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The music industry is one that is ever-evolving and constantly producing new sounds and styles. It is always refreshing to see two  industry legends like Big Gipp of Goodie Mob and James Artissen come together to create a masterpiece such as their debut EP  'Gipp N Worthy.' With this EP, the duo has managed to capture the essence of love, relationships, and life in a way that is both  relatable and captivating.  One of the standout elements of 'Gipp N Worthy' is the balance between soulful vocals and classic hip-hop beats. The EP manages  to seamlessly blend the two genres to create a unique and refreshing sound. This is most evident in the EP's lead single, "TOTW."  The song is a perfect representation of the EP as a whole and showcases the duo's ability to create music that is both timeless and  modern.  In "TOTW," the listener is taken on a journey through a love relationship that is both passionate and turbulent. The first verse details  the highs and lows of the relationship, with Gipp describing the intense emotions that come with being in love. The second verse  takes a metaphoric turn as he compares his relationship with music to that of a romantic partnership. This clever use of metaphor is  one of the many reasons why "Gipp N Worthy" stands out from other contemporary releases.  As we enter “TOTW” we are greeted with an otherworldly synth pad that makes you feel like you’ve just entered a spaceship on its  way to another galaxy. Like a true future classic, the beat of "TOTW" is a seamless blend of hip-hop and R&B elements, with a  smooth, laid-back vibe that complements the song's emotional lyrics about life, perspectives, and journeys of the heart and soul.  The instrumentation features an endlessly deep bass which is boldly layered over with crisp organic drums that somehow remind  you of a warm summer rain providing a strong foundation for the sailing vocals of James Artissen.   Big Gipp's verses are characterized by his smooth flow and confident delivery, with clever wordplay and vivid imagery that paint a  clear picture of the intense emotions involved in a romantic relationship. For example, lines like “everything and everybody out here  trying me/changed my numbers, blocked the gram, ain’t no finding me” really give you a true sense of self and what it takes to  acquire that peace of mind we all seek. The resonating bass line provides a smooth, groovy foundation that perfectly complements  the song's soulful vocals.  Without a doubt 'Gipp N Worthy' showcases that true talent and raw creativity will never come second to the over-saturation of  blandness that usually comes with most modern songs, the two industry legends demonstrate that easily. The EP's ability to blend  soulful vocals and classic hip-hop elements is a testament to the duo's versatility and innovation. With its relatable lyrics and unique  sound, 'Gipp N Worthy' is sure to become a classic in the music industry and a favorite among fans for years to come.  Get wise to "TOTW" right now, available on all major platforms. Https://album.link/gippnworthy   Welcome to BuzzMusic Big Gipp, and James Artissen. Cheers to another dropping another gem with "TOTW." With such  intricate lyrics that describe a world between two people in the first verse and a relationship with music in the second  verse. How do these two relationships intersect for you personally? And what inspired you to write about them in this  way?  The project is about life, love, and relationships, which can be in the form of different things. With "TOTW," we wanted to approach it  with a different writing style, along with tackling 2 topics at once.   The metaphor of music as a love relationship is a unique and powerful one in "TOTW." How did you come up with this  idea, and what message do you hope listeners take away from it?   It came from my inconsistent and non-consistent relationships. Some of them made me feel like I was on top of the world, so I  wanted to revisit that vibe in song format. The song is meant to not only make you feel good but put your own thoughts about your  situation in perspective.  The 'Gipp N Worthy' EP blends elements of classic hip hop and R&B with more contemporary sounds. How do you balance  honoring the traditions of these genres while also pushing the boundaries and evolving creatively?  I'm a creative so I'm never one to put myself in a box. With this project, I wanted to go back to a 90's vibe but with my own twist that  Gipp would complement. I think we accomplished that well. Also, the style of music, I listen to in my off time gives me the inspiration  to continue to create more and more.   The 'Gipp N Worthy' EP is a collaborative project between two seasoned music industry professionals. How did your past  experiences and collaborations influence the creative direction of this project, and what did you learn from each other in  the process?  It influenced it alot because each project was a growing phase to become better and better. I think this project shows where I'm at  as an artist and the things I've had to go through to get to this point.   The 'Gipp N Worthy' EP has received critical acclaim since its release, debuting at #9 on the R&B/Soul iTunes chart, with  such promise, does this mean we can expect more collabs together again in the future? and if so, what can fans expect  from your next project?  Yes! It has been amazing to watch so far. Yes, you will continue to get more music, more collaborations, and maybe even a 2nd EP!  https://www.instagram.com/jamesartissen/   Https://www.instagram.com/gippgoodie

We’re especially excited to be featuring James Artissen and his music on BuzzMusic. His sound is  authentic and crafted in a meticulous way. As listeners, we can easily hear the elements of genuine craft.  James Artissen has a new approach to the contemporary R&B music scene, which is one of the most  alluring aspects of his music, and overall sounding. As a producer, James has a long list of working with  artists such as Whitney Houston, Justin Bieber, Future, T-Pain, Jaden Smith, and 6lack. James  transcends the listener's experience in his latest album "Blu Leisure" with finely tuned synths and  assonance--one of our personal favorites off of the album: "How Many Times".  "How Many Times" is a contemporary blend of R&B and soul. James accentuates the listener's  atmosphere by adding in a collection of synths that are incredibly cathodic. "How Many Times" flows  naturally, and introduces an entirely new ambiance we haven't been exposed to yet. It's atmospheric and  attuned in a very charming way. You'll grow to love the transitions he maintains, and especially the  programming. The voice of James, blended with featured artist Tony Terry, makes for an ariel sensation.  The two harmonize incredibly well with one another, which elevates our experience as a listener. We can  confidently say that we sense the element of expertise within his overall execution. James Artissen offers  fully embodied, a visionary adventure for his listeners, and we're undoubtedly intrigued to see what's next.  We know that James Artissen is the type of artist to keep growing, ultimately elevating his music at every  step within his career. We're staying tuned for what James Artissen is going to release next, and in the  meantime, "Blu Leisure" will keep our curiosity satisfied. Give a listen to "How Many Times" by James Worthy here. Hey there James! Congratulations on your recent album release of "Blu Leisure"! Did your vision for the sound remain constant all throughout the curative/recording process, or did you find you changed around the perspective? Thanks so much! My whole objective going in to create this project was to make a theme based body of work, but telling stories of experiences & things I've been apart of. The album name represents each song in unique ways. While recording I found myself scratching a lot of ideas to create new ones, which formed what you guys hear today. We felt prominent ties to contemporary R&B within the second track off of "Blu Leisure, "How Many Times". Do you attempt to adhere to a specific genre within your music, or do you find you like to stray and play with multiple soundings? Well, my music is based around R&B, but mixed with elements of other genres within Melody, Arrangements, & Sonics. I always like to experiment but in a way that makes sense to my core audience.  The overall theme of "Blu Leisure" was incredibly polished and sleek. What would you say the  intended theme of the album was, sounding-wise, and message-wise? The meaning behind Blu Leisure was more so expressing Mood, Energy, Style, & Emotions. All in which  each song embodied. I wanted the theme to be dark, but have a Mystic feel to it.  You've gained such a pivotal amount of experience working with some infamous artists! How do  you think this experience shaped the way your current music is written and produced?  It was a blessing to have had the chance to collaborate with those artists featured on the project. If helped  mold my mindset of how to arrange records much better than before.  Thanks, James for coming on BuzzMusic to talk about "Blu Leisure"! Where do you see the future  direction of you and your music from here?  Thank You for having me. I see myself continuing to put out great music to inspire new music lovers. My  next EP entitled "Kaleidoscopes" will be releasing the top of 2020 which I'm very excited about!  https://www.instagram.com/ jamesartissen   Https://www.facebook.com/jamesartissenmusic   Https://www.twitter.com/jamesartissen   Https://www.youtube.com/@JamesArtissen   #BuzzMusic

If you’re wondering what to watch on Netflix in October 2025, this month’s lineup is stacked with new releases, fan-favorite returns, and bold originals. From spine-chilling horror to prestige dramas, animated adaptations, and international thrillers, Netflix is rolling out one of its most eclectic slates yet. Whether you’re in the mood for binge-worthy series, star-studded films, or hidden gems from around the world, these 11 must-watch shows should be on your October streaming calendar. Beetlejuice Beetlejuice Tim Burton’s long-awaited sequel to his cult classic Beetlejuice brings back the twisted humor, bizarre visuals, and gothic camp that made the original an October staple. Michael Keaton returns as the ghost with the most, reminding fans why Burton’s blend of creepy and comedic remains unmatched. The new chapter pushes further into the afterlife’s absurd rules and haunted landscapes, delivering a wild ride that’s just as much about laughs as it is about chills. Whether you’re in it for nostalgia or to see how Burton’s freaky vision has evolved, Beetlejuice Beetlejuice is Halloween perfection. E.T. the Extra-Terrestrial Few films capture childhood wonder and the magic of friendship like Steven Spielberg’s E.T. the Extra-Terrestrial . This 1982 classic follows young Elliott, who discovers and befriends a stranded alien hiding in his backyard. With its mix of heartfelt emotion, iconic visuals, and John Williams’ unforgettable score, E.T.  has become a timeless story about love, loss, and the power of connection. Its Halloween scenes, kids in costumes biking through the neighborhood with E.T. in tow, remain some of the most nostalgic moments in cinema, perfectly tying the film to the season. Tarot When a group of friends discovers a cursed tarot deck, their fortunes take a deadly turn as each drawn card seals their fate. Blending supernatural dread with slasher energy, Tarot  is a fast-paced horror ride perfect for Halloween marathons, part Final Destination , part urban legend, and all suspense. Ouija Ouija taps into one of horror’s most enduring fears: messing with forces you don’t understand. In the 2014 original, a group of friends tries using an Ouija board to contact the dead, and ends up unleashing something far more sinister than closure. The movie leans on atmosphere, creeping dread, and jump scares rather than pure gore. The Texas Chainsaw Massacre Few horror films have carved their way into Halloween history like The Texas Chainsaw Massacre. Tobe Hooper’s 1974 classic set the blueprint for the slasher genre, raw, relentless, and terrifyingly grounded. The story follows a group of friends who stumble into the home of Leatherface, a chainsaw-wielding killer whose brutality is matched only by his grotesque family. What makes the film unforgettable isn’t just the gore (which, surprisingly, is minimal compared to modern slashers) but the atmosphere, the sweaty Texas heat, the claustrophobic camera work, and the sense that danger lurks in every corner. Monster: The Ed Gein Story Ryan Murphy and Ian Brennan’s anthology series returns in chilling form. This season dives into the life of Ed Gein, the real-life criminal whose dark obsessions inspired fictional icons like Norman Bates, Leatherface, and Buffalo Bill. Charlie Hunnam takes on the titular role, backed by a starry cast including Laurie Metcalf. Expect a slow burn of psychological horror, investigating how trauma, family, and isolation combine to create a monster, and asking whether society is complicit in building him. It’s not just a horror show ; it’s an origin story of fear. Hubie Halloween For viewers who prefer their spooky season lighthearted, Adam Sandler’s Hubie Halloween is a go-to comfort watch. Set in Salem, the movie follows Hubie, a quirky misfit who takes it upon himself to keep Halloween safe. Between eccentric townsfolk, bizarre hijinks, and a dash of mystery, it’s more silly than scary, but that’s the point. It’s a movie that celebrates Halloween as community chaos, filled with goofy costumes, slapstick comedy, and festive energy. Sometimes, October calls for something playful, and Hubie Halloween delivers exactly that. Mr. Harrigan’s Phone Adapted from a Stephen King novella, Mr. Harrigan’s Phone is less jump scares and more slow-burning dread. It tells the story of a young boy who befriends an older, reclusive billionaire. After the man’s death, the boy discovers that texting Mr. Harrigan’s old cell phone still gets a response, but from beyond the grave. The film leans into unease, grief, and the creeping terror of unanswered questions, making it a perfect pick for fans of psychological horror. It’s haunting in the quieter moments, the kind of film that lingers in your mind long after the credits roll. Apostle For fans of darker, more atmospheric horror, Apostle  is a must-watch. Set in 1905, the film follows a man traveling to a remote island to rescue his sister from a sinister religious cult. What begins as a slow-burning mystery unfolds into brutal violence, supernatural terror, and themes of faith, control, and corruption. Dan Stevens leads with a gripping performance, while director Gareth Evans (best known for The Raid ) brings his signature intensity to the screen. The result is a chilling, relentless descent into madness, not for the faint of heart, but unforgettable for those who dare. Splinter Cell: Deathwatch Coming fast into Netflix’s animated slate, Splinter Cell: Deathwatch  adapts the shadowy, high-stakes espionage of the Tom Clancy franchise into a mature anime series. With Derek Kolstad (John Wick) writing and Liev Schreiber voicing Sam Fisher, the series promises slick stealth action and political intrigue. This isn’t dumbed-down video game fan service. Expect deep moral dilemmas, covert ops gone wrong, and the question: at what cost do you preserve security? It’s ideal for spy-thriller heads who want something lightweight in format but heavy in ideas. The Resurrected A Taiwanese revenge thriller with supernatural overtones: The Resurrected  centers on two grieving mothers who resurrect a scam ringleader to find out what really happened to their daughters. The plot weaves crime, grief, and eerie tension across Taiwan’s streets and back alleys. Premiered at the Busan International Film Festival before hitting Netflix. It promises grit and emotional stakes, not horror for scares’ sake, but horror as emotional weight. Think Prisoners  meets Dark , using the uncanny to explore trauma. Black Doves Starring Keira Knightley, ' Black Doves ' is a thrilling series that delves into espionage and intrigue. The show has been acclaimed for its compelling narrative and stellar performances, making it a standout addition to Netflix's lineup.  The Night Agent This political thriller follows a low-level FBI agent who becomes embroiled in a vast conspiracy involving a Russian mole at the highest levels of the U.S. government. The series offers intense action and intricate plotting that keeps viewers on the edge of their seats.  Vampires vs. the Bronx If you like your Halloween movies with equal parts scares and laughs, Vampires vs. the Bronx  is a hidden gem on Netflix. The film follows three kids who discover that their neighborhood isn’t just under threat from gentrification, it’s literally being taken over by bloodsucking vampires. What starts as a goofy premise quickly becomes a clever mix of horror, comedy, and cultural commentary, channeling the energy of classics like The Lost Boys  while giving it a fresh, modern edge. With quick-witted dialogue, fun action sequences, and a strong dose of heart, it’s a reminder that sometimes the scariest monsters are the ones trying to take your home. What’s a Netflix binge without the perfect snack? If you’re looking for something sweet, spicy, and completely addictive, this 5-minute Halloween snack mix is the ultimate treat to keep you company through every plot twist, unexpected cliffhanger, and heart-racing moment. Halloween snack mixes can have anything you like in them. Our Reese’s Snack Mix is a great option if you’re not into candy corn, but the kids really go crazy for this one. Candy Corn Halloween Shaped Pretzels Salted Peanuts Halloween M&Ms Candy Pumpkins This snack has the perfect balance of sweet, salty, and spicy, just enough heat to keep things exciting while you’re glued to the screen. Pair it with your favorite drink, get cozy, and enjoy your Netflix binge in style. Why Halloween Traditions (and Movies) Keep the Spirit Alive Halloween has always been more than costumes and candy; it’s about ritual, storytelling, and shared experiences that connect generations. Movies have become one of the most powerful traditions of the season, offering a way to relive childhood nostalgia, discover new scares, and bring people together for a night of thrills. Whether it’s a gory slasher, a family-friendly supernatural comedy, or a cult classic you’ve seen a hundred times, Halloween films act like a soundtrack for October. They set the mood, amplify the atmosphere, and remind us why we love leaning into fear in the first place. Watching these movies year after year isn’t just entertainment; it’s part of how we celebrate the season and keep its spirit alive.

London-based Lebanese artist Vincent J is redefining what fusion-pop can sound like. With roots spanning three languages and a four-octave vocal range that moves like a living instrument, Vincent weaves together a soundscape that is both cinematic and intimate. His latest release, “ Silver Night ,” proves why he’s one of the most exciting rising voices in the Arab Diaspora scene. A trilingual single performed in English, Arabic, and French, “Silver Night” is a lush fusion of modern pop, Middle Eastern instrumentation, and Vincent’s own ethereal artistry. The track is a metaphor for finding light in darkness, an invitation to reimagine the night not as something dangerous, but as a space of beauty, joy, and resilience. From the cinematic drama of its opening verses to the dreamlike bridge, “Silver Night” crescendos into a celebratory chorus sung by a chorus of around 30 of Vincent’s friends and family. It feels less like a single and more like an anthem for unity. “ I hope people take away that the night does not always have to be associated with negative and dangerous things, but also beauty, magic, love, and goodness ,” Vincent shares. “ To me personally, it’s also something I’m learning because I see myself as more of a golden day inspired by the silver night and learning its dance. ” Already making waves, “Silver Night” has landed on the Official Lebanese Top 20 charts, a major milestone for an independent artist building from London. It’s also a stepping stone toward a bigger world Vincent is creating, what he calls ‘Vtopia,’ a utopia crafted through music, language, and connection. Fans can expect another single with a music video soon, as well as Vincent’s highly anticipated headline show in London on October 10th. Looking ahead to 2026, Vincent is preparing a full EP release that will expand even further into his cinematic, surreal, multilingual universe. “Silver Night” is more than a song; it’s a shared journey. And for Vincent J, that journey is just getting started. \ “Silver Night” blends English, Arabic, and French. Why was it important for you to bring all three languages into this track, and how does that reflect who you are as an artist? I left my home, Lebanon, convinced I would only ever write and sing in English… especially as I was moving  to London. However, my perspective shifted completely once I settled down in London and started realizing that there’s so much beauty in my roots and my culture. So, to be as authentic as possible, I now write most of my music trilingually or bilingually to showcase the languages Lebanese people like myself constantly mix in one sentence, even. As an artist, I wanna portray who I truly am, but also where I come from. So, I want to use my fluency in the 3 languages as a way to represent and celebrate what makes me me.  The chorus features 30 of your friends and family. What was that recording process like, and what did bringing your community into the song mean to you? The recording process was actually so cool because I recorded some people in the studio with me. Others have my bedroom equipment. Others recorded using their own devices from different countries. Literally had a friend record from the Netherlands, another from Paris, another from Dubai, another from Canada… so it’s just so cool that these special people in my life (many of whom are Lebanese) recorded from all over the world and became part of Silver Night. The song to me is about joining each other in a dance, so having all these lovely people join me on the track is a meaningful vocal manifestation of that dance. You’ve said this song challenges the idea of night being dark or dangerous. How has your own perspective on the night changed, and what do you hope listeners take away? I used to view the night as dangerous, evil, and negative. The night screams ‘darkness, secrets, drugs, demons, fear…’. And I see myself as a Golden Day: positive, bright, optimistic, healthy, kind… But I wrote Silver Night as a way to remind myself that even though I’m not much of a ‘night’ kinda guy, there’s so much to admire about the night. Silver Night is magic, wonder, dreams,  dancing, singing, laughing… It’s all these beautiful positive things we can find in the night, too. I hope my listeners see that too and feel welcome to enjoy the night (not just the day) and revel in its beauty in a healthy and dazzling way.  As part of the rising Arab Diaspora Artists in the UK, how does your Lebanese heritage shape your sound and storytelling? It’s very important to me to find a balance between expressing myself as authentically as possible, while also representing where I come from. I’m finding that this balance lies in being vocal about what I admire and appreciate about my culture, while criticizing what needs to change, just like every other culture in the world. We could all use a little more growth. So, I guess what I’m saying is my Lebanese heritage is in every lyric I write, every instrument, every melody I create,  and every vocal inflection I sing…not necessarily traditionally, but in a way that tells my story and my experiences. It’s an honour to bring such sounds to Western audiences and diaspora audiences who are getting introduced to it or are falling in love with it more and more. After all, Lebanon is such a diverse mix of Western and Middle Eastern values and lifestyles… so it’s an honour to show this mix to those who do not know my Lebanon. With a headline London show in October and your upcoming EP ‘Vtopia,’ what can fans expect from this next chapter of your music? My show in October is going to be on my birthday! Which will also be the release day of my next single, VV (a sequel to a previous single of mine: PMAT). I will also be premiering its music video at the show. I’m also working on the creation of an EP I hope to release in 2026. I can’t reveal the name of the EP yet, but the goal is to describe the world I’m creating, Vtopia, through every song. I want to invite my audience to join this Vtopia of beauty, kindness, luxury, magic, and all things good. In short, my fans can expect great music, great visuals, and even greater live performances where we can connect with one another. And some more magic.

Synth-pop giants The Midnight are back, and this time they’re bringing powerhouse songwriter and pop star Bonnie McKee into their cinematic universe. Their new single “ Runaways ”  arrives ahead of the duo’s forthcoming 17-track album Syndicate ,  and it’s nothing short of widescreen magic. Where their recent single “ Summer’s Ending Soon”  leaned bittersweet and nostalgic, “Runaways”  bursts open with pure possibility. Luminous synths, pulsing drums, and soaring vocals collide to create a late-night anthem built for city lights and restless souls. McKee’s unmistakable presence lifts the hook to stratospheric levels, while Tyler Lyle’s lyricism and Tim McEwan’s lush production anchor the track in The Midnight’s signature world. With  Syndicate,  The Midnight is leaning into its most ambitious work yet. Paranoia and hope intertwine through bold textures, unexpected collaborations, and a maximalist sound that cements their place as leaders of the modern synthwave movement. “Runaways”  is more than a single; it’s a portal into a record that dares to soundtrack turbulent times with beauty, urgency, and connection. “Runaways” with Bonnie McKee feels like a rush of pure neon energy. What drew you to collaborate with her, and how did her presence shape the final version of the song? I was signed to the same publishing company as Bonnie back in the early 2010s, and we shared a studio. At the time, there was no bigger pop writer in LA. She’s always someone I was intrigued to write with, and when the cowrite happened, I was reminded what an absolutely surgical songwriter she is. And what a voice.  This release has been described as your “making peace with the apocalypse” record. What does that theme mean to each of you personally, and how does it filter through the lyrics and production? My wife was diagnosed with blood cancer at the end of 2022, and because Heroes had just been released, I was able to stay home with her and not have to be on a deadline with music. Once her treatment was over and everything was ok, I started writing more. The corollary to the idea of “Making peace with the apocalypse” is understanding that there are 8 billion apocalypses - everyone dies. Everyone leaves the story, and they have to make their peace with it- ideally while it’s happening and not at the end. The world is always ending and beginning again. Going through the journey with my partner was a reminder to make sure that the passing moments are what I want them to be, and not what I feel like they “should” be.  You’ve been called leaders of the modern synthwave movement. How do you continue to evolve your sound while staying true to the DNA that first defined The Midnight? Our lens is nostalgia. It’s as broadly defined as the sounds of the decades we grew up with, or with bits of memories or ephemera. Synthwave is sometimes the right vehicle for nostalgia, and that’s where we’ve grown from, but our journey always begins at the end and ends at the beginning. There is so much ground to cover. We’re just at the start.  Songs like “Runaways” and “Summer’s Ending Soon” live at very different emotional poles. How intentional is that push and pull between nostalgia and possibility across the album? Our Kids’ Trilogy of albums was meant to break the story out of a single narrator’s hero's journey. Identity is a lens, but it’s not a fixed lens. So these are the experiences of all sorts of different kinds of people- from those failing heroes cursed by the twisted architects of the simulation, to the teens trying to get off on some friction, or lovers dreaming of the west coast, or robots trying to uncross their third eye to the artist who has compromised their vision for the sake of a normal life. These are all stories of those standing on the edge and having to make a decision. The myth is consistent, and the characters are different. If forever never comes, are we infinite enough, right here, right now, in this moment?  If not, then we face a choice. Life must be understood backwards (nostaliga), but it must be lived forwards (possibility). Those are the twin poles that hold the string. The string is the tightrope, and the string is what makes the music. That tension feels consistent across the record. After touring globally and marking ten years since Days of Thunder, how does Syndicate represent where The Midnight stand today, not just as a band, but as storytellers navigating uncertain times? I think we’re a little more weathered, a little wiser. Now it’s love songs for the end of the world. As far as navigating uncertain times, the fundamentals still apply: We’re all still the crusaders with the grail to find, and we’ve still got no sword, and there’s still not much time. The rest of the story is up to us to finish on our own path. Either we find the courage to act, deep underneath our fears and doubts, or we don’t. That’s the entire game. It’s never changed. There have always been two guardians at the temple- one is craving, and the other is the fear of death.  If anything, we can be grateful that uncertain times strip bare the many illusions and artifices that distract us and reveal the stakes for what they actually are.

Toronto’s rising Pop/R&B force Vicki Rai  just lit a match with her latest single “ Dumb Desire ,” and it burns in all the right ways. This isn’t just another pop cut; it’s a confessional anthem about the kind of temptation you know better than to chase, but can’t resist anyway. From the first beat, the track pulses with sleek, late-night energy, but it’s Rai’s vocals that leave the deepest mark. Smooth yet urgent, her delivery captures the tension of wanting something reckless and dangerous, even when logic says walk away. The lyrics don’t preach, and they don’t sugarcoat; they live in that messy, magnetic middle ground where passion wins every time. Blending glossy pop, dance-floor shimmer, and R&B sensuality, “Dumb Desire” thrives on contradiction. The production is polished and irresistible, but the story underneath is raw, chaotic, and painfully human. It’s the kind of song that hits as hard on a dimly lit dance floor as it does blasting through your headphones on a solo drive at 2 a.m. What sets Rai apart is her ability to make obsession sound beautiful. Inspired by fleeting romance, youthful chaos, and the thrill of giving in, she turns heartbreak into something addictive, a groove you can’t shake, even when you know it’ll sting later. With “Dumb Desire,” Vicki Rai cements herself as one of Toronto’s most magnetic emerging voices. Bold, vulnerable, and dangerously danceable, this is proof that pop can still be deeply personal and still set the room on fire. “Dumb Desire” captures the push and pull of temptation. What personal experiences inspired this track? A lot of it comes from those moments where I knew something wasn't good for me but ignored it.  It’s the kind of desire that makes no sense but is impossible to resist.   How do you balance emotional vulnerability with making music people can dance to? For me, music is about contrast. I can be pouring my heart into the lyrics, but still give people a beat that makes them move. It’s like saying, “yeah, this hurts, but we’re gonna dance through it.” That balance is where my sound lives. Toronto has a thriving music scene. How has the city shaped your sound and artistry? Toronto is such a melting pot of sounds and cultures. Growing up around that energy taught me to blend genres naturally — pop, R&B, dance — it all lives here. The city gave me the freedom to experiment and stay authentic at the same time. What role do youth and fleeting passion play in your songwriting? They play a huge role. There’s something about being young and caught up in a moment that feels so intense, even if it doesn’t last forever. I try to capture that urgency in my songs — the fire, the mistakes, the lessons — because that’s what makes the story real. If listeners take away one message from “Dumb Desire,” what do you hope it is? That it’s okay to be complicated. We all have those “dumb desires” that don’t make sense, but they teach us about who we are and what we want. The song is about owning those messy feelings instead of running from them.

Swiss psyche-folk collective HAARA  arrives with a debut that refuses to sit still. Their first full-length album, LAMBS  (via Rattler Records ), is less a record and more a living, breathing soundscape, one that blends global traditions, raw rock energy, and psychedelic textures into something as timeless as it is forward-looking. The album takes its name from the title track, “Lambs,”  a song that encapsulates the project’s ethos: wild yet empathetic, rooted in tradition yet hungry for new ground. It’s a meditation on roots, brotherhood, and resilience in the face of change, themes that thread themselves throughout the record. Across eleven tracks, LAMBS  showcases HAARA’s refusal to play by the rules. Expect lush ensembles of guitars, acoustic, classical, and electric, layered into hypnotic textures rather than carved into solos. The rhythm section draws on grooves outside the Western canon, weaving in the grit of rock, the roundness of samba, and the pulse of cumbia. But what truly sets the record apart is its fearless instrumentation: koto, fula, oud, hang, fujara, and even carnyx appear alongside familiar instruments bent into experimental new forms. Vocals inspired by global song traditions float above it all, creating an atmosphere that feels equally intimate and expansive. At its core, LAMBS  is a record about connection, and the ways we lose it. It reflects on human conflict, fragile relationships with nature, and the bonds we form only to see them tested by change. These aren’t abstract meditations; they’re lived-in stories, refracted through sound. The album artwork is as striking as the music it frames. On the front: a lamb fatally caught on a wire fence in its attempt to escape, distorted and obscured like a broken transmission. On the back: the unfiltered photo, revealing both nature’s raw beauty and the tragedy of sacrifice. Shot on a farm in Yverdon-les-Bains, Switzerland, the image doubles as a metaphor for accidental yet transformative acts, the sacrifices made in the pursuit of freedom. At just over forty minutes, LAMBS  is not a strict concept album, but each track feels like a chapter in a loose narrative. It’s a record meant for discovery, with textures that reward careful listening yet remain accessible to newcomers. HAARA themselves recommend playing it at sunset, when light fades and the day turns to introspection. With LAMBS , HAARA plant their flag as one of the most ambitious new voices in global psychedelic folk. It’s a record that challenges, transports, and lingers long after the last note fades.

Atlanta-based trio Hyperspace  has been a staple of the Southeast’s underground rock scene for over a decade, fusing pop-punk energy with unapologetically nerdy references. With their fifth studio album, Distant Signals , the band pushes their sound further than ever before, creating a collection of songs that celebrates fandom while grounding it in raw emotion and alt-rock grit. The record features eleven tracks that are as eclectic as they are cohesive, each reflecting the band’s signature blend of sci-fi, humor, and heartfelt honesty. True to form, Hyperspace leans into their love of geek culture, with nods to space aliens, Star Wars, and even time-traveling robots. Yet beneath the fandom lies something more universal: Distant Signals explores disillusionment, fractured relationships, and the messy side of being human. The opening track, “Let’s Go,” wastes no time setting the tone, a high-energy, adrenaline-fueled anthem built for sweaty venues and singalong crowds. From there, “Hopes & Chains” introduces a more reflective side, tackling the struggle between ambition and self-doubt. “Be the One” leans into vulnerability, pairing soaring hooks with raw emotion, while “Come Away With Me” feels like an escapist dream, a moment of lightness in the chaos. Midway through the album, “I’ll Be Back” delivers tongue-in-cheek fun with a time-travel twist, a perfect example of Hyperspace’s ability to balance humor with tight songwriting. “Those Words” turns the focus inward, exploring the fallout of miscommunication in relationships. “Valentina” brings cinematic storytelling into the mix, while “She Said” taps into classic pop-punk sensibilities with undeniable urgency. Closing out the record, “I Wanna Believe” channels the band’s love of sci-fi directly into sound, echoing themes of wonder and longing. “Rebel Girl” takes a sharp turn into punk defiance, and the final track, “1989,” blends nostalgia with grit, a fitting closer that nods to Hyperspace’s earliest influences while pushing their music into the future. Behind the scenes, the band teamed up with Joey Jones (Royal Thunder, Spines, The Pinx) at Aria Recording Studio to capture their vision. Mixing by SAW (Echo Machine, Carla Easton) adds clarity and dimension, while mastering from Will Borza (Andrew W.K., Tenacious D, Deftones) ties it together with a polished edge that never sacrifices raw energy. With Distant Signals, Hyperspace has crafted their most fully realized work to date, a love letter to the bands and stories that shaped them, but also a deeply personal record that captures where they are now. For longtime fans, the driving riffs and sharp choruses will feel like home. For newcomers, the blend of nerd culture, sincerity, and alt-rock ambition is an irresistible entry point. As Hyperspace gears up for an East Coast tour in early 2026, Distant Signals cements their reputation as a band unafraid to have fun while wearing their hearts on their sleeves. It’s loud, it’s nerdy, and it’s unapologetically Hyperspace. Distant Signals blends nerd culture with raw emotional themes. How do you balance humor and honesty in your songwriting? JASON: The short answer is write about what you know. The pandemic made us all face things we didn't know or were prepared for. There was a lot of downtime during the shutdowns, and that brought out reflections and also inspiration for me. Typically, the music or guitar riff comes first, and then I try to add lyrics afterwards. On this album, a song might be inspired by one lyric or the mood of the music. Kayvan said he wanted to write a song about the Terminator franchise, so I tried to create lyrics that fit that over a song we wrote during the pandemic when we practiced virtually in our separate houses. This idea turned into the song "I'll Be Back." Another example would be when we toured the southeast a year or so ago, in the van, we listened to a lot of podcasts about UFOs and Area 51, so those themes came in handy when we wrote "I Wanna Believe." KAYVAN: I always like to say that the song should "go where it wants to go." What I mean by that is to let ideas come naturally, trust your instincts, and be unafraid to try different things - especially if you hear a certain sound in your head. I love a great riff, so I tend to pick up the guitar or bass and apply whatever idea to the fretboard. Usually, I have an overall theme in mind for a song, but lyrics come a bit later. I guess humor isn't something I really consider too much, although I did think it would be funny for Han Solo to smack-talk Jabba and Boba Fett and sing about loving his rebel girl, Leia. "Rebel Girl" came from that; thankfully, aside from the Han idea, which was scrapped, Jason delivered something better. This record was a true collaboration between all three band members. How did that change the creative process? JASON: In the past, I wrote the majority of the songs and lyrics, but slowly over time, we have transitioned to the other guys contributing ideas. This time around, I was pretty much out of song ideas, so we just started jamming and messing around in between songs at practice. Sometimes we were able to take these ideas and turn them into songs. Kayvan brought a few songs to us as well, like "Valentina" and "Rebel Girl". We all ended up contributing to the songwriting. On the album, Kayvan played guitar on a number of tracks, and even Ryan added guitar to a song. We also all added keyboards and other sounds / percussion throughout the album. RYAN: Once Jason was out of songs, during practice, all three of us either started improvising to see what clicked, or someone would bring a unique, distinctive riff (or in my case, a drum beat) that sparked creativity. At this time, I was listening to  Off With Their Heads, Royal Blood, Phoenix, Sugarcult, Smashing Pumpkins, The Killers, and The Offspring. Where I feel the creative process was truly unique for this album is after the drum tracks were recorded, we'd individually spend time with Joey at his studio to listen to each bandmate's added layer of progress. An indescribable, electric excitement surged through me whenever I headed to his studio. Adding tweaks to some synth tracks, laying backing vocals both low and high, and even contributing a few guitar tracks, it can be best described as a painter starting with a blank canvas, and as the layers are added, it just comes alive, revealing depth and emotion that wasn't there before. KAYVAN: I always have ideas I'm working on and will sometimes share demo recordings. Sometimes things are very close to what was originally shared, but I feel the most interesting and most impactful songs are the ones that came together from each of us contributing. As Jason and Ryan mentioned, improvising would yield results. Jason might play something on guitar, and we'd ask what that was and to repeat it and go from there. Sometimes Ryan will have an interesting beat he's playing around with; for example, songs like "I'll Be Back," "Those Words," and "1989" were built upon those kinds of beats. "Come Away With Me" and "Hopes & Chains" almost didn't happen, but we would collectively refine things until they felt better. We would all make suggestions, regardless of the instrument; for example, I'm not a drummer at all, but I would pound something out to express an idea to Ryan. I think each of us definitely left our imprint on the songs, through our various influences, thoughts, and suggestions. “1989” feels like a nostalgic anthem. What inspired this track specifically? JASON: "1989" started when Ryan entered the practice space one day and said he wanted to have a consistent drum part throughout a song like the Smashing Pumpkins song "1979." He joked that we could call it "1989." The lyrics were inspired by the title of the song and all the events that happened in 1989. The Berlin Wall coming down, Gameboy, Richard Marx "Right Here Waiting", the Batman movie, Nirvana "Bleach", The Cure "Disintegration", The Pixies, Paul's Boutique, etc. This song is definitely something different for us. I actually played keyboards on this song too- which is a first for us. The main theme of the song is about the video game Tetris, but I also mixed in a little summer romance vibe as well. RYAN: Like Jason said, it first started with me wanting something repetitive, catchy, yet simple like Smashing Pumpkins' "1979".  Bizarrely enough, when writing that song, an equal part of the drumming inspiration also came from a Cadillac commercial, with Phoenix's song "1901". KAYVAN: I had an entirely different approach than Jason or Ryan for sure! I was never really that into Smashing Pumpkins, but the song centered on Ryan's beats. The drums especially made it feel really big-sounding and driving; I wanted to maintain that vibe and not clutter the song with a busy bassline. I had been listening to a lot of The Cure and Joy Division; the end result was kind of a pulsing verse bassline a bit like Simon Gallup, while in the chorus I'm hybrid picking and playing higher notes akin to Peter Hook. I kept thinking about all the great, big-sounding songs from the 80s, too, so I suggested it might be fun if we had some synth and to make some of the drums sound like an old Linndrum drum machine or something like Prince's "When Doves Cry." It's definitely a different sound for us, but it came together in a natural way. You worked with Joey Jones, SAW, and Will Borza on the album. How did their contributions shape the final sound? RYAN: Joey really adds unexplainable zen when you record with him. He's also a living, breathing IMDb database for both film and music. It also helps that he's extremely meticulous when it comes to recording drums. SAW infuses a frenetic energy that's literally tangible even through email exchanges. His mixing style perfectly captures what we loved about the music we listened to from the '90s and early 2000s. Will's mastering approach is the final sonic touch that elevates Hyperspace's audio quality to new heights. JASON: I agree with Ryan, we were so excited to work with Joey Jones again, he recorded our "Delusions of Grandeur" album as well. Joey really helped us get the sounds and vibes we were looking for. We'd tell him our thoughts about vibes and moods for songs, and we worked closely with him on how to achieve those sounds. Saw added more energy in the mixing stage, and Will added the mastering icing and shine on top of the cake. KAYVAN: This was actually my first time working with Joey, but his recording technique and skill behind the desk are impeccable. I was particularly impressed with the initial raw sound he achieved with the drums alone. Joey had a lot of great suggestions, and I think his knowledge and abilities really helped the record take shape. Now, SAW, I did know from the previous record, and he always continues to amaze and impress. He began the mixing process with an overall baseline sound and then adjusted things as we went. Beyond having incredible patience with us nitpicking over every sound and noise, SAW was also unafraid to try completely different things and was always enthusiastic. Will Borza also did our last record and did a fine mastering job for both digital and vinyl releases. What can fans expect from your upcoming East Coast tour in 2026? JASON: We always try to put on a fun and energetic show. Fans can expect to hear a lot of the new material. We are hoping to hit all the major cities from Charlotte to New York to Boston and back again. KAYVAN: We always strive to give our best at every show, so hopefully, it will be a great experience with some great songs. RYAN: Plenty of Tiger Balm and Tylenol, that's for sure!

After years of standing in the shadows of music legends, electric violin powerhouse Susan Aquila is finally stepping into the spotlight, and she’s doing it on her own terms. With her new single I Took It From Me , Aquila unleashes a blistering mix of punk grit, pop energy, and rock swagger that doubles as both a call-out and a personal victory lap. You may have seen her onstage with icons like Paul McCartney, Billy Joel, and Led Zeppelin, but don’t mistake her for a sideman. Aquila has always had more to say, and now she’s saying it loud: her story, her sound, her rules. I Took It From Me is pure catharsis, a response to years of industry manipulation and toxic partnerships that tried to box her in. With snarling vocals, grungy guitar riffs, ferocious strings, and a beat that feels built for rooftop screaming, the track is a middle finger to anyone who ever underestimated her. “Walk out the door,” she spits, owning the rage and satisfaction of taking her power back. The video cements what fans are quickly realizing: Susan Aquila isn’t just a veteran musician, she’s a star in her own right. Draped in confidence, swaying on stage like she was born there, and even sharing screen time with her chihuahua Queen Victoria (yes, that’s her name), Aquila proves she doesn’t need flash or gimmicks to command attention. She’s got the presence, the talent, and the fire. And here’s the kicker: this is just the beginning. I Took It From Me is more than a single; it’s the start of Aquila’s solo empire, a long-overdue reclamation of a career that was always meant to be hers.

From New York to Tokyo to London, there are venues that carry the energy of legends while still feeling like a secret show. These are the places where icons cut their teeth, where the floors are sticky with history, and where, despite global fame, you can still feel like you’re part of something raw, real, and underground. The cradle of American punk. Blondie, The Ramones, and Talking Heads all sharpened their sound here in front of tiny crowds. Though it closed in 2006, CBGB remains an eternal symbol of the DIY, grimy, underground spirit. Walk down Bowery and you can still  feel  it. 1.  100 Club (London, UK) Tucked under Oxford Street, this unassuming basement hosted The Sex Pistols, Oasis, and The Rolling Stones. The club’s punk festival in 1976 basically lit the fuse for the UK punk movement. Today, it still books bands who sound better in sweat-soaked basements than in arenas. 2.  Whisky a Go Go (Los Angeles, USA) The Sunset Strip’s chaos incubator. The Doors were once the house band, Motley Crüe owned the stage, and Nirvana blasted through grunge before MTV caught on. Even now, you can catch unsigned acts making the same kind of noise that rewrote rock history. 3.  Paradiso (Amsterdam, Netherlands) Once a church, now a temple of sound. Nirvana, Prince, The Rolling Stones, and Amy Winehouse all played here. The high ceilings and stained-glass windows give it a cathedral feel, but it’s still small enough that every show feels like a secret sermon. 4.  The Troubadour (Los Angeles, USA) Elton John’s US debut happened here, and Joni Mitchell, Carole King, and James Taylor all turned its tiny stage into a proving ground. Fast-forward, and Phoebe Bridgers played here before the Grammys came calling. The Troubadour is proof that  intimacy creates legends . 5.  Zepp Shinjuku (Tokyo, Japan) Japan’s underground scene thrives in Tokyo, and Zepp has been a cornerstone for bands crossing genres. Acts from Radiohead to Japanese punk icons have used it as a springboard. Small compared to stadiums, but massive in terms of cultural impact. 6.  The Cavern Club (Liverpool, UK) Where The Beatles went from a local bar band to a global phenomenon, nearly 300 performances cemented their legacy here, and while today’s version is more of a tourist stop, the underground basement vibe still carries that original sweat and grit. 7.  Red Rocks Amphitheatre (Denver, USA) Okay, not “underground” in the literal sense, it’s carved out of sandstone. But here’s the thing: despite its massive legacy (U2’s  Under a Blood Red Sky  was filmed here), Red Rocks still feels surreal, intimate, and almost spiritual. Every show feels like history repeating. 8.  The Smell (Los Angeles, USA) Graffiti walls, concrete floors, zero pretense. The Smell is the living, breathing definition of DIY. Warpaint, HEALTH, and No Age all broke here. Walk inside and you’re instantly part of the underground, whether you know the band or not. Why These Venues Matter Globally Legends don’t always come from polished arenas. They’re born in sweaty basements, repurposed churches, and chaotic DIY spaces where authenticity comes first. These nine venues prove that even after stars move on to stadiums, the rooms where they started still pulse with underground life.