Makemdef begins rapping with a dark and irresistible tone, we transition into the hook where Jodie B mesmerizes us with her haunting vocals and lyrics of keeping evil far away. She also impresses us with a few atmospheric bars that bring versatility to the intoxicating single. With profound production techniques and immense talent from Manteasah, it wouldn't be right to let their debut release "The Minister" go unnoticed. Thank you for joining us at BuzzMusic, its an honor to have you with us. for Seeing as "The Minister" is Manteasah's debut release, what makes the single/music video a good introduction to the Canadian trio? First off, thanks for taking a moment to sit down with us and talk about the project! Our music has such variation from song to song, with all the projects we have going on (Chuurch, Makemdef, and Jodie B solo), we strive to make sure no two songs will ever sound the same. That being said, I think ‘The Minister’ is a perfect introduction to how far we are willing to push ourselves to bring out a side of us that people don’t see very often. Someone once told me that the hardest part of writing a good song is opening up that hole or portal into the writer's soul that lets everybody look in and see who the artist really is. I feel like this song is an eerily accurate representation of some of the conversations we have, and it’s a great way to get to know us if you read between the lines of what the song's message is. Art is subjective though, so that’s for the listener to decide what they believe. We noticed that DJ Big Worm helped with the production for "The Minister." What was your collaborative process like when crafting the song's atmosphere and vibe? The track was produced by (group member and song’s rapper) Makemdef. We brought in Curtis (Worm) because he’s just an absolute beast when comes to throwing down vinyl scratches, his ability to cut up our vocals and get in the pocket with those cuts absolutely took this track to the next level. Honorable mention to Thomas Sahs, CFM head-honcho who Justin was working with on a separate remix project with HoneyClaws and Chuurch. Thomas sent over a couple of folders of sounds that got added into the mix that really brought the track to another level. The song was about 7 months in the works, from writing, beat crafting, and mixing until the final product you hear today. A lot of the vibes came from psychedelic influences at the time, the writing was therapy for what we were seeing in the media and how we were feeling about the darkness in the world at the time. Speaking on your music video for "The Minister," Manteasah captures these dark yet irresistible scenes. What was your concept/story for the music video? We owe a lot of that to Videographer and Director, Maddi Dewalt a.k.a. Iris Hollow. With the songs lyric content, we focused our efforts and brain cycles into how we were going to walk the fine line of representing the darkness without giving the notion we’re full-blown Satanists… although the video might say different, we are not some Devil worshippers. Jodie and Maddi had worked together previously, and while Maddi was in town visiting family we felt like it was a now or never, do or die type situation with doing a video with someone as talented as her. Manteasah was set to debut at this year’s’ Shambhala Music Festival’ in Salmo, BC and when the pandemic hit and that opportunity was taken away from us we doubled our efforts to find ways we could get this out. After going back and forth with Iris brainstorming concepts, we settled on the location and concept - but get this, we actually didn’t get to see the inside of the buildings we shot at beforehand because there’s a ton of snow on the ground and we couldn’t access it at the first scout of the area. Lo and behold, when the day came and we went into the location and saw all that crazy demonic shit on the walls, we knew it was serendipitous to the situation and we just surrendered to the universe and let the creativity open up. The result was something we didn’t imagine we could capture like that, it was nerve-wracking at first thinking about how it was going to be perceived, but this is art, man. Sometimes you gotta just go for it and worry about what the people will say later. Where would you say your sound lies in terms of genres? "The Minister" leans more on the hip-hop side, will you continue with this sound in the future? Makemdef has produced tracks for artists like KRS-1, Vince Staples, Nino Bless, Fashawn, and too many others to name, and Jodie’s produced for the likes of Atmosphere and Mayday, so we got hip hop in our veins. We’ve got 10 songs in the chamber that range in styles, for the most part, they stay rooted in a live-music essence. What you don’t hear on the Minister is Nique and Jodie’s insanely vast selection of instruments they play (harmonica, sax, guitar, and bass, live looping, mandolin.. You might even hear trumpets or Cello..). Right now our music ranges from 75bpm-130bpm, we’re really just trying to stir the pot creatively to make unique sounds that fit our brand. What has been keeping you inspired throughout 2020 and what can we expect to see next from you? We keep each other inspired. Every day we wake up, we are reminded to be grateful that we get to do what we love every day. We just wrapped up shooting for our next video which is a lot more summer vibes Manteasah, we’re making new music and getting the songs we’ve got down ready to release. This is the new roaring 20’s, baby. The year of the hustler, we’re gonna keep doing just that. Shout out to Chrome Friends Music for the opportunity to work, we’re excited to keep moving forward with the team! And thanks to you for taking the time to sit down with us, it’s all love. Peace from Canada! Justin, Jodie, Nique instagram.com/manteasah facebook.com/manteasahmusic #BUZZMUSIC