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Lisa Rogers is done playing small. With her latest single “Energy” and serving as the title track for her upcoming debut EP, she is officially announcing herself as one of pop’s most exciting new contenders. If her past releases hinted at promise, this track kicks the door wide open. “Energy” is pure glitter-drenched escapism, brimming with disco shimmer, funk-driven basslines, and a chorus that feels like it was engineered to ignite dance floors. From the opening synth sparkle to the euphoric, sky-high hook, Rogers captures the giddy rush of surrendering to passion. It is the soundtrack to that moment when the world blurs out and you are locked in on someone, fully present and fully alive. What makes this single hit so hard is not just the glossy production. Rogers’ voice, rich with soul and tinged with grit, cuts through the shimmer with conviction. She is not just singing about craving intensity; she embodies it. There is a hunger in her delivery, a demand for love that matches her fire. It is bold, fearless, and impossible to ignore. The track was co-written with up-and-coming producer Adam Kelly, who also helmed the production, with mixing and mastering by Jack Ducker (Lovelle, Warners, Hotel Records). Together, they have crafted a sound that is both nostalgic and forward-thinking. Think Studio 54 glam updated for the TikTok generation, shimmering synths, throbbing grooves, and an anthemic vocal that begs to be shouted back in packed clubs and festival fields. “Energy” is also a clear evolution for Rogers. After the emotional sincerity of 2024’s “Without You Now” and the sleek electro pop edge of “Run To You” earlier this year, she has found her sweet spot. It is disco, it is pop, it is soulful, but most importantly, it feels like her . If the rest of her debut EP follows this trajectory, Lisa Rogers will not just be a rising voice in UK pop. She will be leading the charge. “Energy” is not just a single; it is a mission statement. Lisa Rogers has arrived, and she is here to light up the night. “Energy” feels like such a bold leap forward. When did you know this was going to be your title track? I agree, I feel like this is my boldest release yet! For me, this was always such an energetic, stand-out track in terms of the message and whole feeling that I knew I always wanted it to be my title track. You seamlessly fuse disco shimmer with modern pop polish. Who were you listening to while shaping this sound? The initial influence for this sound actually came from Chaka Khan’s ‘Ain’t Nobody’, as I wanted to create something using the 80s synth that Dua Lipa also used in Houdini, which I love! And Chaka had such a great way of creating a funky, catchy tune whilst incorporating this. Whilst Dua Lipa was a big influence, I also listened to Lady Gaga’s ‘The Edge of Glory’ to gather more inspiration. The lyrics speak to giving yourself completely. What personal experiences inspired this theme? I feel like lots of us (including me) have been lucky enough to experience that amazing feeling love gives you, where you want to give everything and experience feeling everything too! And this song celebrates being immersed in all of that fully. You began as a session vocalist before emerging as an artist in your own right. How has that journey shaped your confidence and craft? Being a session musician and gaining the experience of performing really helped mould me and gave me the confidence that I have now. Without that, I never would have learned how to perform with passion and how to develop my musical skills with other musicians. Your debut EP is scheduled for release in late 2025 or early 2026. What can listeners expect in terms of sound, stories, and surprises? Listeners can expect a whole journey of my personal experiences in my own life, along with non-stop fun and catchy melodies you won’t get out of your head!

Real & Hook Entertainment is set to light up East Nashville with an exclusive songwriter and artist showcase at The Bowery Vault on Monday, October 20, 2025, at 4:30 PM. The event will bring together three standout voices from the independent scene: Dolan, David Vogel, and Randy Ryder, each carving their own lane in modern music. Leading the lineup is Dolan, a Top 20 Texas radio artist and hit songwriter known for blending country, rock, and soul. The showcase follows the release of his new single “Leave the Light On," a track Dolan describes as “about being open to vulnerability, leaving the world behind and allowing your senses to have a complete, real-time experience.” Influenced by the likes of Leon Bridges and Teddy Swims, Dolan brings heartfelt storytelling and southern grit to every note. Joining him is David Vogel, the New York-born, Nashville-based indie-pop artist who first captured national attention on The Voice as part of Team Ariana Grande. With his upcoming single “Bottle of Blues” arriving October 29, Vogel continues to build momentum with his cinematic sound and introspective lyricism, balancing slick pop production with raw emotional depth. Rounding out the evening is Randy Ryder, a Louisiana native and Emmy-nominated songwriter known for his honest, soul-baring approach to southern storytelling. After years spent on the road and raising two children as a single father, Ryder’s return to music has been marked by heartfelt releases like “Heart on Hold” and “You Are,” which have resonated with fans around the world. The Real & Hook Showcase promises an intimate evening celebrating authenticity, vulnerability, and connection through music, a rare glimpse into the creative pulse driving Nashville’s next wave of independent artists. More info here.

In the heart of Miami’s underground electronic scene, David Levison, known by his artist moniker NOSIVEL , is redefining what it means to perform live electronic music. His sets aren’t just sound - they’re living systems of voltage, chaos, and emotion, built and destroyed in real time. A modular electronic artist and sound designer, NOSIVEL creates immersive, glitch-heavy performances that channel grief, transformation, and raw human energy. With his debut EP,  Knowledge & Ignorance,  out now, he’s staking his claim as one of the most forward-thinking new voices in experimental electronic music. Buzz Music sat down with David Levison to dive deep into the NOSIVEL universe - where machines breathe, grief becomes rhythm, and every voltage shift tells a story. What exactly does it mean to be a modular electronic artist, and how does that role differ from a traditional DJ? Being a modular electronic artist means I’m building sound in real time from the ground up. A DJ is curating and blending tracks that already exist, whereas I’m creating something that didn’t exist until the moment it’s performed. It’s unstable, fragile, and explosive all at once—every patch, knob turn, and voltage shift can take the set somewhere unexpected. That risk is part of the energy. Can you walk us through your live setup? What kind of gear are you working with, how long are your sets, and how much of the performance is improvised versus pre-planned? My rig centers around a Eurorack modular system, with the Five12 Vector Sequencer at the heart of it. From there, I branch into oscillators, filters, processors, and samplers, all patched together in ways that can constantly evolve. The Soma Pulsar-23 is my main drum machine, driving the percussive core, while the modular handles basslines, textures, and distortion. Sets usually run 30 to 45 minutes, but they’re not locked in. I have structures, rhythms, and samples prepared, but I leave space for improvisation so that no two shows are ever the same. If something glitches, I lean into it and make it part of the performance. Your sets have a signature rawness—glitch-driven, distorted, and emotionally heavy. What kinds of venues or spaces best suit that energy, and how does the physical environment influence your sound? The best spaces are ones that allow the sound to breathe—underground clubs, art spaces, warehouses. I like places where the energy is raw and where distortion doesn’t feel out of place. The environment always feeds into the performance: in tighter, low-ceiling rooms, the energy feels claustrophobic and intense, while in open spaces I can stretch things out, build pressure, and let the sound swallow the room. Modular synthesis has become increasingly popular in underground scenes across cities like Miami, LA, and Berlin. Why do you think this medium is resonating so deeply right now? I think people are craving authenticity and risk. Modular isn’t polished or predictable—it’s alive, it can break, it can surprise you. In a world where so much electronic music is quantized and automated, modular artists are showing that electronic music can still be dangerous, imperfect, and deeply human. You’ve described your music as a channel for processing grief and personal transformation. How does that emotional depth translate into your sound, and do you think the audience feels it, even when things get sonically intense? For me, the heaviness and distortion are honest. Grief doesn’t resolve neatly—it’s jagged and overwhelming—and that comes through in my sets. But there’s also a meditative side: repeating patterns, textures that evolve slowly. I think audiences feel that tension. It’s abrasive but also cathartic, like standing inside the storm and realizing you’re still here. Your debut EP, Knowledge & Ignorance, feels like a statement piece. What was the creative vision behind it, and how does it reflect this new chapter of NOSIVEL? The EP is about an AI coming online, confronting conflict, and searching for identity—but it’s also about me, moving through loss and transformation. I wanted each track to feel like a chapter in that story, not just sonically but emotionally. Knowledge & Ignorance was me planting a flag, saying this is where NOSIVEL begins: raw, industrial, but searching for meaning through the chaos. Where have you performed so far across the country, and what’s on your radar for the next few years? So far, I’ve performed across Miami, Atlanta, and Orlando. My goal is to take NOSIVEL on the road more—festivals, art spaces, and unconventional venues where this kind of sound can hit people unexpectedly. Over the next few years, I want to keep pushing that line between fragility and explosiveness on bigger stages. Stream NOSIVEL’s debut EP, Knowledge & Ignorance, on all platforms now, and follow him on Instagram and Spotify for upcoming performances. @Nosivel or visit: www.Nosivel.com

Shoegaze has always been about finding beauty in distortion, and Tropigloom leans into that tension with unflinching honesty. The Canadian indie project, created by musician Andrew Roy, delivers “ Disappear, ” a track that drifts between dreamy haze and gut-punch reality. At its core, “Disappear” is about masking pain with substances and the brutal clarity that follows when the high fades. It’s the sound of running from yourself, only to realize the spiral has already gone too far. Tropigloom captures that duality, escape and regret, numbness and fear, through a sonic palette of washed-out guitars, pulsing bass, and vocals that echo like ghosts in the room. It’s dark, cinematic, and uncomfortably human. The project itself is rooted in Roy’s own near-death experience, and the entire EP reflects on survival in reverse, looking at life’s fragility through shoegaze, dream pop, and post-punk textures. Fans of The Cure, Slowdive, and My Bloody Valentine will feel right at home, but Tropigloom doesn’t just recycle sounds from the past. This music feels alive, cracked open, and bleeding into the present. Andrew Roy is no stranger to stages or studios. As a session musician, he’s played in a slew of Toronto projects and toured as guitarist for Hannah Georgas during her For Evelyn release, alongside work with Etiquette, Off The International Radar, Praises, and Beliefs. But Tropigloom is where his voice lands unfiltered, a project that doesn’t shy away from the messy, haunting parts of human resilience. For Roy, the takeaway is simple: “We all have situations in our life that can really overwhelm us. Sometimes it’s easier to handle them when you know there’s someone else who has been through it too. You aren’t alone. Human resilience can be very powerful—you’re often stronger than you think.” With “Disappear” and the forthcoming EP, Tropigloom isn’t offering easy answers. Instead, it’s offering solidarity in the dark, a reminder that even in the noise and distortion, you’re not alone. “Disappear” wrestles with the cycle of masking pain and facing regret. When you were writing this track, was there a specific moment or experience that pushed you to put those feelings into words? I had a near-death experience at the end of 2023. I was on life support and in a coma for 2 weeks. I spent about 3 months overall in the hospital. The whole experience pulled me out of all the negative cycles that I had created for myself, allowing me to objectively reflect on them. Something that I struggled with prior to this experience. My outlet from a young age for expressing myself has always been through music, so I saw an opportunity to fully let go of things from the past by capturing them in the form of a song and releasing them. The EP Everything Now But In Reverse was born out of a near-death experience. How did that event shape not only the themes of this record but also the way you approach life and music now? It’s allowed me to reflect on things from the past without all the emotional baggage that used to be attached. It’s been like pressing the reset button on my life. I’m not immune to things affecting me now, but I do feel like there’s enough distance there that I can decide whether I want something to affect me or not. It’s been very freeing, and since it has been such a profound experience for me, I would like to try to create music that honors what I went through. Your sound blends shoegaze, post-punk, and dream pop, yet it feels distinctly modern. How do you walk the line between honoring influences like The Cure and Slowdive while carving out your own space? A big part of the creative process for me is when I listen to an artist's music, I think about what it is that I like about their sound in particular. I find the majority of the sounds that I enjoy come from bands like the ones mentioned, but there will also be random influences in there that maybe aren’t considered part of that genre. For me, it’s more about creating a sonic collage of sounds that I really like and that I feel match the emotional tone that I am going for. Whether it be a direct influence from the bands I like, or from a modern song that maybe doesn’t necessarily appeal to me as a whole, but has a certain element that I do like. I think it can be really beneficial to be open to all genres of music for this very reason. As a longtime session musician and touring guitarist, you’ve lived inside other artists’ visions. What’s been the biggest shift stepping into Tropigloom, where the stories and vulnerabilities are entirely your own? I think you said it right there. The stories and vulnerabilities are my own now. It’s up to me to figure out how to best bring them to life. Creating music instrumentally has always come naturally to me, but singing and telling a story, not so much. It’s still a work in progress, but I think the way I’m writing and the subjects that I’m singing about work well with a less refined voice. It’s honest. You’ve said this project is about reminding people they’re not alone in their struggles. What do you hope a listener going through their darkest night feels after pressing play on “Disappear”? Everyone has their own unique situations that they are going through. I think knowing that someone else has gone through something similar and is either still working through it or has made it past it can be very reassuring.

In a world obsessed with overnight clout, Domi Dow Jones is busy building a legacy. The Fredericksburg, Virginia native, born Deon White, has been grinding in the DMV scene for years, refining his voice as both an introspective storyteller and a sharp lyricist. Now, teamed with producer Black Ceasar, he’s dropped Growing Pains 2 , the second chapter in a trilogy that’s less about flexing and more about healing. Where the first Growing Pains laid the foundation, reflecting on trauma, ego, and identity, this sequel digs deeper into transformation. It’s raw, cinematic, and unfiltered, a self-help book disguised as a hip-hop/R&B record. Across 13 tracks, Domi wrestles with everything from generational wounds and fractured relationships to the chaos of hustle culture and the silence of self-discovery. Caesar’s production blurs boom bap grit, soulful textures, and modern edges, creating a sonic backdrop that feels equal parts confessional and victorious. The result isn’t just an album. It’s a guide for the messy middle of growth, the nights you question your purpose, the mornings after hard decisions, the in-between moments when survival itself feels like art. As Domi puts it: “Growing Pains is the soundtrack to the struggle we don’t post. It’s about what it costs to level up.” The visuals push the project even further. High-fashion champagne toasts in “Picking Cotton” meet the cinematic storytelling of “Sojourner Truth,” with direction from Rakim Jamir and New Heiiightz Media turning Growing Pains 2 into a full visual experience. It’s no surprise the project is making noise beyond the DMV. Recently featured on Cut Different TV, Domi Dow Jones and Black Ceasar are carving out space in New York’s scene while keeping their roots intact. Their sound channels legends like Nas, Kendrick, and J. Cole, but never imitates them. The duo’s authenticity is the point. At its core, Growing Pains 2 is for anyone who’s ever felt the weight of ambition and the ache of becoming. It doesn’t hand out easy answers; it hands you honesty. It’s therapy with a beat, gospel with a groove. And it cements Domi Dow Jones not just as an artist, but as a voice built to last. “Growing Pains 2” feels like a self-help manual in disguise. What was the hardest truth you had to face about yourself while creating this project, and did putting it into music change how you see it? The fear of being misunderstood as an artist is always the biggest challenge when creating. I had to overcome the fear of being myself and the shame of my journey. I approached every studio session on "Growing Pains 2" as a therapy session and found freedom in sharing my journey in a creative way. The therapeutic approach to the songwriting and recording process allowed me to make light of those hard truths through beats and rhymes, which always fulfill me. Your lyrics balance raw vulnerability with sharp confidence. How do you know when to let the pain speak versus when to let the bravado lead? The pain is always speaking, even in bravado; the key is to channel the pain into bravado. The greatest artists, athletes, and historical figures in general all experienced pain and channeled their pain into their craft and their purpose. You and Black Ceasar clearly have a unique chemistry. What’s the biggest creative clash you’ve had in the studio, and how did it shape the final sound of the album? Cease and I are both visionaries, so creative differences are inevitable; however, we've learned how to work with each other through role assignments. Our biggest clash was with the first Growing Pains album over what should make the album and what shouldn't. On "Growing Pains 2," we thoroughly communicated our intentions behind the songs and respected each other's vision to find common ground. Our vision was much more aligned sonically, creating "Growing Pains 2". We also trusted each other's expertise in our individual assignments more. The visuals for this project feel cinematic, almost like chapters in a film. When you’re writing, are you thinking in images and scenes, or do those visuals come later? When creating a project like "Growing Pains 2", visuals are never the focal point. Even when lots of visuals are anticipated, creating a project with this level of intimacy, it's best to let the songs be as genuine as possible and let the visuals be formulated around the music. “Growing Pains is the soundtrack to the struggle we don’t post.” What’s one struggle you’ve chosen not to share publicly until now, and how does it live inside this album? I've never publicly spoken about my experiences being incarcerated and how that period fueled the creation of this album. While I was in litigation, I was unable to post content, which ultimately hindered my career. I summed up those experiences and emotions during that period into this album.

Tennyson King has never been afraid to blur lines between genres, between worlds, between who he was told to be and who he’s becoming. His latest single, “ Most of My Days ,” is more than just folk with a twist. It’s a reckoning. A confession. A quiet roar from an artist finding his voice in a world that too often asks us to stay silent. The track opens with delicate Chinese strings woven through acoustic guitar, setting the tone for what feels like both a homecoming and a confrontation. It’s beautiful, haunting, and intentional. You can feel King peeling back the layers of identity, expectation, and fear, one chord at a time. His voice carries the weight of that journey: calm, aching, but grounded in truth. “Most of My Days” was born from watching the world burn, environmental collapse, social injustice, and the disconnection that comes with it all. Instead of turning away, King faced it head-on, channeling that heaviness into something human. The result is a song that doesn’t preach but pierces. It’s about the moments when speaking up feels impossible, yet staying silent feels worse. King doesn’t just acknowledge his heritage here; he embodies it. The Zhongruan strings don’t feel like a gimmick or a nod; they feel like blood memory. Each note pulses with reclamation, blending seamlessly with modern folk production that could sit comfortably next to Bon Iver or Ben Howard on a playlist. The production is stripped yet cinematic. The guitars hum like open space, the percussion breathes rather than pounds, and the ambient textures leave room for emotion to linger. You can tell this isn’t just music to Tennyson King, it’s medicine. “Most of My Days” feels like what happens when an artist stops performing and starts revealing. It’s vulnerable, rooted, and quietly rebellious, a reminder that sometimes, the softest voices carry the loudest truths. What inspired you to combine traditional Chinese instruments with Western folk elements on this track? This fusion has been something I’ve been dreaming of for a while now. I’ve been on a journey to reconnect with my Chinese heritage over the past years, and getting in touch with traditional Chinese music has been such a meaningful way for me to connect. I started learning a traditional instrument called the Zhongruan, which is a four-string lute-type instrument, about four years ago. Learning to play traditional music and writing folk songs with this instrument led to so many beautiful songs and ideas. I connected with more traditional Chinese musicians in Canada and Asia, performing and writing with them, which really inspired me to record with them. “Most of My Days” deals with speaking up about global injustices. Was there a specific moment that pushed you to write it? The genocide happening in Gaza and against the Palestinian people was a global injustice that sparked the urge for me to write this song. I was feeling powerless and felt like I couldn’t speak up. Reflecting on this feeling, it made me realize that oftentimes in my life, I give in to living in fear. Like the fear of feeling afraid to speak my truths when I was growing up, especially about my culture and who I was. How has reconnecting with your Chinese heritage shaped your new music? The reconnection with my heritage is one of the main reasons I’ve been writing with traditional Chinese instruments. It’s sparked new writing inspirations both sonically and lyrically. It’s allowed me to be proud of who I am and my heritage, and my new music is my way of sharing my culture with everyone. It’s been truly freeing creatively and healing for my own personal growth as a human to be able to express my cultural connection through music. The song has such a haunting, meditative quality. What was your creative process in capturing that energy? I brought this song to my producer, Dan Hosh, and we knew lyrically it had a positive message, but it talks about being in dark places. We wanted to represent that musically with dark tones yet have a lifting, calming quality about it as well. The arrangements of the Dizi (Chinese flute) and the Erhu (Chinese violin) really set the tone of that haunting sound throughout the verses. Long drawn notes with some dissonance. Then, in the chorus, the Guzheng (zither instrument) adds a beautiful, uplifting vibe of strings to the song. I think, naturally, traditional Chinese instruments can have quite a meditative quality to them, which is why they work so well with this song. What message do you hope listeners take away from “Most of My Days” and your upcoming album? I hope that people feel inspired to be confident in who they are and be unafraid to speak their truths without fear of judgment. I want people to embrace their cultures and heritage and be able to share that proudly with others. I also hope that listeners enjoy the culture that I am sharing, and it piques their interest in them to learn more about Chinese music and culture.

NYC’s own Lorena Mercedes  is back, and she’s not playing nice. Her new single “ Pieces ” is pure heat, a Pop-R&B confession that flips heartbreak into desire and pain into power. It’s that late-night, lights-down-low kind of track that makes you remember what self-worth feels like. Recorded at the iconic Quad Studios (yeah, that Quad, Mariah, Cardi, the greats), “Pieces” is Lorena’s statement piece, bold, confident, and dripping in feminine energy. Produced by Alex Houton, the track pulls from her Hip-Hop and R&B roots but glows with modern Pop polish. From the jump, it’s smooth, sultry, and self-assured, like the soundtrack to your best revenge era. What started as a heartbreak ballad evolved into something far more dangerous. “There’s raw emotion, love, lust, desire… paired with a melody that makes you want to pounce on the dance floor, or on a lover,” Lorena laughs. But “Pieces” isn’t just sex appeal; it’s about taking back your power, demanding more, and refusing to settle for crumbs. “We don’t want scraps, we want it all,” she declares, and you can feel that energy in every note. Vocally, Mercedes glides between smooth vulnerability and sharp confidence, flexing precision and control learned under vocal coach Max Lawrence (yep, son of Don Lawrence, who trained Whitney and Gaga). But make no mistake, Lorena’s not imitating anyone. Her tone is all her own: fearless, fluid, and full of intent. After pulling inspo straight from the 2025 MTV VMAs, seeing her idols rehearse up close, Lorena hit the studio hungry. “Pieces” is the result: a sonic glow-up for anyone rediscovering their power, pleasure, and self-respect. Her message? Simple. “Go for what you want. Don’t accept anything less. Feel sexy. Feel seen. Feel heard. Life’s too short to wait.” “Pieces” began as a heartbreak ballad but evolved into a sensual anthem. What shifted in your creative process to make that transformation?    As a singer-songwriter, you naturally start to write about your real-life experiences. I was dating this guy I was really into & there was always this sense of me never being fully let in. I started to write as if I were talking to him, begging and pleading, expressing my craving for more love and attention. I've had a disastrous love life, so writing heartbreak ballads comes easy to me. On this journey of growth & self-love, I started to view myself differently. I'm powerful, intelligent, sexy, and fun! I know what I want & what I have to offer. I'm no longer begging, I am claiming!  The seductive, sensual vibe with scatto strings is purposeful. It's meant to make you feel ready to pounce on whatever it is you desire. You recorded at the legendary Quad Studios. How did being in that space influence your energy and performance? In all honesty, I was so nervous! I hadn't recorded in a professional studio in years, and it definitely affected my confidence. But once I got there and saw the walls covered with plaques from some amazing artists, I felt "this could be me." "The only one in charge of my success and happiness is me. The only person feeling these nerves is me." I definitely still feel this track could have been even more powerful with some added vocals, but hey, as an artist, you always look back and see things you could've done differently. The only thing to do is accept, give yourself your credit & be even better next time. How has working with vocal coach Max Lawrence changed your sound or confidence as an artist?                                            Life-changing. Absolutely blessed to have found him. I've had numerous vocal coaches & though they have taught me the basics, Max really dives into the talent as an individual. I've always felt I had this fire in my belly and never knew how to access it. He explains technique in a way that's tailored to the specific artist. He pulled all these buttery tones & belts I've been trying to access for years. It honestly made me wanna re-record every song I've ever released! Breathing has always been an issue for me as a wordy songwriter, which added to my fear of the stage. All gone. After just a few months of one-on-one sessions with him, I'm practicing some covers of songs my little 5-year-old self dreamed of singing, and doing it effortlessly. You’ve been open about facing self-doubt and rebuilding your career. What moment made you realize you were ready to come back stronger?  The ache in my heart that never left. It's true what they say, you really love something when it's all you think about. I look back at when I was making music and realized I haven't really ever been as happy as I was all those years ago. I take the subway to and from work with headphones in and just daydream of me being on stage. Ever since I started putting myself out there again, these wonderful things have been happening. The wonderful people I keep meeting, helping, and pushing me along the way. The final straw was definitely watching the artists at the VMAs behind the scenes. Everything that goes into it, the energy, I want it all. Most artists start just like me. It's not just about talent but persistence and allowing yourself to fail. No one knows what you're capable of until you SHOW them. You tell fans to “feel sexy, feel seen, feel heard.” What does that mantra mean to you personally?                                           Being a "heartbreak" artist was a real-life phase of life I went through. Not just romantically, but with my passion. I was living with a broken heart & it really made me feel worthless. I was sick of living in that state, and something had to change. I'm the type of person to uplift those around me with inspirational talks & I wasn't even taking my own advice. I know we can all relate to those creepy little, insecure whispers. Insecurities are normal, but internal. Just like you made them for yourself, you can take them away just as fast. You're not alone. Everything you want is already out there waiting for you. Go for it. "Feel sexy, feel seen, feel heard." Eight billion people in the world, and you were born unique for a reason.

Chicago’s own Kidd Conez is back with a track that blends the sensual and the supernatural, a song that proves once again why he’s becoming one of the most magnetic voices in modern Pop, R&B, and Hip-Hop. His new single, Freak For Love , produced by Emeri Devante and J. Bristol and released through Ahdasee Records, is not just a song but an immersive journey into desire, intimacy, and self-expression. From the opening notes, Freak For Love refuses to stay in one lane. The beat pulses with Hip-Hop swagger, the melodies soar with Pop accessibility, and the vocal delivery dives deep into R&B smoothness. Layered guitars by Jesse Szabo bring a sultry texture, while the sleek mix from Luke Chapters and pristine mastering by Dave Huffman (of the legendary Chris Athens Mastering House) elevate the track to undeniable polish. It’s music that feels both deeply personal and universally resonant, a testament to Conez’s ability to bridge genres while keeping the energy authentic. “ Freak For Love is a journey of sensual and cosmic proportions,” Conez explains. “It’s about transcending the art of courting and exploring the realms of sexual provocativeness.” That cosmic vibe is no accident; the single feels designed to transport listeners somewhere beyond the ordinary, a reminder that intimacy can be both physical and otherworldly. Kidd Conez is more than just an artist; he’s a cultural force. With roots in Chicago and a reputation as a cannabis culture figure, Conez has carved a lane where lifestyle and artistry collide. He’s performed alongside legends like Afro Man, Lil Baby, LaRussel, and Tech N9ne, and has built collaborations with leading lifestyle brands including RAW Rolling Papers and Leaf Magazine. That synergy between music and culture has helped him become a fixture at major festivals and a trusted voice in communities where authenticity and good energy reign supreme. The rollout of Freak For Love even stretched beyond music, with a limited-run “Freak For Love” seltzer collaboration with Mindscape Fermentations, which promptly sold out. The success of the launch reflects the multifaceted way Conez connects with his audience: not just through sound, but through experiences, storytelling, and lifestyle branding. For Conez, this release isn’t just about showing off his genre-bending chops — it’s an invitation. “I hope people take away the courage to find their own ‘Freak For Love,’ whatever or wherever that means to them,” he says. It’s a message that resonates beyond the studio, aligning with his larger philosophy of living unapologetically, seeking connection, and embracing freedom. With Freak For Love , Kidd Conez delivers more than a single. He’s building a world where music, lifestyle, and love intertwine, and he’s inviting everyone to step inside.

When you think of tattoo artistry in the Pacific Northwest, you probably imagine rain-drenched city streets, cozy studios, and a crowd of creatives chasing inspiration through the fog. But among Seattle’s growing scene of high-caliber tattooers, one name has started to dominate the conversation: Owen Paulls . Originally from the South Coast of England, Paulls has quietly and now not so quietly become one of the most sought-after realism artists in the United States. His signature black and grey work feels almost alive, blending the technical precision of European fine art with a distinctly modern, cinematic edge. It’s the kind of tattooing that makes you double-take, not because it’s flashy, but because it feels real. After over a decade in the craft, Paulls’ momentum is undeniable. His waitlist stretches for months, his DMs are flooded with international clients willing to fly out for a session, and his name has become synonymous with clean, emotion-driven realism. What separates him from most, though, is the influence of classical European painting. His shading and blending techniques echo Renaissance sensibilities, chiaroscuro, texture, and light, but reimagined through the lens of 21st-century skin. “Tattooing is storytelling through texture,” Paulls says. “It’s the one art form where realism literally becomes part of someone’s body, their identity.” Before tattooing full-time, Paulls lived another kind of creative life. For nearly 19 years, he was a professional musician, touring across Europe and North America and performing for massive crowds, including four summers on the Vans Warped Tour. The discipline, travel, and performance instincts from that chapter all bleed into his tattoo work now, an artist’s obsession with craft paired with a musician’s hunger to connect. Paulls has taken his art worldwide, tattooing across Italy, Canada, and the U.S., and winning awards at elite conventions like the Evergreen Invitational and the Winnipeg Tattoo Convention, where he snagged Best of Day two years in a row. His artistry has been spotlighted by tattoo brands like Empire Inks, FYT Cartridges, and Ghostline App, as well as media like Inked Magazine and Global Tattoo Mag. When he isn’t booked solid in his Bellevue studio, you’ll find him traveling for guest spots, conventions, and seminars where he breaks down the science of black and grey tattooing for other artists. Outside the tattoo chair, he continues to paint oil portraits inspired by the same European masters who shaped his visual language, bridging centuries of artistry with one steady hand. As 2025 approaches, Paulls is setting his sights even higher, expanding his reach across North America and beyond. For him, tattooing isn’t just a job; it’s a lifelong evolution. “I’m always chasing realism,” he says, “but it’s not just about what’s real on skin. It’s about what feels real to the person wearing it.”

After a year of introspection, Max Edwards has reemerged with “ Don’t Walk Away ,” and it was worth the wait. The Whistler-born singer, songwriter, and producer steps back into the spotlight with a sound that feels cleaner, brighter, and more self-assured than ever. It’s not just a comeback; it’s a creative reset that shows exactly what happens when an artist stops chasing trends and starts trusting their instincts. From the first few seconds, “Don’t Walk Away” hits like a sunrise through fog. The production feels crisp and spacious, wrapping around Max’s emotive vocals with synth lines that shimmer like fresh snow on a mountain peak, a fitting nod to his Whistler roots. His voice carries that perfect blend of vulnerability and resolve, like he’s singing to someone on the edge of leaving but also to the version of himself that almost gave up. The track’s groove sits somewhere between indie pop and alt-electronic, evoking artists like Troye Sivan, Dayglow, or early Lauv, but with a distinctly West Coast ease. The lyrics don’t overcomplicate things; instead, they tap into that universal moment of wanting someone to stay, even when the world feels like it’s spinning too fast. You can hear the year of creative experimentation in every layer. There’s confidence in the way Max plays with tempo, letting silence hang just long enough to make you lean in. The chorus bursts with energy but never loses its intimacy. It’s modern, emotional, and catchy in a way that lingers long after the song fades. It’s the kind of track you put on repeat without realizing it’s become your weekend soundtrack. “Don’t Walk Away” also signals the start of a new era for Max Edwards, with more music on the way this fall. His upcoming EP promises to push this sound even further, adventurous and playful, while staying grounded in raw emotion. If this single is any indication, Max isn’t just back; he’s better. “Don’t Walk Away” feels like the moment an artist stops searching for approval and starts owning their sound. For listeners craving something honest yet euphoric, this is it.