Album opener, “Nothing Like Beginning,” queues with echoing percussion and brilliant guitar and harmonica. A tambourine splashes in your ears. The song is overall very catchy and consistent, and immediately points to fantastic songwriting. The relatable lyrics, “And if God exists / Then sign me up / ‘Cause that means God made you…” are poetic, yet straightforward. “Nothing Like Beginning” bleeds into another single from Connectors called, “Elevator.” There is a fat, wet snare along with crispy hi-hats and twinkling guitar. Stocksdale charmingly delivers, “I’ve been pushing all your buttons / Hoping we might go for a ride…” which is reminiscent of playful love, and conveys that your partner-in-crime can uplift you.

“Tabs,” Song Four, has more clean vocals and a tamer sort of push-pull to the music. The chorus in this one is gigantic, and it features a chunky ride cymbal bell alerting you to the lushness of the instrumentals. There is also wonderful percussion work about three-quarters of the way through the song. Later on is “Ohio,” displaying Stocksdale’s gentleness – an uncanny ability to write effectively even when its just him and his acoustic guitar. “Ohio” is light and airy, with a plucking riff that serves as an ode to Iron & Wine. Yet another perfect transition is between “Ohio” and song seven, “Suspicions of the Apocalypse.” Track seven is the proverbial (but beloved) black sheep of Connectors – it creeps forward uniquely. There are bongos and other auxiliary percussion, and the song in its totality is more of a story told. It’s grimy and deep, bursting into huge instrumentals in between the storytelling.

Tune number ten is “Probabilities,” yet another album highlight. A sparkling guitar lead shines as the song pops in and out. The vocals have a certain folk effect on them making them sound quite distant. The snare is a signature sound by this point, and the questioning lyrics, “Is this the way it oughta be? / Am I doing it right?” are cleverly inserted, garnering empathy. Finally, the short and sweet album closer, “Still a Chance at Anything,” switches things up with a new instrument in the piano. The song begs you to believe that anything is possible, as long as you are still breathing. The quick end has a lasting impact – some connections are brief, but all the more meaningful.

Overall, Connectors is an amazing effort from Mike Stocksdale. This album makes you feel understood, and the vibe successfully varies between chill and fierce. With ups and downs and both quietness and heaviness, Connectors is an apt portrayal of important relationships. This album is FFO M. Ward, Dr. Dog, and Father John Misty Listen to the singles from Connectors on Spotify and Apple Music to prepare for the album’s release.

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Bills-era Marshawn Lynch, branded with “Beast Mode” text down by his galloping cleats greets you as the most powerful horns you’ve ever heard trot out to kick off the beat. “Crack Era,” the new single from the Brooklyn-born, Buffalo-bred artist is appropriately declarative, boldly announcing a fearlessness that stems from when and where Barz grew up. Perfectly timed for windows-down weather, “Crack Era” is punctuated with booming bass – your neighbors might get transported to 2009 when they hear you coming.

If you’re looking for more of this throwback hip hop style, make sure to check out Barz on Spotify, and while you’re there, give our Best Hip Hop 2026 playlist a spin.

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“Non Stop” sounds like it came straight off a Gang Starr record. Confidence is in his bag, chopping up delicious piano lines, rearranging them into a head-knocking production prime for a veteran emcee like Rashad to find inspiration within. It even includes some scratching to add texture to an extra smooth selection of instruments. If there was any doubt about the quality of the artists involved, Rashad takes care of that with his lyricism. “Non Stop” is a braggadocious reminder of what traditional hip hop is supposed to sound like.

This track appears on The Element of Surprise, a collaborative EP between the artists from 2011 that they’ve remastered for 2026. It’s just in time to add to your cruising playlist so you can play it with the windows down while you lock eyes with strangers at the red light. You can also check the track out on our Best of 2026 playlist, updated every single week.

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Phenomeinal’s relationship with Jesus stands as a driving force, and he makes that clear in the opening lines of “Growth,” where scripture brings him solitude. His latest release explores how faith, ambition, and resolve coalesce into the drive that’s carried him to success despite the challenges that lurk around every corner. While it’s faith-forward, “Growth” isn’t lacking for bars. Phenomeinal effortless shifts into new lines, carrying over rhyme schemes and assonance line-to-line with clever phrasing and sounds. The track’s lofty subject matter is matched by fluttering flute and a grounding bottom half. Its percussion shouldn’t be discounted too. Give this a listen and add it to your rotation.

Check this track out on Spotify – you’ll also find it on our Best of 2026 playlist. Give the visuals a peep below if you wanna get a taste of Phenomeinal’s style.

The post Phenomeinal – Growth first appeared on buffaBLOG.

“This song is about just wanting the love of my life, Jane, to be with me just as she is. Bringing forth both the hard times and the great times, I just need her at her core.”

You can find “Everytime” via the YouTube embed below and also on Spotify.

The post Jack Landess – “Everytime” first appeared on buffaBLOG.

“I wrote this song about a dear friend of mine whose path took a wrong turn a number of years ago. I think she’s still alive, but no one knows where she ended up. I believe that we all have the capacity to lose ourselves along the way. I’ve seen it happen again and again, whether through mental health struggles, drug use, addiction, trauma, depression, or grief. So many of us have seen someone we love lose the light in their eyes, and become a stranger to themselves. It feels like we’re all just teetering on the edge, and some just don’t have a sturdy enough footing to get back on track. This one is for all the lost girls.”

Check out the equally gripping video for “Dusty Roses” below – you can also find it on Spotify and Apple Music.

The post Alela Diane – “Dusty Roses” first appeared on buffaBLOG.

You can find “I See You From Here” via the Bandcamp embed below.

The post Bending Backwards – “I See You From Here” first appeared on buffaBLOG.

“Remedy,” the album opener, starts off with ghostly coos from Azalias. The zippy guitar is enthralling, like watching embers shoot up from a bonfire. Mood-wise, this song is easygoing and sensual, but it is pinned against pensive lyrics like, “I’m feeling hollow, but you have a way with me.” Azalias has a hushed vocal delivery in this one, not unlike the alt pop of Billie Eilish. Next, is “Pretend,” which features a delightful use of some sort of vocal auto-tuning. This song is warmer than the first – a gentle, starry dream pop. I was personally impressed by the awesome electronic mixes and the singer’s ability to hit some very high notes.

“Crazy” has a staccato vocal delivery with crunchy hi-hats. This track marks the creative endeavor’s first exploration into trippiness. An East Asian-style guitar bounces within the roomy audio production, and eventually the song bursts into groovy drum’n’bass. Simple and effective, “Crazy” echoes into the following song, “Different,” where Freidrich$ smoothly supplies the line, “I thought I could change for you / But, the way I feel is irreversible.” This number features a dripping, chorused guitar and feels as if you trapped in the void of love’s bipolarity.

Queueing the latter half of …From What? is “Lovers,” a charming take on lo-fi vocals atop trap-hop. Azalias responds to Freidrich$ with a, “Yeah, totally!” while he croons, “It sucks being lonely / It sucks being sad / Maybe these happy people know something I don’t know about yet.” The bass drum and bass synth seem a bit hot, but it only adds to the feel of the music. Lastly, “Cold World” demonstrates Outsideness’ tried-and-true musicality as a creative outlet. I think this song displays the duo at their best. The track is like shifting sands, with the mix trembling and falling out occasionally. A tasty guitar solo and the lyrics, “I’ve got my memories of you / They get me through to the evening,” are more than enough to satiate you.

All in all, …From What? is a genre-bending listen, touching on the poles of relaxation and intensity. …From What? is FFO SZA, Drake, Alina Baraz, and The Weeknd. Whether your into trip-hop, R&B, or pop, you should definitely check out the work of Outsideness on Spotify and SoundCloud.

The post Outsideness – …From What? first appeared on buffaBLOG.

“Not For Nothing” is out now – all the different ways to listen can be found here.

The post Autoignition – “Not For Nothing” first appeared on buffaBLOG.

“If I had to choose three words to describe this EP, they would be change, self-isolation, and solitude. These songs explore different forms of change, changes of the mind, of place, and a longing for transformation in general.”

You might be expecting nothing but an acoustic guitar, but opening song “Another Year” is as lush and beautiful as anyone could ever ask for. Channeling artists like Radical Face, Whitney, and the aforementioned Bon Iver, Axel’s first song burns with a slow intensity, layering the song thick with plucky guitar, acoustic strumming, thumping bass, and shuffling percussion. Mid-verses, the progression climbs to a stunning minor tonality, almost like the rise and fall of a deep breath. Ironic – the song itself is breathtaking on so many levels. It’s tough to pick a favorite from this EP, but “Another Year” gets our nod. If you listen to any of these songs, we’re happy to say that Axel started out strong, and we recommend this one the most.

Axel’s talent is spread out perfectly throughout Fleeing the Shore. The title track has the subtle, somber drone of cello, providing a sighing backbone to offset the reverse-effected keyboard motif that twinkles in the background. “Over One Night” plays out with a similar vibe, highlighting Axel’s penchant for layered vocals and hushed but intense dynamics.

Elsewhere, Axel eschews percussion for an acoustic feel – fully making use of that self-isolation vibe. On “Nowhere” and “Reassurance,” Axel’s voice lilts so, so powerfully, bringing to mind the solo work of Manchester Orchestra’s Andy Hull. It’s not always the full-throated yelling that gives you the chills – sometimes it’s the notes that barely squeak their way out of your throat. On “Nowhere,” Axel sings, “How could a year go by so quickly / self-pity will stop me from trying.” It’s these quiet moments of reflection, regret, and acceptance that hit the hardest. By the time you make it through album closer, “In The Grass,” the otherwise snowy-feeling music feels lively and lush with accompaniments of piano and strings. Even if it was unintentional, it felt to me like a fitting, life-giving end to an absolutely stunning EP.

Fleeing the Shore is out now (April 24th, 2026). Check out all the different ways to enjoy his music here.

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