Search this site

You don’t need words to tell a powerful story, and Simone Feroci proves it with “California Forever,” a stunning, cinematic bass ballad that speaks directly to the soul. Born in Parma, Italy, and now based in Long Beach, California, Feroci has built a career as expansive as his sound. From performing at Abbey Road Studios and Ronnie Scott’s Jazz Club in London to massive arenas in Italy and U.S. stages like Disneyland, California, and Dignity Health Sports Park, he’s long been known as a world-class bass player. But this time, he’s diving into something even deeper, his own story. Released on October 3, 2025, “California Forever” is more than a song; it’s a sonic memoir of recovery, rebirth, and resilience. The track chronicles Feroci’s journey from alcoholism, grief, and depression to clarity and self-acceptance. It’s told entirely through music, where the electric bass becomes the voice, weaving through lush orchestral arrangements that blend metallic grit with sweeping cinematic beauty. “The contrast between the roughness of the bass and the beauty of the strings mirrors my own healing,” Feroci explains. “This song is my way of saying there’s always light on the other side.” The accompanying 4K music video visually translates that inner struggle into art. Three versions of Simone, each representing a different stage of pain and recovery, move through scenes of turmoil and transcendence, set against breathtaking California landscapes. It’s vulnerable, honest, and cinematic enough to feel like a film score for survival. Feroci calls “California Forever” a “soundtrack of hope,” and it’s hard to argue with that. Every note feels intentional, a piece of his story captured in melody. For those battling their own darkness, this song isn’t just background music; it’s a lifeline. “I hope this release will be a soundtrack of hope for anyone who’s been through addiction, depression, grief, or sorrow,” Feroci shares. “Once we get rid of what hurts us, we finally make room to love ourselves and move forward.” Simone Feroci’s journey from darkness to light shines through every chord, and “California Forever” stands as proof that healing can sound beautiful. “California Forever” tells your story without a single lyric. How did you approach communicating emotion purely through your instrument? I wrote the bass riff for California Forever throughout 8 years, first the hook, then the verse, and as I went through an array of different emotions and states of mind, the song evolved with me, and I was only able to finalize it at the beginning of this year, integrating it with an orchestral arrangement. The melody’s dualism, with the bass’s dark, deep tones alternating with bright harmonics, represents this ‘walk of life’ from the dark to the light. You’ve played legendary venues like Abbey Road and Ronnie Scott’s. How did your journey through addiction and recovery reshape what success means to you now? For sure, my love of playing music has taken me to the most incredible places, both in Europe and here. That was what I considered success back then: playing big venues and stadiums. I also associated success with releasing music, getting a big response, and lots of streams, and I would get disappointed when its engagement wasn’t what I hoped for. I had moments of depression and self-doubt, I somewhat gave up at some stage, sold all of my gear, and focused on getting a “normal job” (alcohol can make us emotional, twist our perception of things, and get us to make irrational decisions). Still, ultimately, recovery granted me clarity of mind, and with that came the realization that success lies in creating something good that can be a testament to the artist I am. The music video shows three versions of yourself. What did each one represent to you personally? T he video starts with a “washed up”, “hopeless” version of myself, then we see a “wild”, “rowdy” version in a bar fight, but they ultimately converge in a “healed” version, walking in the Californian sun. I have been all of those at some point in my life. The last version is who I am now, but the others are the ones I had to forgive to move on, to heal. Bass is often seen as a supporting instrument. What inspired you to make it the lead “voice” of such a personal story? With the bass being my main instrument and me wanting to tell a story, I felt I should put myself out there: the bass is also stripped of any heavy effects, because, as the “voice” of the song, I wanted it to be intimate and “naked”, natural. Of course, then there are other elements, such as the piano, orchestra, electronic drums, and synth patterns here and there, but I wanted the rest to be the “bleed” of the canvas. The bass —the instrument I've played and worked with for the past 25 years —needed to be the main protagonist. You call this song a “soundtrack of hope.” What advice would you give to artists, or anyone, trying to find their way out of darkness? I would tell them that, even in the darkest of moments, when we think we’re done for and there’s nothing we can do to change things, our strength lies dormant within us; it’s just about refraining from doing things that hurt us, so we can acknowledge it. In my case, there’s no way I could have ever embarked on the enterprise of producing such a high-quality single and music video if I were still indulging in my demons. That’s what I mean by “soundtrack of hope”: the song itself is tangible proof of what we can achieve when we let go of old, self-harming patterns. We might not be able to see it; it doesn’t mean the light isn't there —it is, trust me.

Some songs don’t just tell a story; they bear witness to it. Mike Maimone ’s “ Beautiful Mess ” is one of those rare pieces of music that feels lived-in, breathing, and undeniably human. The single marks a defining moment in the Los Angeles artist’s upcoming album Guess What? I Love You . It captures both the quiet devastation and the small, flickering grace that follow immense loss. Originally written in 2018 for his aunt after she endured a personal tragedy, “Beautiful Mess” was set aside for years because it felt too intimate to release. It wasn’t his story yet. That changed in 2023 when Maimone lost his husband, publicist and LGBTQ advocate Howard Bragman, to acute cancer. “We married in the hospital,” he recalls. “The day after we were married, my husband passed away in my arms.” With that moment, “Beautiful Mess” found its true voice. The song now stands as the emotional pivot of Guess What? I Love You , the point where heartbreak turns into acceptance. It's a slow, deliberate arrangement that wraps around Maimone’s trembling vocals, guided by Ellen Angelico’s atmospheric guitar work and a backdrop of echoing synths and restrained percussion. Each sound feels intentional, layered in sorrow yet illuminated by love. Maimone’s delivery is unguarded. His voice cracks at times, not from weakness but from truth. “I wanted my voice to sound like someone holding on,” he says, and that intention resonates in every syllable. Nikki Morgan’s backing vocals lift the final chorus into something transcendent, their ache and tenderness mirroring the shared experience of grief. “Beautiful Mess” also stretches beyond Maimone’s personal story. It reflects a world wrestling with loss, disconnection, and injustice while still finding beauty in resilience. “Even when things feel bleak, people still find ways to unite, to care, to love,” he says. The message is clear: life may be a mess, but it’s still worth showing up for. “Beautiful Mess” is not a song about endings. It’s about the love that lingers, the memories that refuse to fade, and the grace that emerges when we choose to keep feeling.

Let’s be real, most artists talk about empowerment. Fairy Best Life  embodies it. The R&B enchantress, spiritual coach, and professional bringer-of-magic has officially dropped her mesmerizing music video for “ Sonder ,” a cinematic dose of self-realization wrapped in glitter, soul, and divine feminine energy. Released on Black Fae Day 2025, “Sonder” is more than a visual; it’s a ritual. Directed by her creative partner and husband, Max Richardson-Reitman, the video feels like a lucid dream filmed in 4K. Fairy Best Life (real name Sabrina) invites us into her world, one where mysticism meets modern self-discovery, and the result is nothing short of spellbinding. Each scene unravels like a fairytale lived, not told. Fairy Best Life steps through dreamlike portals into the worlds of Dorian’s Gilded Society, Artemisia LeFay, and Charlotte Lily Gaspard, three real-life creatives who embody the project’s core message: that magic isn’t escapism, it’s authorship. You are the story. You are the myth. And then, like divine clockwork, a Fairy Godmother descends, a nod to Whitney Houston’s legendary portrayal in Cinderella. It’s a jaw-dropping tribute that ties childhood wonder to grown-woman sovereignty. “Whitney’s Fairy Godmother was my first glimpse of Black fairy magic,” Fairy Best Life says. “She continues to inspire my magical evolution.” Beyond the glitter and glamour, “Sonder” hits deeper. It’s a call to remember who you were before the world told you who to be. With her Folklore Arts Embodiment (F.A.E.) movement, Fairy Best Life has built an entire ecosystem around that truth, mixing life coaching, performance art, and music into one bold spiritual rebellion. Her creative résumé reads like a dream spell; Broadway, The Apollo, Radio City Music Hall, Burning Man, Meow Wolf, but “Sonder” might be her most personal act of alchemy yet. “This video is an invitation to stop waiting for permission to live your grandest narrative,” she says. “You are the author, the muse, and the magic.” Now gearing up for her debut album through the Plaid Dog Recording Rising Artist Talent Search, Fairy Best Life is proving that fairytales aren’t childish; they’re sacred blueprints for transformation.

Photo by Nick Velasco Last night, actress and singer Victoria Justice  brought the undead to life at her LOVE ZOMBIE Halloween Party, celebrating the release of her new single “Love Zombie” at the newly opened Bar Jubilee on the iconic Sunset Strip. The event, powered by Rumor and presented by Casablanca Karaoke, with support from Altos Tequila, IT’SUGAR, Dear Caviar, Peroni, and Monbeau, was a high-glam, high-camp spectacle blending horror, Hollywood, and a whole lot of heart. Photo by Nick Velasco Victoria, dressed as a stunning and blood-soaked Zombie Bride, hosted the night alongside friends, family, and a lineup of celebrities and influencers. Her sister Madison Grace joined in on the festivities, while Leon Thomas and none other than Janet Jackson—yes, the Janet Jackson were among the notables in attendance. The music icon was spotted in a private VIP booth, enjoying the immersive decor, killer cocktails, and Halloween chaos. Photo by Nick Velasco DJ Pookie kept the energy pulsing all night, while nightlife fixture Judah J emceed the event dressed in full vampire glam. At midnight, world-famous drag queen Venus Fly-Snatch stunned the crowd with a surprise coffin-rising performance of Victoria’s new single “Love Zombie.” Justice herself joined the stage for an encore, sharing her excitement over the single’s release before performing it once more to roaring cheers. Photo by Nick Velasco Guests, ranging from influencers to actors to industry VIPs, packed into the lavish new venue, transformed into a carn-evil-meets-glam-rock freak show, dripping in skulls, cobwebs, and gold-framed art tributes to icons like David Bowie and Jim Morrison. Among the crowd were Evan Ross, Jessie T, Usher, Paul Butcher, Sophia and Alexia Umansky, Bryan Craig, Hannah Stocking, and many more. Photo by Nick Velasco The bar flowed with Altos Tequila cocktails like “Victoria’s Bleeding Heart,” “The Monster Smash,” and the aptly named “Love Zombie Elixir,” each garnished with candy from IT’SUGAR, which also curated a full candy bar stocked with gummy brains, worms, and eyeballs. Guests indulged in Dear Caviar blinis and bumps, Peroni beers, and signature fragrances from Monbeau Afrique, while posing for photos in interactive Halloween sets scattered throughout the space. Photo by Nick Velasco Produced by The Influence, the event showcased Bar Jubilee’s theatrical edge and Hollywood’s undying love for spectacle. With “Love Zombie” now out on all streaming platforms, Victoria Justice has officially resurrected the Halloween party scene, undead, unbothered, and utterly unforgettable.

After five years of silence, The Neighbourhood have finally come crawling back out of the grayscale. The California alt-rock band that defined a generation of Tumblr core melancholy is back with a new three-part rollout for their upcoming album, ultraSOUND , the first full-length since 2020’s Chip Chrome & The Mono Tones . The first drop includes three tracks: “Private,” “OMG,” and “Lovebomb,” and from the first few notes, it’s clear they’ve gone back to what made them magnetic in the first place. The Neighbourhood have always thrived in the in between. That space between romance and self-destruction, between California sunshine and emotional decay. On ultraSOUND , they sound like the ghosts of their own legacy, cinematic and brooding, too self-aware to pretend they don’t know the myth they built. “Private” sets the tone, an intimate, slinky track that balances Jesse Rutherford’s soft falsetto with hypnotic bass and foggy production. “OMG” pulls you straight into that daydream zone, like an unearthed B-side from I Love You.  or Wiped Out! , and “Lovebomb” feels like a classic Neighbourhood confession disguised as a love song, where vulnerability and ego flirt until one gets burned. The band’s visual world has also come full circle. The cover art and teaser clips ditch the color and go right back to black and white, the aesthetic that once made them internet royalty. No neon suits, no chrome aliens, no digital filters, just shadows, silhouettes, and heartbreak. It’s a return to form, but not a regression. This version of The Neighbourhood feels older, more self assured, less interested in fitting into the playlist algorithm. They know exactly who they are, and more importantly, who they aren’t. For us at BuzzMusic, this one hits close to home. BuzzMusic was born in California, built out of the same coastal chaos and creative pulse that The Neighbourhood’s music captured so perfectly. Their sound was part of what pulled us to Los Angeles in the first place, that haunting blend of surf, sadness, and style that made LA feel like both a dream and a ghost town at once. The Neighbourhood didn’t just soundtrack our early days, they helped shape the identity of every underground artist and late night writer who came west chasing a feeling. Hearing them return to that world feels like watching the city breathe again. In a decade where so many bands from their era have tried and failed to adapt to the TikTok economy, The Neighbourhood seem to have cracked the code by doing the opposite. Instead of chasing new trends, they doubled down on atmosphere. They remembered that mood itself was always their strongest weapon. These new songs don’t sound nostalgic as much as they sound timeless, the kind of music that plays when you’re driving alone at night and every streetlight feels like an omen. Jesse Rutherford once said that black and white isn’t just an aesthetic, it’s a state of mind. That philosophy seems alive again in ultraSOUND . The three-part release plan feels like a slow, deliberate resurrection, one chapter at a time, like film reels being threaded through the projector. There’s something bold about not giving it all away at once. It makes the wait feel heavier, like they’re savoring their own rebirth. This isn’t The Neighbourhood reinventing themselves. It’s them reclaiming what everyone else watered down. ultraSOUND  doesn’t scream comeback, it whispers it from the dark corner of the room where The Neighbourhood have always felt most at home.

When Nashville firecracker Kelsey Blackstone links up with Austin’s groove master Tobias Lund , sparks fly. Their new single Rinse and Repeat blends Kelsey’s bold soul-pop edge with Tobias’s effortless R&B smoothness, creating a sound that is both timeless and modern. The track captures the frustrating yet beautiful cycle of love, the endless loop of falling, failing, and trying again. With buttery vocals, funky horns, and a silky bassline, Rinse and Repeat feels like sunshine and heartbreak all at once. Both artists are making serious waves in their own right. Kelsey is fresh off national tours, opening for acts like Lloyiso and Mom Rock, while Tobias has been lighting up Texas stages with his five-piece band and earning praise from Austin’s tastemakers Together, they prove that groove and vulnerability can coexist, and that love, no matter how chaotic, is always worth another spin. How did the collaboration for Rinse and Repeat first come together, and what made you realize it was the right fit?  Kelsey and I first met on social media. We were messaging back and forth, complimenting each other’s work. When my friend (Camila Rivers) and I planned a weekend tripped to Nashville, I went on a whim and reached out to Kelsey to see if she would be interested in writing a song together. She immediately said yes. Kelsey’s go ahead attitude made me realise we were a good creative/professional match.  The song was written in a single 3-4-hour session in Nashville with our cowriter, Camila Rivers. We then produced and recorded the track remotely from Austin and Nashville separately, which was an interesting challenge.  Throughout the process of setting up the session, writing, recording and now releasing and promoting the song, I think Kelsey and I have matched each other’s energy well, which can be hard to find. We both care deeply about the song and are ambitious about our music projects, so we work hard on the musical and business aspects of our art.  The song dives deep into the cycle of love and heartbreak. How do you both connect to that message personally?  When we had our session in February this year I was personally feeling burnt out on dating. In the time leading up to the session I had gone through multiple “almost-relationships” and even more unsuccessful first dates. I brought this up in our session, and I was excited to have Kelsey and Camila resound with the subject. I think most people have had a hard time in their lives, wanting to date while feeling exhausted by the act.  The track feels like a modern take on vintage soul. What artists or sounds inspired its production and tone?  Kelsey and I both brand our music as “soul-pop”, as we both take inspiration in vintage soul, but also include modern topics and pop melody. My main influences are Allen Stone and Stevie Wonder.  In the last couple of years, I’ve been listening to a lot more Neo-Soul and modern R&B. This influenced my song choices for our reference track playlist for the production of “Rinse and Repeat”, as I included many tracks from D’Angelo’s iconic album “Voodoo”. This influenced the drum groove, feel and instrumentation a lot, which I think complimented the jazzy chords well. We made a point of focusing on real/classic instruments like live drums, Rhodes, trumpets, and saxophones.  Releasing a song inspired by D’Angelo’s music feels bittersweet given his recent passing, but let it be an ode to his greatness. Other artists on our reference playlist included Corinne Bailey Rae, Katie Tupper and Sam Wills.  How did you merge your different musical worlds when writing and recording this song?  In the writing room, I was at the piano, coming up with chords, while Kelsey had her notebook out for lyrics. We went back and forth on melody and lyric ideas, which I think created a nice blend of our usual melodic and lyrical choices. I instantly felt Kelsey’s background in jazz vocals, which added some cool melodic twists.  When recording, I teamed up with some of my favorite musicians in Austin to play on the track, and we built it out one instrument at a time. With the physical distance, Kelsey and I were forced to send full ideas back and forth, which I actually think created better opportunity for objective feedback.  I also had the pleasure of working with Kelsey’s mix and mastering engineers, who were exceptional at following our vision for the record's sound.  With your tour and new releases ahead, what do you both hope listeners take away from Rinse and Repeat?   I hope that people relate to the topic of dating burnout. Most of all though, I hope that people see the value of collaboration, through our creation. My favorite thing is writing and recording music with other artists. I have found that in this case the phrase “the sum of the two parts is greater than the whole” is true. This is my 4th collaborative release, and I have a lot more coming next year.  Releasing a song with an artist based in a different state has also made me realize that with modern technology, the possibilities for collaboration are endless.  And then I’m excited to open for Kelsey in Nashville in November and perform the song together.

Zack King’s Songs I Wrote Instead of Texting You isn’t a breakup album; it’s a confession booth with guitars. The Los Angeles-based artist takes all the feelings most of us try to hide and drags them straight into the light. Every lyric sounds like a thought you’ve had at 2 a.m. and were too scared to send. The record plays like a post-breakup diary, flipping between moments of chaos, clarity, and quiet self-reflection. From the explosive opener “What’s on Your Mind?” to the hopeful closer “Better Than Yesterday,” Zack crafts a sonic narrative that feels less like a pity party and more like an act of emotional rebellion. He blends pop-rock’s punch with singer-songwriter vulnerability, creating something catchy enough to sing along to and heavy enough to hit where it hurts. “Songs I Wrote Instead of Texting You” walks the line between heartbreak and healing with impressive balance. Tracks like “We’re Alright” radiate optimism without pretending the pain’s gone, while “What’s on Your Mind?” wrestles with the communication breakdown that lingers long after a relationship ends. Zack’s voice carries both exhaustion and resilience, shifting effortlessly from raspy confessions to full-throttle release. What makes the album stand out is its unfiltered honesty. You can tell these songs weren’t written for the radio; they were written to survive. The production matches that energy, bouncing between atmospheric ballads and guitar-heavy catharsis, mirroring the way grief comes in waves. Each song feels like a page ripped from a therapy journal, raw but intentional. Zack doesn’t romanticize heartbreak; he dismantles it. He’s open about struggling with mental health and intrusive thoughts, using songwriting as a lifeline. That vulnerability transforms the project into something bigger than a breakup record; it’s a reminder that healing isn’t linear, but it’s possible. Songs I Wrote Instead of Texting You is for anyone who’s ever stared at a text thread and realized closure doesn’t come from the other person; it comes from yourself. What was the first song that made you realize this album was something you needed to make? "What's on your Mind?" was the song that helped me realize I wanted to make my debut pop punk album, Songs I Wrote Instead of Texting You. Four years ago, I wrote this song, my first pop punk song, in hopes of unlocking a brand new sound for my music. Luckily, that is exactly what happened. This song took me back to my roots and the music I grew up listening to. It made me feel like myself again and allowed me to wear my heart on my sleeve and say exactly what I was thinking. "What's on your Mind?" paved the way for the rest of the album and set the tone for Songs I Wrote Instead of Texting You. Did writing instead of texting ever backfire emotionally, or did it always feel freeing? There were plenty of times I wanted to put the scratch sheet of paper down and pick up my phone instead. But I always came back to the sheet of paper I was writing my thoughts, feelings, and lyrics on because I knew that was the right choice. I really wanted to text the person who hurt me and tell them exactly what I was feeling, but who would that help? I decided it was better to keep these emotions to myself for my benefit, for the music’s benefit, and for the album’s benefit. And I am glad I did. Sometimes the best way to get back at them is silence... and maybe writing a full album. That is exactly what Songs I Wrote Instead of Texting You became—a way for me to channel everything in a creative and emotional way. How did your journey through therapy influence your approach to songwriting? Going to therapy was the first time I tried writing my thoughts down on paper. There is something cathartic about expressing how you are feeling and what you are going through. After therapy, I started rereading my notes at home and eventually thought about turning what I had written into lyrics. I have always played guitar, but never thought about writing my own songs or lyrics. Thanks to therapy, I was able to blend both parts of my life together and start songwriting. Without therapy and without allowing myself to feel, I do not know if I would have ever become a songwriter. This process helped shape Songs I Wrote Instead of Texting You into a deeply personal album with honesty and emotion at its core. Which song on the album represents your biggest personal breakthrough? The song that was my biggest personal breakthrough is my mental health anthem "Over & Over." This song is about anxiety, depression, suicide prevention, and leaning on those you love. It was by far the hardest song I have ever written emotionally. I definitely went back and forth on releasing it because it was so vulnerable, but I am glad I decided to put it out. I realized other people need to hear this song and remember they will be missed. If you know anyone who needs to hear this message, please share it. My goal with "Over & Over" and the entire album Songs I Wrote Instead of Texting You is to reach as many people as possible and show them they are not alone and that there is always another choice. What do you want someone struggling with heartbreak or mental health to feel after listening? I want them to feel seen and to know they are not alone in what they are going through. For a long time, I felt like I was the only one experiencing these feelings and that nobody understood me. After therapy, learning ways to cope, and surrounding myself with people who truly care, I began to feel secure in myself and my emotions. Whatever you are going through—whether it is anxiety, depression, heartbreak, loss, grief, or suicidal thoughts—please remember you are not alone. That is the whole point of this album. I made Songs I Wrote Instead of Texting You to help others see they are not alone in their journey and to remind them that it is okay not to be okay. This album is about connection, honesty, and showing that your feelings are valid.

Founded by Wisconsin songwriter Nolen Chew Jr. and longtime collaborator Rüdiger, the collective has become a magnetic creative force that pulls in musicians from across continents, languages, and genres and somehow makes it all sound effortless. What started as a one-off collaboration has evolved into a multi-album journey through rock, soul, and Americana, all stitched together by pure chemistry and shared intent. Their sound is cinematic yet grounded, nostalgic but forward-looking, and unmistakably human. Across records like Panacea , The Shining Ones , and New Day at Dawn , The Star Prairie Project proves that emotional resonance doesn’t need proximity. It just needs a connection. We sat down with Nolen to discuss collaboration, creative freedom, and the impact of music transcending geographical boundaries. The Star Prairie Project brings together musicians from all over the world. How do you find and choose collaborators who can fit the sound and spirit of what you and Rudiger are building? Well… It's complicated. The Star Prairie Project, by happenstance, started at two different places at the same time. I had a song I was working on at the time called 'Sophie', that ended up on 'The Surreal' album, but I was looking for a lead vocalist for the recording. I hired Marcello Vieira, who I think was working out of London at the time. Around the same time, Rudiger responded to the same song.  I told him Marcello was already on the job, but that I had another song called 'Hot damn' that I wanted him to have a listen to. So I ended up with the Project working two parallel paths simultaneously. The first was the gang from Portugal that started with Marcello Vieira and Ricado Dikk and added Sandrine Orsini on vocals and Mauro Ramos on drums. The other track was Rudiger, who had worked with Ivy Marie, and so we added her to the mix. Later, Tom Tikka and I collaborated on an album, which we haven't fully released yet. I can go into the different styles and genres this brings later, but as I mentioned, it's a bit complicated. There's something timeless about your sound; it nods to classic rock but feels very current. Was that intentional, or is it just a natural result of the different influences each member brings to the table? One thing we've never done is follow trends or fads. The sound is the unique blend of the talent that goes into making the song. It's the result of the unrestrained creative environment. I've always been amazed at the wide range of songs we put out. After a while, that collective sound becomes your identity as a creative entity. And that sound grows. The music I'm working on right now is different from 'Little Gems'; one album has a bold and dynamic rock vibe, while the other is an intense and reflective American vibe—all the result of so many influences and experiences. The name "The Star Prairie Project" feels poetic and rooted in place, even though your music transcends geography. What does that name represent to you now that the project has grown beyond its origins? I have to admit the name has grown on me. At first, I wasn't sure that name would be endearing or enduring, but over time, it has already answered the question. The village of Star Prairie is so quaint, and the Apple River flows through it in a naturally picturesque scene. I actually live on Cedar Lake, a couple of miles out of town, but I drive through the village nearly every day, and I'm glad I have borrowed the name. The Alan Parsons Project also influenced the name selection. I was listening to his 'Eye in the Sky" album the other day. It reminded me of the brilliance of their work, with its complete and orchestrated sound, yearning, and poetic lyrics. So good. You've released albums like  Panacea ,  The Shining Ones , and  New Day at Dawn, which all feel thematically connected. Is there an overarching story or message tying your discography together? Not really. I like to write about the human experience, our hopes and our fears, our successes and our failures. Star Project songs mostly speak about hope and love. The stories are often introspective and emotive. Sometimes, the time it takes to write and record an album subconsciously reflects what's happening in our lives at that particular moment.  Many artists struggle to stay consistent when working remotely. What keeps you motivated and inspired to keep creating at such a high level without ever sharing the same physical space? It's the thrill of making music. Each new riff or lyrical melody is a challenge to co-create and set in motion. The process is really seamless, and we're good at not overthinking it, going with the flow of the song. I've written hundreds of songs, and each one is a unique thrill, with the potential being limitless. I think the biggest mistake is stepping on creation or the "my way" symptom. I love to see this phenomenal talent shine, and I let them go; that's what true collaboration is all about. What always surprises me is how quickly it can take when it's done right. It's a trip to see a song go from some scribbles in pencil in my notebook to a thoroughly mixed song in a few days. Have you ever thought about what it would be like if the whole band finally met in person? To perform live or record something together for the first time? Yes, I have thought about that very thing. It would be a logistical challenge, but it sure would be a cool experience. These are such crazy times, and it seems so hard to plan things out very far, but I do love that idea, and it's there in the back of my mind, so you know, if there's a will, there's a way somehow, so you never know.  It sure would be fun. From songwriting to final production, your music sounds remarkably cohesive. How do you balance creative freedom for each collaborator with maintaining that signature "Star Prairie" sound? That's a question I get a lot. It always sounds cohesive. I place a lot of emphasis on the production aspect of the sound. Whoever is the producer of the song always has a say in how the song is assembled, built, and polished. That really helps with the equilibrium and cohesion. It's always about what's good for the music and what's best for the song to bring out its full potential.

Elise Trouw’s All You Need Is Lust  isn’t your typical feminist anthem. It’s smarter, darker, and far more self-aware. Known for her one-woman-band wizardry and pristine pop-jazz finesse, Trouw completely rewires her image here. She’s no longer chasing the high of perfection. She’s burning it down with irony, discomfort, and an acid smile. This is the first single from her upcoming project, The Diary of Elon Lust , where she channels a fictional male persona stitched together from real things men have said to her and other women. It’s part satire, part therapy, and part cultural autopsy. Through “Elon,” Trouw doesn’t just mock modern masculinity; she weaponizes it. The track flips The Beatles’ All You Need Is Love  into a twisted mantra of ego and desire, fusing warped synths, pulsing basslines, and vocals that drip with both seduction and disgust. Sonically, it’s chaos done right. Imagine St. Vincent and Nine Inch Nails headlining a haunted disco. The production oozes tension and purpose, with Trouw’s drumming grounding the madness in something unmistakably human. Every instrument is placed like a provocation. Her layering builds a world that feels disturbingly familiar: shiny, curated, and emotionally vacant. The self-directed video pushes that vision even further. Cherry-headed dancers, exaggerated body parts, and Bosch-inspired surrealism collide in a bizarre carnival of lust and absurdity. It’s grotesque, hilarious, and strangely hypnotic, like a satire born inside the algorithm’s fever dream. What makes this new era of Elise Trouw so magnetic is that she’s no longer performing to please. She’s performing to challenge. All You Need Is Lust  isn’t just a song about gender or desire; it’s a performance piece that forces reflection on how easily art, love, and identity get twisted by power. With this release, Elise Trouw proves she’s not just pushing boundaries. She’s dismantling the frame entirely. What sparked the idea to create a fictional alter ego like "Elon Lust"? These songs started as a fun outlet for me to process and make light of my experiences with everyday misogyny. I wouldn't have called it that at the time, though. I'd just hear guys say the most absurd things, and think "that should be a song." So I'd write it on guitar, play it for my friends, and laugh about it. Eventually, there were enough of them that they started to sound like a cohesive project. Even though they were inspired by many different people, the voice felt consistent. I realized that "voice" was the male gaze I had internalized. So I brought it to life in the form of Elon Lust.  Were there any specific real-life encounters that inspired lines or lyrics from the record? Many of the song titles are actually direct quotes! If it's alright for someone to say "I like my women shaved" to me, then why can't I sing it back in a song? These moments stuck with me because they were said so casually. It's the sexism-lite we're all supposed to ignore. Elon Lust is my way of redirecting those experiences into art. The visuals are wild. What's the story behind the Bosch-inspired imagery? When I was brainstorming the concept for "All You Need Is Lust," I stumbled across the painting  The Garden of Earthly Delights  by Hieronymus Bosch. I was instantly obsessed. It captured that same feeling of controlled chaos that I wanted to convey in the video. The shared theme of lust felt obvious, but what drew me in most was the sheer density of the painting. I looked at it for hours, finding little sparks of inspiration, mainly from the panel depicting Earth. That's where the giant berry and cherry-headed dancers come from.  How did you approach balancing satire with genuine emotion on this project? My goal for this project was to lead with humor. On the surface, the lyrics are absurd, funny, and almost simple to the point of feeling like a slap in the face. Even as I was writing, I'd ask myself not "Is this a good lyric?" but rather "would Elon Lust say this?" By leaning fully into his voice-- which I'd describe as cheeky, un-self-aware, overly confident, and at times elementary. I let my own experience live between the lines. I wanted to put the listener in my shoes in the most literal way possible. Some people will only hear the crassness and humor, and that's okay. But for those who go a little deeper, the album paints a picture of what it feels like to be a woman in the world right now.  After years of polished pop-jazz work, what creative freedom did this new era unlock for you? For the first half of creating this project, I never actually planned to release it. And when I finally decided to do it, I planned to do it anonymously. It wasn't until the record was finished that I chose to release it under my own name. That sense of privacy gave me the freedom to be completely uncensored throughout the process. Even in the production, that mindset dropped any pressure I felt to cater to what I'd become known for musically. The album moves through an array of genres, but it all stays connected by the themes and through Elon Lust's voice.

Hip-hop’s been through a lot — mumble rap, SoundCloud fame, AI “rappers,” and more clout-chasing than a high school talent show. But Mute the Madness aren’t here to play that game. The genre-bending collective, once known as The Devil’s Playground, is back with a mission, and their new single “ Man and Machine ” hits like a wake-up call for anyone too busy scrolling to notice the world burning around them. Founded by Tan and Righteous, Mute the Madness  started as a duo but evolved into a full-blown band, the kind that doesn’t just rap over beats but builds worlds with real instruments and raw emotion. They blend hip-hop with R&B, rock, and even reggae. The result? A sound that’s both rebellious and reflective, like Rage Against the Machine if they grew up on Outkast and Lauryn Hill. Their latest track, “Man and Machine,” isn’t afraid to bite. It digs deep into how AI and technology have quietly taken over, reshaping everything from how we think to how we value human connection. The song isn’t anti-tech, it’s anti-apathy. It’s a reminder that while the machines get smarter, humanity’s getting lazier. “We just want people to value the things we take for granted,” says Righteous. “Like having jobs, or even the simple freedom to grow your own food.” That’s not just a lyric, it’s a lifestyle. Mute the Madness makes music that pushes back against comfort culture. It’s a rebellion dressed in rhythm. And while most artists play it safe, this crew’s calling out the system with guitars, drums, and verses that actually say something. Man and Machine feels urgent, like a warning shot wrapped in a bassline. It’s for the thinkers, the skeptics, the ones who know something’s off every time they scroll TikTok. In a world run by algorithms, Mute the Madness might just be the last voice reminding us what it means to be human.