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From Massachusetts to Los Angeles, songwriter Sam Wardlaw drops his soulful and story-like single “R.M.S..” The majority of his songs are not only written on acoustic guitar, but most of the instrumentation is done by Sam Wardlaw as well as production and mixing. Highlighting the lead single “R.M.S.” off his upcoming EP, Sam Wardlaw brings back simplicity with a mid-tempo track and displays a hefty vibe with nothing but an acoustic guitar, bass, and percussion. He sings a story about bringing light and energy to his soul after being sick of his generation and big modern corporations that run your business for you. Starting with folk instrumentation, “R.M.S.” breaks down into a mid-tempo beat with rhythmic drum patterns, a steady bass line, and the sweet hum of an acoustic guitar. While Sam Wardlaw begins vocalizing, we can hear the soulful touch he wanted to incorporate through his passionate delivery and catchy melodies. He is singing an honest message of losing motivation and inspiration, especially with the current climate of the world. Sweet folk instrumentals take us back to simpler times of enjoying life freely, without thinking about whether you’re doing something wrong by seeing your friends. Sam Wardlaw has tied in a very relatable storyline with “R.M.S.,” and has us singing it from the rooftops to feel some sort of freedom again. Discover “R.M.S.” here. Hey Sam Wardlaw, welcome to BuzzMusic! Your latest single “R.M.S.” really brings an honest and truthful message. What did you want listeners to take away from the single? Hello BuzzMusic, and thank you for having me! I’m not gonna lie, I’m not entirely sure what R.M.S. is about, but that’s intentional. It’s supposed to be written from the perspective of someone who’s burnt out and over-stimulated by modern society. I often feel like that, like I’m taking in way more information than I’m actually processing. So the song kind of flits from one idea to the next in a scatterbrained, almost rant-like way. The hook in the chorus “I had too much of the medication, radiate my soul” is definitely the key line in understanding the song. It doesn’t necessarily mean too much medication in the literal sense either. Medication could be YouTube, online shopping, eating/drinking, video games, social media, etc. I think we all self-medicate on one way or another. As for the phrase “radiate my soul,” I just liked the way it sounded. It’s wonderfully vague! I wrote the lyrics after reading “White Noise” by Don DeLillo, which provided much of the inspiration for the lyrics. That book blew my mind. To answer your question though, I guess there’s not one thing I want listeners to take away from the song, I would hope that it means something different to whoever listens to it. We’ve heard that Sam Wardlaw played most of the instrumentals for “R.M.S.”, while producing and mixing by yourself as well. How did you begin your creative process and work your way towards a full sound? That’s right! I generally perform most of the instruments on my albums, but R.M.S. and the E.P. that it is the single for is the first time I’ve actually played all the instruments on all the songs. The arrangement for R.M.S. is quite sparse; it’s really just 2 acoustic guitars, bass guitar, drums, and vocals. I tend to hear in my head what I want the record to sound like before I start recording, which has it’s pros and cons, because it rarely ever ends up sounding exactly like I had originally envisioned it. In the case of R.M.S. though, it actually ended up sounding pretty close to how I had pictured it, which felt like an achievement. In regards to mixing, I wanted the song to speak for itself, so I kept the mixing pretty minimal. As soon as I felt like it sounded good sonically and grooved, I left it be. The song came together surprisingly quickly, I really didn’t have to work that hard to make it sound good, which is not always the case. Seeing as your single “R.M.S.” was released during the pandemic that’s still afoot, how did you find inspiration for the song even though you’re singing about feeling unmotivated? The song was actually written before the pandemic, although I feel like there are lines in the song that might actually be more relevant now. As for feeling unmotivated, I do feel like there’s always this push and pull of feeling unmotivated and then feeling motivated to not feel unmotivated anymore. I love lounging and watching episodes of The Office I’ve already memorized, but after a certain point, I start feeling guilty and stir crazy. That’s what happened during quarantine, but amplified to an extent I had never experienced before. After about a month of practically bursting with boredom, I decided to record an E.P. in my room. I guess creativity and laziness don’t have to be mutually exclusive! Sam Wardlaw is said to be releasing an upcoming EP, what should we anticipate from the content you’ve created? Is the project similar to your other bodies of work? I’ve only released one other E.P., which is called “Azusa.” My upcoming E.P., entitled “Bright Room,” I feel is a refinement of my first E.P. I’m more confident in these batch of songs than I was with the “Azusa,” and I’m definitely more confident in my vocal and instrumental performances. The first E.P. was almost me testing myself to see if I could do it, so going into this E.P knowing that I had already done it, I felt freer to have more experimental arrangements and rawer vocal performances. I went out of my way to avoid double tracking my vocals, because in the past I tended to use them as a crutch to hide the imperfections in my voice rather than embrace them. The flow of the album feels more focused as well. Overall, it feels like the logical next step for my music. What's next for you? Well, I do have some songs from “Bright Room” that I decided not to use because they just didn’t flow with the rest of the album, and there are songs like that from “Azusa” as well, so I may or may not have a B sides type of album that I will start working on soon, but we will see! I might also start releasing more singles rather than waiting to have an album ready, it remains to be seen. I cannot wait for shows to start happening again, I really do miss playing out. Once quarantine is over, I will most certainly start to play shows again, but until then, I will be continuing to write and record music. instagram.com/sam.wardlaw facebook.com/samwardlawmusic #BUZZMUSIC

The Ann Arbor-based rock group Black Note Graffiti is here to provide everything that we need right now with their music. Consisting of members Gabrielle Bryant on vocals and keyboards, Kris Keller jamming out on guitar and vocals, Kurt Keller smashing up the drums, Ricardo Ortiz riffing with vocals and guitar, and Adam Nine holding the floor on the bass, Black Note Graffiti is a group that is not to be taken lightly. The group recently released their thought-provoking single "Fallacy," which is a beautifully aesthetic lyric video that we cannot get enough of. The video's central premise to "Fallacy" is a television screen with an old school aesthetic to it that shows imagery of oppression behind dynamically appearing lettering that looks as if it is being graffitied live. When the full band kicks in within the second verse, a dynamic shift appears on the screen. Modern color splashes are thrown onto the screen that spice up our interests before ultimately hitting us with a chorus where the beautifully aggressive yet soothing animations overlook political figures in the background. The unique element here is whenever the vocals become aggressive, then so do the visuals and vise versa. "Fallacy" is not just a record that will keep you engaged and listening from start to end, but when paired with its unique lyric video creates an experience that will make you want to fight back all of the wrongs in the world. You can listen to “Fallacy” here. instagram.com/blacknotegraffiti facebook.com/BlackNoteGraffiti #BUZZMUSIC

Jodeci Milhouse is on an ethereal and motivating ride to RnB notoriety as she proves she's not just a supporting act for Pharell Williams and Tory Lanez—but that we've reached a new era of Jodeci's fierce RnB character. Roomy and spilling with crystalline edged pianos, "Glad" hits as deep and thorough as some of the most dazzling moments in contemporary RnB, but it's executed with a passionate open-heartedness that's all Jodeci. Her resonant voice dances through a dynamic production, sounding like she's singing right into your ear, turning your insides into goo, as her reverb infused vocals melt you down. Her crisp vocal delivery ignites the song's verses with the help of a thumping 808s and fluctuating delays. This vivid rendering is like a flash into Jodeci's deepest corners of her heart—but with a rasp and fire that exudes Beyonce-style spirit. She finds freedom within her introspection as she sings, "I feel sorry, I'm so sorry for you...this easy," she remarks, " it ain't rocket science for me...I moved on." Utilizing her effortlessly compelling vocal execution, "Glad" sails on tightly slated drums, distant ghostly synths, and a low-end as bold as the Virginia Arlington native herself. But it's Jodeci's soulful, remarkable hook as she snaps, "what I look like losing over you? Looking stupid ain't never been the mood," that propels "Glad" to its apex. Lissten to "Glad' here. Hey there, Jodeci! Welcome to BuzzMusic! We're elated to be featuring your newest single "Glad"! Can you tell us about the writing process and how the overall concept for this song developed? Hi BuzzMusic, thank you so much for featuring me! I love this platform and how you represent independent artists like myself! My writing process for "Glad" was much like how I create a lot of my music. The lyrics came first! I came up with the line "You ain't been shit, since 2006", which is now the first line of the song, and immediately sang it in a voice memo. It just made me laugh. From then on I knew I wanted the lyrics to be bold, powerful and unapologetic. The song really wrote itself after that! It isn't based on any one person or specific experience. I just wanted to express how empowered I was feeling and how far I've come as a woman who is ready to use her voice. Who has had the most significant influence on your life musically thus far? Can you describe the impact this individual has had in terms of your capacity to convey emotion so powerfully? I would say both Tina Turner and Beyonce have had the most significant influence on my life musically thus far. When you hear these women sing, you can't help but to feel every word coming out of their mouths. Tina's voice, power, and conviction is unmatched! And Beyonce's melodies, harmonies, and vocal strength have always captivated me. Both of these women have molded me and helped give me the confidence I need to convey emotion so powerfully in my music. If you could collaborate with anyone out of the current music scene, who would you choose to do it with, and why? This is so hard! My list is long. But, if I could collaborate with anyone in the current music scene I would choose Lady Gaga. She is an unapologetic powerhouse! I love what she stands for and how she uses her music and platform to empower all people. I'm also going to sneak a male artist in here and say Chris Brown as well. Everything he touches is a hit! He's so incredibly talented. And because I come from a dance background, I would love to have a music video with him hitting a couple 8 counts as well! Haha What are some of the things you'd like people to experience when they listen to your music? I want people to listen to my music and feel like they can do anything! I want people to feel confident and empowered. I think we spend too much time tip-toeing around the world. We're worried if we're good enough, if we're cool enough, or if people like us or not.  I've learned being concerned with those things are just a waste of time. I want to encourage people to step into themselves and to be their most authentic selves. Thank you so much for being here with us, Jodeci Milhouse! What are some of the next steps for you? Are you planning on releasing an EP or a full album down the line? I plan on continuing to create and push boundaries as an independent artist. Until I can tour again, I'm working on virtual shows and ways that I can stay connected with my supporters.  My newest single "Glad" is only the tip of the iceberg. I plan on releasing an EP late summer/early fall of this year. So, definitely be on the lookout for that! Again, thank you so much for having me. Platforms for independent artists like this are so important. I appreciate you all for giving my voice a platform and a space to be heard! instagram.com/jodecimilhouse twitter.com/JodeciMilhouse jodecimilhouse.com #BUZZMUSIC

From France to California, singer/songwriter Charli releases her flavourful single “Lovey Dovey.” After being fearful and hiding by collaborating with many different acts, Charli took it upon herself to create a new name for herself (literally) and begin her solo venture into the music industry. With the release of her latest single “Lovey Dovey,” Charli brings in sweet and creamy vocals that rain down over a thrilling pop sound. She gives off very catchy melodies and lyrics that we’re easily able to sing along with while accompanied by electronic hi-fi production. Starting with keyboard melodies slowly growing louder, “Lovey Dovey” truly captures the meaning of vibrant pop. Even though the track isn’t too quick and in your face, it’s perfected with mid-tempo production that continually builds until the melodic beat drop at the hook. What stands clear is the high pitched synths that trigger nostalgia from the early 2000s through rhythmic pop music. Charli sings troubled lyrics of moving on from heartbreak but moving on with poise instead of insecurity. Her layered vocals create that full room effect and bring in these playful aspects through her unique delivery. A very catchy song that helps you find your groove after a breakup, Charli’s “Lovey Dovey” definitely isn’t the last bop we’ll hear from here. Discover "Lovey Dovey" here. Hey Charli, welcome to BuzzMusic! We’ve fallen head over heels with your latest catchy single “Lovey Dovey”. What message or story did you want to portray with this song? Thank you so much! Actually the story behind "Lovey Dovey" is a feeling... It's like when you are with someone that you know is not right for you, but you still don't want to let him/her go. It's that moment when you crave some attention, but you've already been through so much with that person and you ask yourself 'Am i done? I deserve so much more; so why do I still want to stay?' Do you know what I mean? I think it's actually super common! :) With the release of your single “Lovey Dovey”, Charli has provided these stunning melodies that keep our heads bopping. Did you have any inspiration when it came to the instrumentals, and what kind of atmosphere did you want listeners to feel? Good question:  Actually these past few months I 've really been nostalgic and into the pop/rap/hip hop music of the '80s and '90s.  All the songs/artists that I LOVE and influence my music are; for example: "The Fresh Prince of Bel Air", Robyn, Anastasia, Queen, Whitney Houston, Micheal Jackson, etc...As for the atmosphere I was hoping to create for my listeners, I was going for something upbeat, positive, get-up-and-dance. And maybe if they're also in this type of situation, it might make them feel a little hopeful like they too can get out of this difficult situation. We’ve heard that after Charli decided to go solo, you’ve created about thirty songs that fully express who you are. What was it like going from constant collaboration to creating music on your own? When you are writing for yourself it's deeper, but a little harder too. When you have someone with you, you have to make some choices and make clear what you want to say as a singular voice. However it's easier because you have someone to help write it: He helps with new words, new ideas, new perspectives of what you want to say.  I love this exchange of thoughts. When you are by yourself, you have to face yourself. This is the hardest and most beautiful part. For me, writing songs is like therapy. I write down everything I need to say, and then try to adjust the sentences so that my audience can relate: I want to help my audience as much as the music and writing songs helps me in my life. Now that Charli is finally embracing your own musical talent by venturing solo, is there anything you’d like to share with our readers that might inform them about who Charli is and what you bring to the table as an artist? I want to try to bring some hope and joy into people's lives through my music. And I want people to realize that no matter what, they are not alone. And last, but not least I want to inspire girl power...I want girls/women to realize we are all more powerful than we think! What's next for you? What's next for me? More joy, good health, new songs to be released, and fingers crossed, tour! instagram.com/charlimusicoff facebook.com/Charlieventoff charlimusicoff.wixsite.com/mysite #BUZZMUSIC

Born and raised in Los Angeles, the rapper, songwriter, and producer Landon Knox drop his meaningful single “Tell Me Why.” Going from homelessness to meetings with labels, Landon Knox’s music serves messages to the misunderstood and lets them know that light will soon shine through. With his recent single “Tell Me Why,” Landon Knox finds his own words to express systemic oppression and racism that he hasn’t experienced, but has unfortunately seen through his friends. With a mid-tempo hip-hop beat that keeps the track sonically steady, Landon Knox brings in many textured bars that let you sit back and think about what you can do to induce change. “Tell Me Why” opens with a sampled guitar that transitions into a heavy mid-tempo hip-hop beat. Keeping this vibe flowing, Landon Knox begins rapping with such clarity and pulls in messages of inequality and the disgraceful actions that police officers have set upon people of color. A highlighted lyric that sums up the track would be, “Tell me why I get off with a warning… but all of my homies get a stop and frisk when the only probable cause is melanin”. Using his privilege to help induce change amongst the ignorance his race can portray, Landon Knox uses his platform to do his part in the BLM movement. He shows unlimited support to his friends, acquaintances, and even strangers who’ve been wronged by the authorities. A track full of honesty, reality, and the change we need to set, Landon Knox’s “Tell Me Why” is nothing short of humanitarianism. You can find "Tell Me Why" here. Hey Landon Knox, welcome to BuzzMusic! We’re loving each and every lyric within your latest genuine single “Tell Me Why”. What initially pulled you to create a song that helps realize how common racism is, and tells a story towards change? Thank you for having me!! I originally wrote the song in 2014 after Eric Garner's passing but sat on it because I felt like it wasn’t my place to speak. After years and years of unrelenting police brutality, I had to say something. Being a white man, I'll never understand what my friends or other Black Americans go through, but I can express my support by using my voice to make music and donating the proceeds that come along with it to an organization dedicated to helping black lives. Your single “Tell Me Why” truly speaks volumes, seeing as Landon Knox hasn't experienced racism yet is adamant to stopping these treacherous acts. What was your songwriting process like when crafting lyrics that tell your own story, yet also emphasizes the overall theme of racism and inequality? I just spoke from the heart. I was honest. Whenever I start writing, it just flows and I try not to think too hard about it. The most natural and moving songs tend to write themselves. At the time, I was pissed off. I was angry at the police and society as a whole. I was embarrassed about being born into privilege and wanted to do something about it. My most powerful tool is my voice, so I decided to use it. With the strong Black Lives Matter movement sweeping the continent, how does Landon Knox intend to continue using his platform to raise awareness and support for the movement, and black lives everywhere? I will continue to keep my foot on the gas and to stand up for what's right. These large scale issues don't solve themselves overnight. Reform takes time and effort, and it doesn't stop when the social media posts stop. Are you donating money? Are you calling up your local government? Are you protesting? Any action is significant. As long as you are doing your part, change will come and justice will be served. We’ve heard that Landon Knox went from homelessness to label meetings, a very big step. What have your experiences from working your way up the ladder taught you, and how are these themes reflected in your music? My experiences are everything - I wouldn't be who I am without them. I've learned that patience and persistence go hand in hand. I'm grateful for the opportunity to channel my life through my music and I hope that the stories I tell both resonate and inspire someone to overcome whatever they're going through. There’s a great Mark Frost quote that goes “…there is no light without darkness…without it, how else would we tell one from the other?” I just want people to know they're not alone and there is light at the end of the tunnel. What's next for you? More music!! I have a big year lined up for you all and I intend to keep it pushing and staying consistent. Who knows where this thing will go!! instagram.com/landonknox #BUZZMUSIC

Sailing in the realm of smooth jazz within Southern London is the multi-instrumentalist Akin Soul. Since beginning his career, Akin Soul has performed at legendary venues that include All Point's East Festival, Off The cuff, The Garage, Nambucca, and BBC Music Day at Pop Brixton, and has formed the group Akin Soul & The Soul Tribe. Recently, Akin Soul released his charming esoteric single "I Want You," and this one is not one you would want to miss out on. Instantly while listening to "I Want You," we were taken to a colorful bliss that is full of unique textures from the horn section and the help of a wobbling synth that create the perfect backdrop for Akins deeply intimate vocals to tell us about how much he wants you. Then picking it up in the second verse and carrying to the rest of "I Want You" comes an incredibly punchy drum kit with an ever so slick bass groove that quickly gets our body flowing to the rhythm. From start to end, "I Want You" is a vivid sound experience that can keep you at the edge of your seat, waiting to hear what will come next. Whether it will be a flair of a pitch bend or a new colorful chord, or even an awe-inspiring lyric from Akin, "I Want You" is a record that we think that everyone will be able to enjoy. You can find “I Want You” here. Welcome to BuzzMusic Akin Soul! We are absolutely in love with your release “I Want You”! What was the inspiration behind the songwriting of this one? Thank you! 'I Want You' was written about 3 years ago. The song was inspired by a song by Janet Jackson - 'I get so lonely'. My producer at the time, Steve Holmes, happened to also be my Keyboard teacher. He taught me how to play the Janet Jackson progression and gave me the challenge of simplifying it. I was later at a mates house and was playing around with the chords and created 'I Want You' at that moment. I feel like the main message of 'I Want You' is just showing my life and who I am in a fun way. I've always said it's a fun teenage crush song that reveals young Akin Soul's story. We are loving the modern jazz flair you have going on in “I Want You”! How do you decide when to do a bend in the instrumentation or use more colorful chords? Are they part of your initial songwriting? Thank you very much ahaha! My chords absolutely are attached to my emotion and feelings at different moments when writing songs. It totally depends on how I feel in that very moment which affects what I end up hearing in my mind chord-wise. I then go on to project that sound on the keys/guitar or sometimes just with my voice at first. It’s amazing to hear you have performed at so many iconic shows, what would some of your favorite moments be? What are some of the things that get you fired up for each show? One of my favorite moments is when me and my band are playing and I just fall into a trance, I honestly sometimes get chills when I'm in the moment. There's something so special in the music. An iconic moment I remember at a gig in Pop Brixton was when the music had stopped as the sound system had been cut out and you could hear the audience carrying on singing my song. It touched me very much to hear others engaging in my very own composition. I sometimes also get to step out whilst performing and just realize the whole band are playing a piece that I had envisioned and created on one random day, I'm very grateful and happy to have this. It’s incredibly exciting to be able to perform with such a large group, what were some of the challenges of that task and how did you overcome it? How does it feel live to have that whole group behind you? It indeed is incredible! I've always loved the look and sound of a Jazz Big Band such as Dizzy Gillespie's Big Band and Count Basie's orchestra and not to forget Duke's records with his Orchestra. I took on influence and initially created the 12-piece band 'Akin Soul and The Soul Tribe'. In the past, it was challenging staying ontop by catering for every individual's needs. On top of that, I wanted the band to sound tight and the band has always consisted of my very close friends and so it at some points it was hard to put my foot down all the time. However, I've luckily learned different professional ways to handle various situations throughout the years. It's the best thing ever to have my family playing with me, it's not the same playing alone. There is so much expression, communication, and love on stage when performing with the Soul Tribe. What else can we expect for 2020? 2020 will see more new music from Akin Soul with my next single already in the Oven and coming out within the next month or so! I will be recording with my band this year and releasing more music. There has been a lot of writing, development, and growth working with different writers and producers so stay tuned! instagram.com/akinsoul akinsoul.com #BUZZZMUSIC

Jordan Wayne Lee is a Los Angeles, based artist who creates experimental rock music inspired by the organic randomness of nature and the soundscapes of spirituality. Taking conventions and then throwing on his unconventional methods, Jordan Wayne Lee creates looping guitar tones done in single takes and then throws in his spices from a 1971 Fender Rhodes. Jordan Wayne Lee's experimentation has led to his EP ' Constructs Of a Human Sanctuary' and we will be diving right into the opening record "We Are The Sacred Temple." "We Are The Sacred Temple" opens up with a tense, esoteric drone that resonates with our minds and allows us to tranquil our thoughts. The drones slowly build to more exciting and harmonious sounds that jell together through intoxicating one-off reverb throws. Every sound in "We Are The Sacred Temple" feels like it is all part of the same, all have the same organic source but then is fused with complicated delay and reverb chains to create never before heard tones that will quickly put your mind at peace. "We Are The Sacred Temple" has a bit of that neo-classical soundtrack aesthetic to it, there isn't a dedicated time, but there is still a unified movement between all of the parts that keep the energy flowing. After hearing this one, we will be listening to the rest of the 'Constructs Of a Human Sanctuary' EP. Meditate to “We Are The Sacred Temple” here. Welcome to BuzzMusic Jordan Wayne Lee! Your latest release “We Are The Sacred Temple” felt like the perfect tune to meditate to, what types of delay and reverb chains did you have going on to create the esoteric tones? Thank you! I am so glad to hear that you find it perfect to meditate to. I am excited to share a little about my process and my perspective with you! For my mix of tones, I have been experimenting and playing with different sounds for about 2 years. I feel like I have finally landed on a mix that is pretty unique and original to what I am trying to do. I run multiple effects to create a mixture of delay and reverb. In my chain I have a BOSS ME-50 running lower levels of sustained reverb and faster delays I can add or remove when needed. This goes into a vintage AKAI Head Rush 2 pedal - It took me a long time to find this pedal and I’m so happy I have this in my arsenal. I run delays and loops through here which I can manage between other tracks. I have it set up to send a signal both through and bypassing to my preamp rack. From here I have a JamMan Delay where I program 3 different delays set at 72bpm so I can stay synced with analog settings. This also runs separately from my AKAI Head Rush but sends a signal to my preamp rack. The preamp rack is a vintage Yamaha Rev 100 where I add in the reverb before sending the signal out. I also have a 512 effects processor where I can add in more effects and manipulate them manually (reverb, delay, chorus, etc). From here, I send everything to two separate channels where I can mix both what I am looping and what I am playing live either over the top or underneath loops. This setup allows me to play multiple guitar parts, multiple guitars, and bounce between my two Fender Rhodes pianos live. I also play my guitar with a pick, a cello bow, and with my fingers at various parts to get different sounds and loop on top of each other. I also have a few other effects and pedals in my chain. The trick is to keep everything minimal and build on top of each other to create a layer of sound and loops. The sound comes out to a Marshall 1960 Lead cabinet where I record straight into my computer. I keep the mixing and engineering to a minimum because I want it to sound like you’re there, in the room with me while I play. If you listen closely, sometimes you can hear the clicking of pedals or room noise. I like it that way. It’s a different approach from the perfectly in-sync over-engineering of music. I like it feeling a little human and natural. It’s taken me a while to get this tone and setup down for what I needed to accomplish and I’m happy with the results. I intentionally stay away from buying off the shelf gear to sound like any other “xyz” artist. My gear is a collection of vintage and used equipment that I have been finding over the past few years before putting out these records. I’ve gone the other path of buying gear, but I like this approach. As a designer, it feels like I’m collecting layers and textures and creating new sounds. You told us that you work using self-imposed restrictions, what are some of the restrictions you had in place for your release ‘Constructs Of a Human Sanctuary’? As a one-man project, you can run the risk of adding too much into a mix or song for compensation because of a lack of other members in a band or overcompensating to fill out a mix on a song. The more I intentionally stripped away the expectations of filling out the sound of a song, the more I find myself enjoying creating new things with these restrictions. From a design perspective, in my visual work, I lean into foundations around grids, layouts, rules of thirds and golden ratios. Thinking in this way related to music meant approaching the sound in a structured way while also giving me the ability to create and explore within those confines. The use of looping was limited in these songs. It can be very easy to loop multiple sounds and layers to build crescendos and so I wanted to be aware of this and limit myself with the amount of looping and layers I put into each track. I kept the layers and loops at no more than four, but usually sat around 2-3 for these songs. Distortion can be a crutch in ambient post-rock. My distortion levels are set very low. I have two distortions I use. One is very light and the other serves as more of a boost to get sounds over the top of other sounds. For “Constructs of a Human Sanctuary” I used very little distortion. Instead, I used a cello bow on the guitar strings set on clean tones to get that sound. For instrumentation, I only limited myself to using a guitar and a 1971 Fender Rhodes piano. I play everything in single takes so they are essentially played as live recordings. Composition, arrangement, and effects all happen live. I wanted to be able to create these sounds not just on a record but to be able to play it live as well. It can be very easy to build layers of tracks and do multiple takes for a song, but the challenge here was to create music that is essentially all sounds and tones that are happening in realtime. In ambient post-rock genre, it can be easy to overdo effects and tones. Stomp on multiple pedals and get some weird tones. However, I am a huge fan of Godspeed You Black Emperor, Sigur Ros, Russian Circles and Caspian. If you listen closely to those bands, they all have very distinct tones between light and heavy effects. Somewhere in there, I found a tone for what I am doing that sits in a minimal-less-is-more approach to the use of tones and effects. Letting the delay and reverb shine through between notes and layers of sound. The Rhodes piano serves two purposes in my music. First is to build low-end drone layers and soundscapes. The second is to add sparse looping melodies. The last part of my self-imposed restriction was to create compositions that are minimal in nature. I think my music exists more as an atmospheric experience or environmental feeling. So to try and fit my work into a verse-chorus-verse-chorus-bridge-chorus type structure doesn’t make sense. Instead, I create songs that have no resolution. It just exists. It might crescendo. It might be built to nothing. It might go nowhere with only two parts that complement each other. I think composition is somewhat expected in the commodification of current music and I want to step outside of those expectations and explore more of the tonality and feeling within the song rather than try and drive the arrangement to a familiar place. This also somewhat explains why some songs are 9 minutes long. They exist and go where they need to go without being forced. So I limit myself in the arrangement and let the composition take it where it needs to go. Since playing in multiple styles of bands and then studying music, how have all of those experiences helped shape the music you are creating today? Part of who I am is the idea of standing at the edge of my own existence. What I mean by that is I am driven to explore look at the world from the edge of culture. In my early days of music I was playing punk rock and hardcore in the late 90s and early 2000s, before these genres started becoming mainstream radio hits as we see in pop-music today. So, I think that this post-modernism is now the status quo. I want to explore and ask myself “what’s next”? Where are the boundaries and explorations in music that I could explore? There is a sentiment and attitude within the early days of punk rock, hardcore, and 90s shoegaze that gets somewhat lost in the computer-generated technology of music production. Working in “pixel-perfect” digital design, I wanted my work in music to feel more natural and organic in the ways that old underground bands used to get together and play shows at the local VFW or Masonic Lodge with their friends. Those days are gone, but there was a beautiful culture around those scenes. So I think my music is informed by that sentiment but exploring a more beautiful approach to the sound while embracing the rugged, rough, and organic approach to creating and recording. Music theory definitely informs how I create. Understanding the rules and then figuring out how to break those rules. Either through alternate tunings, playing with modes and inverting scales and keys. Knowing where to go, but asking myself “how can I get there in a different way”. I intentionally choose keys and tunings that create tension within the songs but then actively choose to find ways to make it sound pleasing within the tension. I lend a lot of that to really taking the time to understand music theory. I think a lot of punk and hardcore music I played in the past was about the energy and emotion of young angsty aggression. As I get older, the aggression turns into understanding. Life experiences inform and shift the strength of the angst to a feeling of acceptance and self-awareness. Instead of creating loud heavy music that the audience experiences like a kick in the face, I ask myself, “can someone experience that same feeling through beauty and space?” I try to create space for the listener instead of imposing any narrative, message or forced ideas within the music. Stepping away from music and understanding life through experiences has informed a perspective about how I approach music. Beyond trying to create a chart-topping single, or fitting into a genre. The music reflects life for me to explore tonality and sound that resonates deeper within myself. It serves as a form of expression informed by my worldview, experiences outside of music, and looking at the world through a lens of culture, art, spirituality, and beyond. Since stepping away from music for almost a decade, what was the spark of inspiration to get back into doing music? Life is an interesting journey. For each of us, we are on our own journey trying to define and understand meaning and purpose. When I was younger, I thought that what I had wanted was to pursue a career in music and actively forced that journey. However, the universe, or God, had different intentions. It didn’t work out as I had planned. I left music and went into design because it was a path that opened up to me after designing websites, album art and merchandise for other bands and record labels - which then translated to a career in design working for brands like Disney, REI Co-Op, Apple, ESPN and many others. But throughout this journey, life taught me many lessons and those lessons came to light in 2018. I got married and found myself reflecting on my personal journey. I wasn’t happy. I had worked on so many amazing projects and designed a lot of really cool things, but deep down there was a missing piece I had tried to fill. I hadn’t considered the idea of God in a very long time and I found myself searching for answers in every form and fashion. Seeking answers through different religions, practices, or ideologies. Then I had this spiritual awakening. The idea of meaning and purpose became crystal clear to me. I realized the things I was chasing were not in line with the timing I had imposed on myself. I learned to forgive myself. I quit drinking alcohol and gave up tobacco immediately (an addiction I had struggled with for years) and I found myself seeking after a greater purpose for myself. This led to me picking up music again. It wasn’t intentional as much as I felt being pulled to create music. I found myself waking up and playing new songs and sounds every day for months before getting to my design work and running my creative agency, Neon Wilderness. I think the spark had always been there, but when the timing of my journey wasn’t what I wanted or thought I needed, I chose to ignore it and become angry at myself for it. I had to learn forgiveness before I could have created the music you hear now. I think this music is the most honest and vulnerable work I’ve ever made because I made the choice to step into that forgiveness and really seek after what that sounds like in audio form. So for me, my music is more about picking up where the journey left off and it feels like a new chapter built-in strength, forgiveness and love. There is a really great quote by Carl Jung that I love. He says “No tree, it is said, can grow to heaven unless its roots reach down to hell.” I think my music is acknowledging both the roots of hell I once had while simultaneously reaching for the heavens. Within that sentiment, as I look at culture from an observational perspective (as a designer) I see that we are on the last phases of post-modernism. Whereas we want to see radical change within the systems built through the modernist movements of society dating back to the French Revolution and the Enlightenment era. Fast forward to today and we have seen the impacts of post-modernism emerge since the 1960s through art, music, and culture. And I believe we are nearing the end of this cultural movement into the next phase which is “Metamodernism”, where feelings of “both/and” can exist instead of “either/or”. Where feelings of sincerity and irony oscillate and we exist within both modern and post-modern feelings. I think this feeling is where a lot of my music exists. Between both feelings is where we find the truth and I think my music is exploring the pursuit of truth without words. What's next for you? For Music: Continuing to write and explore through new songs. Collaborating with other musicians. Forming a full band (hopefully)  where I envision playing live that feels more like an experience.  Considering visuals, sound baths, or new ways to present art in forms of not only music, but visuals. For work (design/art): I am partnering with organizations across the world developing brand and design strategy to further the mission of organizations focused on environmental, humanitarian or faith-based initiatives with my company Neon Wilderness in Los Angeles. instagram.com/jordanwlee facebook.com/jordanwlee #BUZZMUSIC

Out of Nashville, Tennessee. Songwriter and musician Christopher Griffiths releases an intoxicating track "Without the Beat," off his debut EP "Midlife Pop Crisis." What was originally a way to pass the time during quarantine, Christopher Griffiths challenged himself to create four vibrant tracks written and recorded solely by himself. Taking a deeper listen to the intro track "Without the Beat," Christopher Griffiths takes a groovy approach to modern pop through mesmerizing bass lines, heavy synths, and a whole-hearted atmosphere. Singing passionate lyrics of finding someone who truly cares for you and healing from unfortunate past experiences, Christopher Griffiths brings a fresh vibe like no other. The opening "Without the Beat" is an intoxicating use of synths that drop into an incredibly modern and melodic pop beat. Moving into the verse, Christopher Griffiths' soft and filtered vocals bring in a blasé pop attitude, yet perfectly contradicting it with heartfelt lyricism. Christopher Griffiths sings about finding someone who treats you the way you deserve, with lyrics like "What good is a heart without the beat?". Emphasizing that if someone won't love you properly, is there any point at all? Not to mention the impeccable instrumental arrangements from electric guitar, groundbreaking drum kicks, a fierce bassline, and incredible electronic production elements. Giving us something to remember upon these lonesome nights, Christopher Griffiths' "Without the Beat" serves all the love we're looking for. Discover "Without the Beat" here. Welcome to BuzzMusic, Christopher Griffiths! We’re loving each and every aspect of your recent hit “Without the Beat”. Why did you choose this energy-filled track as the introduction to your debut 4-track EP “Midlife Pop Crisis?" “Without the beat” just has a natural heartbeat to it. So I thought for an intro into what this EP sounds like, it would be natural for people cause they live with that beat every day. And it’s really catchy. I had been walking around with that hook stuck in my head for 2 days so I figure that’s gotta be contagious. And sure enough, it is. I get texts all the time from friends “get this song out of my head.” Its the cup of coffee of the EP it just opens your eyes and is the best part of cranking up. Within your song “Without the Beat”, Christopher Griffiths brings in a wide variety of instrumentals all to deliver this crisp and groovy pop sound. Could you take us through your creative process, and what steps you took to reach the end goal for “Without the Beat?" Well I recorded it alone with just my computer, my guitars, my bass, and my Moog synth.  So I had the initial idea and harmony. Then I just layered in drums until it was just voice and drums and would just see if I felt like dancing. Then I started filling in the cracks with bass and guitar and little robot sounds.  That high synth whiny part was really inspired by 90’s era hip hop.  I was thinking if Dr Dre produced The Beach Boys? I think I gotta kinda close. Seeing as “Without the Beat” is off Christopher Griffiths’ debut EP “Midlife Pop Crisis”, how does the song relate and add to the EP’s overall storyline/theme? What sort of experience did you want to provide with the entire project? This project is a funny one because I am a social musician I love making music as a group. But we’re under social distancing so I couldn’t do that.  I really wanted to make something for my wife to dance to in the kitchen. I recorded 40 some songs at home in the months of march and April and took the 4 grooviest ones and put them together. So as far as the overall storyline, maybe subconsciously, it’s me missing going out and dancing and drinking and getting lost in the moment and the rhythm. Because my wife and I are due a night of dancing and cocktails. Now that Christopher Griffiths has released his debut EP “Midlife Pop Crisis” with four vibrant tracks, should we anticipate more energetic pop from you in the future? Would you ever experiment with other genres? What's coming up next? Well, the next thing is, I’m scoring a comic book for Jaired Messing. Which I’ve never done before so that should be fun. June 26th the new Will Hoge record comes out and I worked on that which is a big departure from this.  I would gladly work in other genres. I love Dr Dre and Townes van Zant equally.  I love Nine Inch Nails and Jason Isbell.  The next record will be super acoustic and a complete departure from this record.  The nice thing about being independent is no one gonna call me upset if I make the next record a collection of civil war ballads. But for now, let's all shake our booties to this collection of robot sounds. instagram.com/arrogantbass facebook.com/Christopher-Griffiths #BUZZMUSIC

From Buffalo to Los Angeles, independent artist Marissa Barbalato releases her tender track “This Too Shall Pass,” off her recent EP “Mama Said.” With iconic industry inspirations, Marissa Barbalato has conjured quite the following in L.A. after her first few singles. From coffee shops to staple Hollywood venues, Marissa Barbalato is just beginning her expansive career. With the release of her recent hit “This Too Shall Pass,” Marissa Barbalato brings forward immense strength towards facing adversity head-on and wondering when peace will soon resurface. Through blissful folk instrumentation, we’re left getting lost in the smooth sounds she’s incorporated. Starting off with short electric guitar pulses and Marissa Barbalato’s pure and angelic vocals, “This Too Shall Pass” progressively expands wider into more of a whole-sounding instrumental. Once the chorus comes around, Marissa Barbalato’s vocals stand out with clarity as sings vulnerable lyrics of fighting for her happiness and well-being. The instrumentation gives off this anthemic feel, truly providing us something that warms our hearts during these hot sunny days. Peaceful electric guitar instrumentals soar over “This Too Shall Pass” and bring in the same emotions that Marissa Barbalato’s vocals effortlessly release. A hopeful song that reminds us to keep our heads high, Marissa Barbalato’s “This Too Shall Pass,” keeps our optimism running. You can listen to "This Too Shall Pass" here. Welcome to BuzzMusic, Marissa Barbalato! We’re singing right along with you on your recent hopeful hit “This Too Shall Pass.” Where did you initially find inspiration for this song? My team and I had a writing camp in Palm Springs for "Mama Said".  The isolation along with the desert really gave life to the record.  Trying to survive the industry while staying creative and keeping true can be a challenge.  However, I believe between struggle and relief resides hope. To those who feel beat down, know that now more than ever we have to come together as a collective power and push through.  My wish is that this song serves as a reminder "This Too Shall Pass". Seeing as your song “This Too Shall Pass” is off your recent EP “Mama Said,” what role does the song play in the EP? How does it relate to the overall theme of the project? Staying true to my roots, This Too Shall Pass gives you a sense of nostalgia.  Mixing Fleetwood vibes with nature and the overarching theme of hope. Within the project as a whole, this is the song of hope. Not only will this song resonate in our current society, but I believe we created something that feels timeless. Marissa Barbalato’s track “This Too Shall Pass” brings in these graceful instrumentals. Could you expand on how you went about tweaking the instrumentals to emphasize your message on “This Too Shall Pass?” When producing this song, we wanted to emulate an open atmosphere, organic and pure.  The theme is an idea that we have all experienced at some point in our lives, with that in mind, we developed the instrumentals to match.  The hope is to produce something nostalgic and pure, for listeners to connect with the feeling of change. We’ve heard that Marissa Barbalato’s career has drastically evolved since the release of your first few singles. Why do you think your music has been so successful, and what helped your brand grow? Well, that is so sweet!  I grew up on the east coast, at times LA can feel like a different world.  Being independent by nature, I am constantly working on myself.  You can't do your best if you are not at your best.  I think my personal growth organically shows through my music lyrically and musically.  The goal is constant growth. What's next for you? I have a video coming out in a few weeks! livestream shows via Instagram, and more music releasing before 2021! instagram.com/marisbarbalato twitter.com/marisbarbalato facebook.com/marisbarbalato #BUZZMUSIC

LA native and natural-born empath, Nico Savaro, returns to BuzzMusic with his recent appreciative single “FLOW.” Seeing as some of his music is autobiographical, he’s mentioned that he is always observing his surroundings to write songs that reach beyond his personal experiences. Doing precisely this with “FLOW,” Nico Savaro brings a unique mix of R&B, rap, and even a pop-infused feel. His vocals remain strong and powerful as he sings lyrics of learning to let go while living in the moment. Through energetic production, the track keeps our undivided attention and allows us to let loose. Opening with the sharp and hi-fi hip-hop beat, “FLOW” moves through dynamic spaces to incorporate different elements from various genres. While Nico Savaro begins rapping, he ties in lyrics that pay tribute to nostalgic bangers like “Pumped Up Kicks” and “Like A G6”. Already grabbing our attention, Nico Savaro continues to rap over the lively beat with confidence and knowledge of enduring unfortunate experiences, only to move forward and allow time to do its beautiful thing. We can feel the likes of radiant pop elements through the lively production, sharing bright keys and layered effects for added energy. Bringing meaningful lyricism within his single “FLOW,” Nico Savaro has yet again provided us with a track which allows us to sit back and relax. Discover "FLOW" here. Welcome back to BuzzMusic, Nico Savaro! We’re really impressed by the thorough message you’ve laid out with “FLOW”. Why did you want to create a track that reminds people to go with the flow? Thank you for having me back! The irony with this song is that it was written well over a year ago and it was written with the intention of making you feel like you're on a vacation, whether you are on one or not, so it's sort of serendipitous that I had it planned for release before COVID-19 became a worldwide pandemic. Since we're basically not able to travel anymore, I hope that for 3:11 (just another coincidence- got some Amber vibes to it, doesn't it?) I can transport the listener to their favourite destination. I mention countries like Jamaica, Australia, Malaysia, Croatia, Costa Rica, Venezuela and even dancing in an igloo, cuz that just cool, pun intended. There's only so much we can control right now, so, as the song says, we literally need to go with the flow, live in the moment and learn to let go. In regards to your recent hit “FLOW”, the production brings vibrant hip-hop, R&B and pop elements to the stage. How did you go about mixing these elements all to create the beat for “FLOW”? You're forgetting the most crucial compositional element of the song- Caribbean! I have a deeply rooted love for Reggae and wanted that to be at the forefront of the sound. Back when we were working on Black Widow, which was released in December, I was thinking it would be cool to make a Caribbean, almost Reggaeton version of it. We tried it out but it ended up not really being the right vibe, so I sat with this beat, and about 6 months later, one day it came to me and literally just started to FLOW. We know that you are a natural empath, which leads you to observe other people and situations while empathizing with them. How do you initially go about writing a song and choosing which perspective or point of view you want to capture? I really wanted to capture the essence of someone who desperately needs a much-deserved vacation, someone who's running on empty and needs to get away from it all to be able to reconnect, recharge and re-discover who they are so they can live their best life. Travel is one of the easiest ways to do that because it takes you out of your normal conditioned environment and helps you to see more of the world which in turn helps you to see more of yourself. It's one of the most efficient catalysts for helping us to also go on a journey within ourselves. It's quite ironic that sometimes we need to travel halfway across the world to discover ourselves when we can literally do that on the floor in our living room. However, vacation, when done right, forces us to leave our distractions and responsibilities behind and gives us the time to be present with ourselves. The song also suggests going on vacation for the right reasons. So many of us obsess over the socials when we're travelling, taking photos for the gram. The song literally says, "Don't do it for the gram"! So right now, we definitely can't do any of that, but we can sit in our living room or our favourite place in the house, turn off our mind, relax and float downstream. We can close our eyes and transport ourselves to our favourite place in the world and just imagine that we're there, breathing in everything it has to offer. Speaking on the current events of today’s world, how do you manage to find inspiration to create songs that still allow listeners to resonate and find a meaningful/relatable message? I think most of what I said in the last question covers this, but I've had my own challenges during this time, struggling with anxiety, worry, OCD over making sure I'm being careful, and so I've had to keep myself busy. I've been very productive, writing a lot more than usual. I've been telling fans who say they're bored, this is the time to find yourself, to sit with yourself and learn who you are and what you want out of this life. Use this time to find your passion and if you've found it already, do it! Put your heart and soul into it. What can we expect to see next from you? My next song FAST is scheduled to be released on the first day of summer. I'm pumped for it. It's literally about going fast and letting loose. Lots of people are going to want to flex their horsepower this summer because so far everything leading up to it has been a drag! I love puns too much. instagram.com/nicosavaro twitter.com/nicosavaro youtube.com/nicosavaro #BUZZMUSIC