Nawghty P gettin on this grind more tracks commin real soon know i've been slackin hard.  Dont hate just wait.  Need better recording Equipment, hopefully comming soon.  Stoned Broke and Single. 

Westside Warrior / Nawghty P / TJC

'Piano' is out now everywhere! ➡️ https://AvB.lnk.to/PianoYA

Armin van Buuren has been a global ambassador for electronic music for over thirty years, with a Grammy nomination, five #1 spots in the DJ Mag Top 100, and nine full-length artist albums to his name. Through his exemplary productions, groundbreaking live
shows (e.g. his new ‘THE ORB’ world tour) and his weekly A State of Trance radio show (44 million listeners from over 80 different
countries), event series and album series, he cultivates a massive global following.

Armin van Buuren headlines tens to hundreds of shows per year at leading festivals and venues around the world, including Electric Daisy Carnival (Las Vegas, New York), Ultra Music Festival
(Miami), Lollapalooza (Chicago. Berlin) and Tomorrowland (Belgium, Brazil), plus residencies on Ibiza and in Las Vegas, and his own A State of Trance events in Rotterdam, London, Mexico and beyond. 

As a producer, Armin van Buuren has joined forces with the biggest artists in dance music and beyond, from Hardwell, David Guetta and Martin Garrix, to Moby and Jon Bon Jovi. In June 2025, he released his ninth studio album, ‘Breathe’.

Armin van Buuren is also the co-founder of Armada Music, the world’s biggest independent dance music label.

It’s a lesson every great musician learns eventually. Less is more; simplicity is everything; groove conquers all. If Matt Webb’s debut as a solo artist with 2011’s Coda and Jacket presented seven different sides of the Vancouver-based musician, from the hook drenched ‘80s guitar pop of “Cinnamon” to the aerobic synth-funk of “Bad Girl”, this year’s model is decidedly more direct in its approach. 

 “It’s a classic situation with people and their first records,” says Webb, on the eve of releasing his new, four-song EP, Right Direction. “You just have a shit mix of songs. It’s pop stuff; it’s rock stuff; and you haven’t really found your stride yet. With this record, I had a really clear idea of how I wanted it to sound. I just used one or two guitars on the whole thing; the same drum set up; the same guitar set up; and a really organic feel to it.”

After wrapping up his touring schedule with main act, Marianas Trench, the always restless musician decamped to Armoury Studios with producer and co-writer Kevin “Kevvy Mental” Maher, drummer Al Glassford, bassist Peter Davyduck, pianist Andrew Belson, plus four crystalline new songs that take a distinct turn from the quantum level of precision, planning, and craft that the Trench typically brings to its elaborate pop constructions. 

“I wanted to hear more mistakes, I wanted it to be raw,” he explains. “It’s a different genre.” His intent is made abundantly clear in the title track. “Right Direction” a soulful, mid-tempo groover that’s charmingly free of any fuss. “That track in particular,” he says, “we went for a kind of Tom Petty feel to it, and I told Al, ‘No cymbals allowed in this song!’ It’s sort of an atypical approach but it helps to build some suspense. If you listen to Tom Petty’s ‘You Don’t Know How it Feels’, say, it’s a really simple drum groove that never changes.”
Webb adds that the Kevvy coined “Matt Webb rule of simplicity” became a running joke in the studio. Nobody was allowed to get too flashy, except when it counted. Glassford’s jazz-inflected drum fills in the bridge of “Heartbreakers” are all the more explosive as a result. Webb’s fleet-fingered acoustic picking on “123” is like a leap into the fourth dimension after the placid spaces the band establishes on “Don’t Turn Your Back on Me” and “Heartbreakers” – an Andy McKee influenced track on which Webb and Maher tag-team lead vocals.  
Significantly enough, Webb and Maher eventually built an ad hoc studio in his parent’s house to complete work on the EP. Webb nailed the guitar parts and laid down his vocals in the bedroom he inhabited as a teenager. It opens the door to a nice dollop of symbolism if you imagine Webb, now one of the most successful and accomplished guitar players in the country, returning to the room where his dreams were hatched in the first place, riffing on the kind of grown-up rock that inspired him at the time. The result is the most mature music of Webb’s career. Sometimes, it seems, the right direction is back.

Devonna Dunkley is following