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Each musical instrument is different, but there are many similarities between many of them. The piano and the guitar are both stringed instruments that require discipline and technique to master. They also need a lot of practice. Chromatic The guitar and piano share a similar quality in that they are both chromatic and can reach every note on the chromatic scale. The similarity makes it easy for anyone who wants to switch between the two instruments to do with ease. Learning either can be very easy. However, the teachings can only apply if you switch between the piano and the guitar. Playing differences The guitar is a stringed wooden instrument that uses a pick to play the strings. The movement is known as strumming. To successfully strum your guitar, you will need to keep your elbow out of the way and closer to the base of your guitar. Doing that allows your hand to move freely without blocking any of the strings. The piano is also a wooden instrument with strings hit by a hammer inside the piano every time you press a key. There are roughly 230 strings in a piano, but this number could change depending on the type of piano. Each key strings three strings, and for base notes, two strings are strung at a time, lowering the string amount as the bass drops. You could quickly tell the difference from the basic upright down to the best baby grand piano. Key positions Pianos use singular key positions for every key and will not have the same sound coming from two different keys simultaneously. The notes are not repetitive and can only be found in one place. Each chord, note, or scale is in its place for that particular sound. To create a harmonious sound, you would have to select a few keys simultaneously. Guitars are the opposite because you can easily find the same key in different places on the guitar's fretboard. The same key could be repeated several times at once, which gives the guitar its harmonious sound. Even though there are only six strings on the guitar, you can find a multitude of notes, scales, and chords simultaneously while playing the duplicate keys. Learning between the two instruments If you think about the piano and the guitar, they could seem like complete opposites. The instrument personalities range from soft and romantic to wild and playful. The music selections for which each instrument is used plays testament to the way the purpose of the instrument. Many people associate rock and roll with guitars, where classical and instrumental jazz is most likely to be heard from a piano. Learning to play the piano would be easier because there is individuality in the sound of the keys, making it easier to listen to each key that you are playing without getting confused with where it sits on the keyboard. The guitar is widely used, and because of the instrument’s popularity as the base for many songs, you could master the art of playing it in a few short months. What would make it easier to understand is learning to play the piano first and then transitioning onto the guitar. Once you have learned to understand the piano music sheets, the guitar will be a breeze. Article by: Broughton Pianos

Silver Spring, MD-born, Chicago-hailing alt-hip hop artist Adrian Jose debuted in 2018 with his single ‘Solo Yo’. In 2021, with 13 releases under their creative belt, it is safe to say that the polished signature sound which revolves around glassy atmospheric instrumentals paired with wavy lyrics, ensures that the essence of their sound is the stylish evocative potential it contains. Showcasing his artistic skillset on the debut EP ‘Astronomical,’ Adrian Jose redefines the perception of cloud rap as he shapes the mind-altering essence of the project through a contemporary soundscape. Mixed and mastered by the engineering techniques of Cash, we focus our attention on the introductory single from the project, “Astronomical Freestyle.” Welcoming listeners into an ethereal realm of musicality as the Yng Shaq produced record weaves a sense of ambiguity into the instrumentation, Adrian Jose can be heard rapping cognizant words that flex his lyrical dexterity in a way that channels insightful solipsism. Exuding a brilliant display of smooth cadences that ride the waves of the beat, the punchiness of Adrian Jose’s vocal lay-ups fit right in the pocket of buoyant dimension as this trait emphasizes the vitality of this record. Coming from a place of mental realizations, lyrics such as ‘the way I process all my thoughts, you’d think my planet is methodical,’ have us truly grasping the quintessence of Adrian Jose as a fruitful creative. Preparing us for the dynamism that is deeply explored on this five-track release, Adrian Jose ushers listeners into his otherworldly fusion of electronic Hip-hop melodies that cast a light on redirected energy. Instagram

Hailing from Texas, the versatile rapper KahMenCents has released the lyrically motivating bop “All I Ever Do” as part of his thought-provoking, eight-track album, ‘Yo Cazperr.’ The backtrack of “All I Ever Do” bares a minimalistic elegance and allows for KahMenCents to spotlight his enticing rapping and epigrammatic lyricism that is splashed with refreshing amounts of wit and confidence. The intoxicating soundscape consists of a silky xylophone melody that is logically layered within a lo-fi beat that radiates flavors of R&B and trap. KahMenCents showcases his ear for instrumentation by using yarn mallets for the xylophone melody, which creates a soft and echoing sound that fades seamlessly into the background. The Texas-born artist boasts a deep, gravelly voice that can be compared to the authoritative and influential tone of The Notorious B.I.G. As he transitions between certain points of emphasis in his verses, the dynamic production adapts to the tone in order to complement his lyrical messages. With the ultimate goal of bringing authenticity and honesty to his songwriting, KahMenCents uses “All I Ever Do” as an opportunity to radiate his message of perseverance. KahMenCents shares his experience of overcoming endless obstacles and dealing with trauma in order to accomplish his goals. Towards the end of “All I Ever Do,” the trap beat is removed from the backtrack leaving only the xylophone melody, allowing KahMenCents’ introspective verses to resonate with the listener. Hello KahMenCents and welcome to BuzzMusic. Can you start by telling us more about the message behind your lyrics for “All I Ever Do?” The message behind "All I Ever Do" is to get people to understand that when you just focus on getting money and being who you are then it will come it’s all about energy honestly paper comes from trees paper makes currency which isn’t possible without energy from the sun even if you take cryptocurrency it’s powered by energy electricity if you focus your energy into being positive ignoring the envy and hate then you will attract the money you just need to use your common sense hence the name KahMenCents I’m here to remind you You mentioned your past with criminal activity as a motivator for your main message. As an artist, how has this inspired your career? Is there a certain target audience for your message of perseverance? Honestly, my criminal past was me not using my common sense with every illegal action there is a legal side to it. I learned the hard way and overcame a lot of the obstacles set forth for felons to end up back in jail or dead from those choices. I’m targeting every human being on this planet and a couple of aliens who happen to venture into this world because we all need common sense even me to be successful in life however as the saying goes it’s not so common. Are there any artists that have influenced your music or inspired your music style? Has your music style evolved over time? Heavily Future, Lil Wayne, Saint Jhn Prince, Shy Glizzy, and Prince As one of eight tracks on your new album ‘Yo Cazperr,’ how does “All I Ever Do” compare to the rest of the songs on the album? "All I Ever Do" just pretty much falls directly in line with the other 7 it’s the synopsis of my life and why I am able to be here to speak my truths and live in my authentic self my first ever real true first love was getting the money it gave me purpose in life and fueled my dreams transformed me into the money tree. Instagram Twitter

Beth Macari’s journey has been a diverse one so far, with the Geordie soul singer already having a wealth of experience under her belt before embarking on her solo career. After spending two years on the road with Loose Women star Jane McDonald, Beth fronted the house band on Sky One’s celebrity panel show Bring The Noise, where she performed alongside Melanie C, Tinie Tempah, Anne Marie, and Nicole Scherzinger. A brief stint with the Manchester Camerata orchestra on their Motown & Northern Soul tour followed before Beth Macari headed back to her native Newcastle Upon Tyne to focus on her own music. With a love of Soul and Motown always at the forefront of her sound, she fuses her old school roots with the contemporary flavors of R&B, Dance, and Pop to create a diverse sonic palette of sounds from every decade. Taking our attention to the delicate resonance that tiptoes from her most recent single, “Gotta Get Back,” the angelic croons of Beth Macari serenade our speakers with luscious vocal runs straight in the realm of her Jazz infused Pop quintessence. The impact that lingers in the sparsity of the drum patterns sets a rhythmic tempo for us to effortlessly float into the grooves. With each reverse cymbal hit adding that extra oomph to take us into the mesmerizing chorus that we can’t seem to shake, “Gotta Get Back,” has us chanting along to the euphonious spirit seeping from Beth Macari’s vocal performance. Lyrical motifs in the form of questions grace our speakers as Beth Macari inquires on such thoughts like, ‘how did we go wrong?’ Provoking thoughts of our own, we can’t help but get lost in a mindset that paints a narrative of breaking free from a situation that urges us to question our worth. Echoing the relatability that seamlessly takes control in this dreamy soundscape, we’re all for the courage that is bolstered into each word articulated. Beth Macari knows exactly how to navigate a song so her listeners can follow the journey she powerfully sets into place. With praise from big names such as Nicole Scherzinger and Gaby Roslin, it’s no wonder that she is garnering the attention she works hard for. Welcome to BuzzMusic, Beth Macari. With such a solid message laced into “Gotta Get Back,” how did you embrace the creative process for this single? The song was honestly so much fun to write, I felt a real sense of empowerment throughout the whole process. It was just about enjoying what we were creating and we weren’t going to stop till we were 100% happy and proud of what we had made. I’m lucky that time felt limitless, with being able to do it all at my own studio, It meant I could be as creative and fussy as I wanted. What does this track say about you as an artist and individual? What are you hoping your listeners take away from it? It’s said that I love anything with a soul, that I write from the heart, and that I’m currently finding inspiration in 90s RnB music. I hope it makes them feel uplifted! As much as the song stems from a story of a bad relationship, it’s meant to be empowering and focus on the message of self-love and the power that comes from overcoming something bad and being able to turn it into something great! Could you please share who helped to make the soundscape of “Gotta Get Back,” come to life? This is actually the first single where I have done everything from my own studio, just myself and my drummer/long-time best mate PhilTheBeat. We wrote, recorded & produced the single, and then shot the single cover and music video using my iPhone! I can’t deny it was a challenge, but we laughed and smiled all the way through and are so proud of what we created. Receiving praise and acknowledgment from such big names, have you ever taken any advice from such personalities that have helped shape the sound we know and love from you? Yeh, so many times! I’ve been so lucky to perform alongside such amazing artists and hearing them speak so kindly of me is still surreal to me. I take on board everything I am praised and criticized for, and I hope I can keep growing as an artist and learning from those who inspire me. The best advice I’ve ever been given is to ‘always be me’, there have been times where I’ve doubted myself and my music, worried I didn’t fit in, but I try to just be me and unapologetically. I believe that is the most important thing! What can we expect to see next? I have just finished wrapping up my next two singles, which again bring inspiration from 90s RnB mixed with modern soul. Then after that, it’s onto my debut album which I’ve been working on for some time now so I’m really excited to get that out to the world! :) Instagram Facebook

Sinn Serious is a music producer and singer-songwriter based out of Los Angeles. Originally from Charleston, SC, he is a self-taught multi-instrumentalist with a background in acting, musical theater, and operatic training. Serious attended Loyola Marymount University. Recent credits include editor and sound designer for Audible, iHeart & WhoHaha original podcasts. Sinn Serious dedicates himself to creating meaningful art about addiction and mental health while being on a mission to create emotional electronic tracks, both dance and downtempo, that pull him out of anxiety and push himself past addiction. With the release of his debut EP, ‘Hello Up There,’ our attention is fixated on the buoyancy laced into the lead single entitled, “All We Got.” Through an electronic realm that is bolstered by the house music foundation it lays upon, Sinn Serious has us swept into the otherworldly soundscapes as we mentally float to places yet to be discovered. In our sonic exploration of this masterpiece, a moody ambiance emitted from the exclusive timbres of Sinn Serious shifts the weight from the complexity weaved into the instrumentation and has us honing in on the reverberated echoes that clasp onto his voice to produce emotion. Combining elements of wistful tendencies that cascade with reflective and thought-provoking croons, Sinn Serious has us copiously absorbed in the lucid environment that ramps up into a full-on infectious groove induced by major piano chords flooding the soundwaves. Sinn tiptoes into various elements throughout “All We Got,” in an organic way that doesn’t seem out of his comfort zone to achieve. Wrapping listeners in a calming blanket of relatable narratives, the concept of losing one’s self in the creative process is a process that Sinn Serious endures well. Congratulations on the release of your EP, ‘Hello Up There.’ We loved getting absorbed in the lead single “All We Got.” What was your inspiration for allowing this song to set the tone of the EP? I’ve connected deeply with driving dance music over the last year - labels like Anjunadeep & Hexagon. It lifts me up. With All We Got, I wanted something moving, club-like. I’m finding a nice blend of upbeat mixes with fractured vocals. I was writing a lot of “Woah is me” brooding sad songs. I let my depression and anxiety take control, feeling like I needed them to create. All We Got stems from that pain but ends on hope. It’s definitely the direction I am heading with my music. In your own words, what does “All We Got,” mean to you? "All We Got" is about endurance. The long game. I’m coming up on a 7-year-long relationship. No doubt we’ve had our fair share of ups and downs. When I let my mental demons take hold, it’s easy to miss the good things in that relationship while emphasizing the bad. All We Got pulled me out of that funk, helping me remember how good it feels to stick through the hardship. On the other side of that, true beauty and bliss. You mention that throughout countless times, you’ve immersed your head in the creative clouds to approach your end goal musically? Could you please take us into a further look at what this process entails? Working up to this EP, I hit a plateau musically. I sapped my creative juices. My process felt stale. Sitting at the piano felt forced. Top-lines felt gimmicky. But I intentionally broke my process patterns of how I was working. I reviewed old journal entries. I wrote poems backward. I transposed my usual chord progressions and played reverse fingerings. I invested in new synths. I totally broke apart my musical process. At the time, it was scary as hell. It felt vulnerable and childish. But that beginner’s mindset is so important to creativity. I’m betting, to create any long-term passion project, it takes breaking down that process to create something truly intimate and unique. What do listeners have in store in terms of themes, moods, and messaging when pressing play on ‘Hello Up There?' 'Hello Up There' is all about hope. The genesis for the project came out of 2020. Spoiler alert: that was one especially chaotic year. Most of us know. This EP draws on all the different types of creativity I dove into to stay sane and healthy. I’m a big advocate for mental health talk and de-stigmatizing addiction. Believe me, my depression and anxiety were boiling this past year. This EP is about ambition in difficult times. Faith in darkness. Belief and confidence in the self. What's next for you? Collaborations! I’m exploring some very fun EDM tracks with incredible singers and producers. I look forward to putting out impactful music people can connect with. As the world slowly opens back up, I can’t wait to put together a live set and spread some joy and sweaty thumping kick drums. Instagram Twitter

Writing songs and playing guitar for over a decade, Brice Parker considers himself a ‘one-man band.’ He utilizes a loop pedal to perform unique covers and energetic originals at your favorite, hip southern digs, bars, and restaurants around the Charlotte area and beyond. Known for his bright personality and humble spirit, Brice Parker is known to liven up any space, for performances that are enjoyed by just about anyone. Fresh off the release of a versatile showcase of his unique techniques, Brice Parker presents his latest EP, ‘Sticks & Stones.’ Drawing our attention to the unmatched individualism that he portrays in this 90s alternative rock meets pop soundscape, we fixate upon the single “Gone.” Bursting through the soundwaves with an energetic fusion of bolstering guitar riffs chugging amidst the intense percussion displayed, Brice Parker taps into a narrative that is unapologetically authentic to his pent-up emotions. Transmitting his fury towards the intricate songwriting visited on this single, he weaves in storytelling hues as he describes entertaining a relationship that no longer serves either party present by the full-throttled goodbye that he amplifies in his energetic croons. Carrying forth an upbeat tone that is mesmerizing from start to finish, it’s easy to get lost in the angst-filled essence of “Gone.” Encouraging us to ditch what we no longer have the energy for, the message that Brice Parker emits is one that many of us can relate to. With each verse tackling a smooth spirit of anticipation as we wait for the upbeat buildup to explode each time the chorus comes around, we love navigating through the peaks and crevasses that propel “Gone” into an irrefutable category of its own. Taking in the entirety of “Gone,” was truly a sonic voyage. What inspired the concept behind your four-track EP, ‘Sticks & Stones?' This collection of songs is inspired by the saying, ‘sticks and stones may break my bones, but words will never harm me.’ It’s ironic that although the songs on this album might have rasping lyrics, they won’t have any harm or effect on the people they are about. Could you please take us into what the process of recording “Gone” was like? Did it fit into the typical process approached for all of the songs heard on the EP? "Gone" actually wasn't changed too much. I recorded a demo version for my producer and we liked the general style of the song. We recorded fresh vocal and guitar tracks using his equipment, which was very similar to the process of recording every song on the EP. My producer, Rob, would then take the song on his own and add in little amazing moments and sounds that really gave this song more oomph and energy. What is the main message that you have wrapped into ‘Sticks & Stones?' Do you find that this fits who you are as an individual and where your music is headed? 'Sticks & Stones' is a cathartic record for me. It was written as a result of a bad break up and each song tells a story within the theme of relationships. The EP starts with "Rare" which is an anthem recounting my feelings on the bad break up. Then, "What I Do Know" has me taking a step back and poking fun at my failed relationships in the past. This then leads to "Gone," an explosive song about me being done and fed up with relationships in general. The EP closes out with "Tell Me," a reimagined song from my first EP 'Small Dreams,' that is about me facing new changes and fears and having a positive outlook on the future. The main message is to let people know that it is ok to express emotions and frustrations, but that things will always end on a high note (ba dum tss). Being a one-man band, what happens to be your favorite part of the creative journey? I get so excited when I turn on my loop pedal and strum on my guitar and create a song from scratch. I love being able to try out new ways to add flair and flavor to each song by experimenting all the time. What would you like new listeners to know about you and your music? My music is authentic. I write what I feel and what I think about. I like to write about my thoughts on my purpose and life, which I feel a lot of people can relate to. In terms of music, I love to blend genres and bring an energetic catchy, and poppy flair to my songs. Instagram Facebook

The Syracuse-based independent power trio and cuck-rock band Trauma Cat lets us sink our teeth into their hard-hitting 15-track album, 'Prepare to Apologize.' Widely credited as the founders of cuck-rock, the genre-blending trio is comprised of Ralph Kojig, Roman Pando, and Rutger DiBoyere. More recently, the band released their debut full-length album entitled 'Prepare to Apologize.' When asked about the project, bassist/vocalist Roman Pando mentioned, "Unfortunately, we did put a lot of work into the album, so much that we ultimately decided our only fitting punishment for doing so would be to release and promote it recklessly. We're sorry." Co-produced with the elusive St. Julian P. Dingus, the album opens with its introductory and title track, "Prepare to Apologize." The track consists of a behind-the-scenes creative dispute amongst the band members when creating the intro track. While the members continue bickering about whether they should create an acapella track or not, the song quickly shifts into a powerful acapella where Ralph Kojig and Roman Pando serenade us with the album's title. Seamlessly transitioning into the second track, "Indivisible," Trauma Cat makes their breathtaking instrumental appearance with Ralph Kojig's scorching rhythm guitar, Roman Pando's thumping bass licks, and Rutger DiBoyere's punchy drum breaks. As Ralph Kojig begins singing a conceptual story of leaving words unsaid and keeping crimes in one's head, Trauma Cat keeps us grooving through the track with their tight and upbeat instrumentation. As they exude this ominous and dark tone over the track, we can't help but hear similarities to Geddy Lee's bass licks and Flea's tight guitar arrangements. Through another seamless transition, Trauma Cat and their hefty instrumentals move into the album's third track, "Trauma Cat." The band truly leaves us on the edge of our seat with this powerhouse bop, as their lively, fiery, and rhythmic instrumentals bring us into a scorching hot sonic atmosphere while throwing us into adventures of the past and future. We can't get enough of the minimal vocal appearances within this track, as Trauma Cat chants their band's name in this electrifying and cinematic way while letting their instrumentals do all the talking. With added harmonies near the end, Trauma Cat leads us towards the outro of this lively, high-energy, and ferocious tune. Jumping into the album's fourth track, "Joshua," Trauma Cat opens the track with DiBoyere's mid-tempo drums, Pando's tight bass riffs, and Kojig's tight electric guitar bursts. As Kojig begins bringing listeners into a heartfelt and reminiscent story of his relationship with "Joshua," he continues describing how the relationship later turned south, where his family and friends shamed him for being around someone so dreadful. We adore the conceptual tales of this album thus far, as Trauma Cat has introduced us to various stories and tales merely within four tracks. Listening deeper to the song's instrumentals, Trauma Cat brings us into an incredibly vibrant listening experience through the song's dynamic range and groovy feel. Slowing it down with the fifth track, "Jellyfish," Trauma Cat brings listeners into yet another highly conceptual and detailed storyline. As Kojig and Pando fuel the song with their tender and smooth-sailing guitar/bass, DiBoyere and his downtempo drum patterns make for a soothing and calming experience. Listening to Roman Pando's lyricism, he steers away from typical lyrical delivery and offers more of a spoken word approach. While reciting a memory of traveling to the Boston Aquarium back in the day, he later expands on the mesmerizing movements of its jellyfish, only to go back years later and find out that they've all passed on. We adore this song's intimate and personal approach, as Kojig brings us into his family's dynamic and personal thoughts through his striking and compelling words. Onto the next track, "Cmnd/Ctrl," the same bluesy and downtempo instrumentals continue from the song prior, but this time around, Kojig and Pando take on a more saddening lyrical approach, as their melodies and words seep through our speakers like a slow-flowing river. While the instrumentals begin to expand with DiBoyere's bright and banging drum breaks, the accompanying instrumentals continue to drift into this transcendent motion through Pando and Kojig's emotional and dynamic delivery. We can't get enough of the band's ever-changing instrumentals and in-depth transitions as they blast us towards the next track. Through the next track, "The Man In the Padded Room," Trauma Cat brings us into their witty and creative approaches through a thirty-second interlude where an 'elderly' man is missing his 43-year-old granddaughter Allison while trapped in a padded room. As he aches and groans in distress, we love the comedic approach that the band has taken as they continue emphasizing the man's confusion while transitioning into the next track. With the album's eighth track, "Lob a Grenade," the instrumentals take us on a blistering and high-energy journey right from the jump. What stands out the most is Roman Pando's heavy bassline, as he leads the way alongside DiBoyere's spicy drum arrangements and Kojig's luminous electric guitar. We feel heavy Rush vibes from this track, but we must also mention how Trauma Cat delivers this upbeat 60 surf-rock approach towards the song's second half. We're truly impressed by Trauma Cat's dense instrumental arrangements within this fiery and upbeat track, as they leave us wanting more dense and lively tunes like this. Getting us in the groove of the album's next track, "Gray Ledge," the track opens with Trauma Cat's dense and ominous instrumental arrangements. While the song takes off with mysterious, dark, and midtempo tones, Pando's bassline takes us by the hand and leads us into the fiery pits of this track alongside Kojig's bright electric guitar and DiBoyere's fresh drum breaks. As Roman Pando tells an intimate and emotional story of fleeing from the trauma and emotions brought by a toxic relationship, he's perfectly complemented by the band's savory instrumentals while taking us to the album's next track. Crashing our speakers with the mysterious and sci-fi tones of the next interlude, "It Speaks," Trauma Cat opens the song with a squealing synth that later drops into a terrifying and dark instrumental breakdown alongside a demonic voice, inviting us into a new friendship. As the interlude continues to haunt us with an intense vocal sample and Trauma Cat's haunting instrumental arrangements, they take us into the heat and scorcher of the album's next tune. The eleventh track, "Fire in the Jail," opens like a breath of fresh air through Kojig's tight electric guitar bursts, DiBoyere's rhythmic drum patterns, and Pando's tight bass licks. As Kojig begins singing of playing the game of life only to come out strong in the end, he later reminds us of his innate desire to walk away from something so painful and grueling. We can't help but groove away with Trauma Cat's intense and rocking instrumentals, especially as they blast us into nostalgic heat with reverbed electric guitars around the song's hook, piercing our speakers with haunting tones and effects until the very end. Bringing us into the album's next track, "Honey, Your Heart is a Hurricane," Trauma Cat delivers yet another highly emotional and instrumentally intricate tune. As Kojig begins describing the brave and courageous heart of a young lover, he later reminds her to stay true to who she is and to avoid letting outside talk interfere with her wellbeing. Trauma Cat has our feet tapping all throughout this intense and rigid sonic journey, as their upbeat instrumentals and nostalgic approach have us deep in a trance with their intense transitions and conceptual stories. Ending the song with a powerhouse outro, Trauma Cat leads us to the project's thirteenth song. Through the album's next track, "Freaks with Wings," Trauma Cat opens the song with boundless lust and desire through their bright and anthemic instrumentals that set the song's introspective and reflective feel. As Roman Pando makes his mysterious vocal appearance alongside the tender baseline and DiBoyere's light drum breaks, he continues to describe stories of school kids attempting to find themselves through every adventure that life throws their way. While the instrumentals continue to expand into a foot-stomping and lively feel, the hook drops with intense major/minor shifts while leaving us feeling as refreshed and invigorated as ever. Throughout Trauma Cat's album, we've noticed the project switch and transition into a more calming and tender sonic feel, especially as the next track, "Zeros and Ones," melts through our speakers with boundless passion and emotion. As Kojig starts singing a poetic story of nature's inhales and exhales, he leaves us pondering and contemplating life's ups, downs, and unpredictable ways. We honestly feel compelled to expand on Trauma Cat's ability to merge poetic lyricism with soothing instrumentation, as this song sweetens our speakers with lush basslines, downtempo drums, and jazzy electric guitar melodies. As the song comes to a heated end through the band's intense instrumental transitions, Trauma Cat makes their way to the album's final track. Gracing our ears with another introspective and poetic spoken word through the outro track, "Epilogue," Trauma Cat sets the sonic tone with their tender instrumentals and hazy soundscape. We love the 60s blues-rock appeal of the instrumentals, as it sets us up for an intense and heavy outro experience. As a demonic Kojig makes his vocal appearance and begins letting us into his personal struggles, his vocals deliver this continuous change as they drift back and forth from normal to a lower and more demonic vocal tone. While he touches on contemplating the power of our existence and the world around us, the album comes to a sweet and savory end while leaving listeners wanting more conceptual and detailed projects like this. Catch Trauma Cat's conceptual debut album, 'Prepare to Apologize,' on all digital streaming platforms, and fall head over heels for the band's detailed lyricism and dynamic instrumental soundscapes. Welcome to BuzzMusic, Trauma Cat. We're wildly impressed with the entirety of your in-depth debut album, 'Prepare to Apologize.' How long was this record in the making? Which tracks did you create first? Oh my gosh, so sorry you feel that way. Truly, we apologize. The recording, mixing, and mastering process didn't actually take that long—only a few months. The majority of the material had been written before the formation of the band, but the arrangements came together pretty seamlessly once everyone at Trauma Cat HQ was on the same page with the vision. “Freaks With Wings” was the first song tracked. Aside from that, we pretty much recorded in the same order as the final tracklist. We spent a fair amount of time mapping out the sequence and flow before ever going into the studio. Actually, a lot of the sequencing we figured out while writing setlists for our few badly executed and poorly attended shows. Was there a specific moment in time that inspired your group to take on such a dynamic and conceptual 15-track album like 'Prepare to Apologize?' We unfortunately never got the memo that the entire music industry had shifted and is now only interested in singles. And given the fact that we don't have meaningful lives outside of writing this self-indulgent “music,” we actually had to trim down the tracklist considerably. It oddly just sort of happened on its own, with very little debate or deliberation. Alas, we have no idea what we're doing. Sorry about that. Which track within 'Prepare to Apologize' is your band's favorite? Which songs are you most drawn to and why? Ralph is partial to “Gray Ledge” because Roman sings that one, and Ralph has a phobia of his own voice. He also loves the way that “Zeros and Ones” came together with its two movements, and how it ties in lyrically with the Epilogue, which is also a reprise of “Gray Ledge.” Roman, at gunpoint, might admit that “Honey, Your Heart Is a Hurricane” is his favorite on the album because of its frankly disorienting structure. We thrive on discomfort—it’s cleansing. Now, speaking on behalf of our drummer Rutger (who is non-verbal), we don't think he likes any of it. What inspired your group to fuel your album, 'Prepare to Apologize,' with various spoken word poems? How do the poems add to and amplify the album's concept and theme? “The Jellyfish” happened live one night while Ralph was struggling to recall the lyrics to “CMND/CTRL.” Anticipating an oncoming panic attack, Roman piped in with a semi-autobiographical account of his love-drunk misadventures with an aquatic invertebrate. “The Man in the Padded Room” is, we believe, an actual live recording of a senile man who wandered into the vocal booth and mistook it for a padded containment cell. The Epilogue is just Ralph rambling incoherently while high on a cocktail of psychedelics. These recordings found their way onto the album because, again, we have little to no idea what we're doing. What's next for Trauma Cat? Ideally, not much. But, unfortunately, we have a second album nearly finished and quite a bit more material written beyond that. There’s also a lot of “content” not otherwise known as music in the pipeline, we’re sad to say. So, really, as much as the band would like to throw in the towel, we seem to be hopelessly caught in the merciless gravitational pull of the black hole that is our collective creative endeavors. Sorry about that! Instagram Facebook

Constantly delivering a raw and thought-provoking portrayal of his emotions, the singer-songwriter, and diverse artist Perry Ripley reflects on easier times with his recent single, "Uh-Huh." Although his career launched in 2018, Perry Ripley has become well-known for his moody atmospheres and wildly original lyrical content, bound to captivate any listener who lands upon his broad stylings. Now gearing up to release his forthcoming sophomore EP 'Cocaine Love' on April 26th, Perry Ripley graces us with the project's lead single, "Uh-Huh." When asked about the single, "Uh-Huh," Ripley stated, "-the lyrics reflect times of nostalgia and the inner monologue of someone who is struggling to move on." While the sonics radiate a magnetic and emotional atmosphere, Perry Ripley expresses his inner thoughts through delicate and saddening lyricism. When listening to "Uh-Huh," we're graced with a transcendent synth that pierces through the song with ease and tenderness. While the sonics and instrumentation begin to expand through a somber string section, delicate down-tempo drums, and soothing piano melodies, Perry Ripley joins in and lets us into his emotional story of two lovers who were continually out of sync. Taking a deeper listen to Perry Ripley's lyricism, he tells a rather poetic and heartfelt story of his recurring flashbacks to a time where everything seemed too perfect while also comparing those moments to today's struggle and strife. About halfway through the song, a powerful bass-like synth begins to pulsate and leaves us feeling exhilarated alongside the expansive sonics and crashing instrumentals. Congratulations on the release of your powerfully emotional single, "Uh-Huh." Was there a specific moment that pushed or inspired you to create this piece? Thank you so much. Well, I was sitting in my studio very late at night with my guitar and trying to find the right melody for my new song and I had severe writer's block for weeks. Suddenly, the hook came into my head, so I rolled with it. I played the chords on the guitar raw, and this is what ended up in the final song. As I was playing the lyrics just flowed and I spent about 6 hours locked away until the song was finished. How did you create the sonics and instrumentals within "Uh-Huh" to offer the same emotional nature as your lyricism? What did your creative process look like? I wrote this track completely on my own on my guitar. It was actually one of the easiest tracks I’ve ever recorded in the studio because I already wrote the chord progression and from there I just built around the guitar, added the beautiful strings along with the complimentary drum track. I am always at my most creative very late at night and will often just sit in my studio and flow and create until I find something that sticks. Why did you choose to release your single, "Uh-huh," prior to your forthcoming EP 'Cocaine Love'? How does the single sonically or lyrically prepare us for the project? Uh-Huh is my favorite track on the album and I could not wait to release it. I wasn’t actually sure on which track I should release first but I met with my PR team and we came to the decision to release Uh-Huh first as we thought it would be a good taster of the album for people and hopefully would hook them into wanting to hear more. What sort of direction did you take with your forthcoming EP 'Cocaine Love’ and how does it contrast your first EP 'Set Fire to the Roses?' Set fire to the roses was more of a compilation album of tracks I had written and recorded from a young age and I was still learning how to put an album together and how to release it etc. I put together the 6 tracks and just released it into the world. With Cocaine Love, I had spent many years building my experience with the studio, writing, and being a more well-rounded artist. I wrote and recorded this whole album with the same concept in mind and I wanted this album to all be cohesive and flow together. I had done a lot of research and prep time with this album to make sure I was following the right directions and going through all the correct channels to try and make the most out of my hard work and effort and I just hope people enjoy listening to my album as much as I enjoyed making it. Instagram Facebook

Floating in from Brussels, Belgium, the pop artist, singer-songwriter, and producer Flore continues to push boundaries of contemporary pop music with her latest introspective single, "Malad(i)llness." What's interesting about Flore's style and brand is her ability to deliver profoundly personal lyricism over a warm synth landscape, offering listeners a deeper and darker edge of pop music. Painting a world of feelings and emotions through her music, Flore is constantly on the lookout for new ways to explore the feelings, sounds, and colors of her musical world. More recently, Flore traveled into the depths of lyrical despair for her latest release, "Malad(i)llness," while allowing listeners to connect with her on a more personal and genuine level. While the instrumentals offer the warmth and dreaminess of contemporary electro-pop, Flore offers a sweet-sounding performance in both French and English. Diving into "Malad(i)llness," opening with harmonious background vocals, soothing pads, and mellow electro-pop keys. Once the down-tempo kick makes its way in, Flore begins vocalizing her heavy emotions and in the most intriguing way, as she exudes nothing but pain and strife through her heavily emotional vocal delivery. As she opens the song with her French lyricism, Flore later makes her way to the second verse and effortlessly switches to English. Elaborating on Flore's lyricism, she depicts incredibly emotional and gut-wrenching scenes of getting caught in the midst of an inner storm where sadness seems to prevail more often than not. As the sonics and instrumentals continue their soothing and ethereal journey, Flore makes her way to the outro while leaving us in awe of her attempt to challenge various stigmas of contemporary pop music. Keep an eye out for Flore as she continues to represent a different aspect of modern-day pop with her deeply emotional and moving single, "Malad(i)llness," available on all streaming platforms. Listen to "Malad(i)llness" here. We highly appreciate the relatable and emotional themes within your recent single, "Malad(i)llness." When did you begin thinking of ideas and concepts for this song? What inspired you? Malad(i)llness came about at a time where I was feeling low around summer last year. I was in the living room with my family as we were discussing Alzheimer's disease and that’s how the first verse was written where I compare sadness to the disease. The metaphor stuck with me as I used it as a thread throughout the song with elements such as antidepressants being magic potions, comparing the illness’s lifespan to the number of time months I was depressed for, etc. I think it subconsciously also relates to the frustrations I can sometimes feel to the fact that mental illnesses are extremely serious and therefore as dangerous as other diseases that are more accepted by society. Why did you want to capture both French and English lyricism within your recent single, "Malad(i)llness?" I always found writing in English much easier than writing in French, maybe due to it being more personal, maybe simply because there are a million ways of saying one thing. Depression is something I dealt with whilst living in Brussels as well as when I lived in London, therefore I wanted to relate to both parts of me and both my experiences. Writing it in both languages felt like me being as authentic as I possibly could, which is what I wanted to do with this song. Are you familiar with writing such vulnerable and deeply emotional lyricism, similar to the theme within "Malad(i)llness?" Do you face any challenges when opening your heart for the public to listen? I’ve always been extremely open with my feelings and emotions. I have always normalized talking about dark subjects such as mental illnesses. My lyrics have always (and I believe, might always) be more on the sad, darker side. I tend to find writing about simpler, more upbeat, or joyful subjects challenging, which is something I’m currently working on. I believe what was most challenging with this song is that due to the subject of the song, people tend to think I feel a certain way when it got released, whereas those were feelings I harbored a few months back. Did you produce the smooth sonics yourself within your single, "Malad(i)llness?" Or did you work with other producers/engineers for this process? Malad(i)llness is the first song I’ve released, that I’ve produced this much. The song was written, composed, and produced by myself; however, you would not be listening to the same song without the help of Miguel Leon, who helped me out with the production as well as mixing and mastering the track. He is the absolute best. What would you like new listeners to know about you and your music? Hi. My name’s Flore, I tend to write a lot of sad songs cause they make me happy. I hope they can make you happy too. Instagram

Crawling from the depths of sanity meeting insanity, Asterous is a Vancouver-based dynamic duo creating songs that blur the lines of good versus evil, growth versus destruction, and emotion versus apathy. Through late nights where the streetlights have been burning for hours, and even clubbers and night owls are thinking about bed, Asterous answers the sacred call to wield their musical weapons; to listen, play, sing, and compose. With the release of their self-titled EP, 'Asterous,' the five tracks offered up float in their realm of musical revelations. Through elements of feeling and sharing the ‘Aster’ amidst the disaster, listeners can expect vast moods and haunting spirits to surface. Commencement of the bewildering creation wavers in the mystically proposed soundscapes of “The Fall.” Unleashing an ethereal ambiance that is met with victorious tenors, the futuristic elements that kick off the composition transport your mind to the depths of possibility. Breaking into reverberated guitar riffs poignantly performing notes of triumph, the tightly knit drum patterns seek their way into the musicality in a profound manner. With vocals that gracefully sweep the soundwaves with conviction, this is the brilliant start to 'Asterous’ sonic voyage of components surfacing from the unknown. Ready to embark, we fall into the lush guitar solo of “The Fall,” as we get swept into a universe that we’re eager to explore. Taking our attention to ominous elements best served in a flourishing environment of uncanny deception, “Heroes,” heavily sways into the themes of the opening lyric, ‘this is the way the story goes, never meet your heroes.’ Bringing focus to the succession of high-impact energy that greets delicate resonance fostered within this record, the narrative is one that many are familiar with. Holding someone high on a pedestal can only result in expectations to be let down. As the textured layers through the progression of “Heroes,” emits the faults bared by such silliness, the incorporation of foreboding vocals compliments the theme in a unique manner. Incorporating subject matter of rejecting mass conformity and genre-specific norms, “Murder the Machine,” approaches the wisdom released in the overall sequence of songs in 'Asterous.' Creating an elusive universe that is heavily loaded with enigmatic fortitude is just your average Tuesday for Asterous. For their rapidly growing fan base, it’s the conquering notion that we can fight the system in all ways proposed as long as we fixate upon unity. Conveying such impactful messaging through an energetic fury of metal forward rock, Asterous has us hanging onto the edge of our seats with the amplified growls, guitar solos, and rage that describes the demise of society thinking for themselves. After the brilliant execution that reigns from the previous records heard, Asterous allows us to settle into their tizzy of tantalizing hues as the elusive atmosphere of “At the Edge,” elopes with authenticity. Through the radiance of an inviting kingdom that hails from the euphonious vocalization, the gentleness of this piece slowly progresses with harmonies, electrifying guitar riffs, and prevalent keys. Creating a unique fusion of origins that ramp up into the honesty we hate to reveal to ourselves, abstract lyrical motifs such as ‘I can’t be trusted to be here on my own. Standing at the edge so many miles from home,’ have us in a frenzy of emotion-filled thoughts that lie within. Reaching the final song and end of our auditory excursion, the irony laced into the song title given to this piece directly allows it to shine in its order on the tracklist. Sharing a reflective piece of sincerity in the striking layers, we’re gently released back into our day-to-day lives as the escape from reality which is Asterous leaves us with a thought-provoking essence to feast upon in the shimmers of light through a cry for help. “Afterthought,” carries minimalistic instrumentation of major piano chords playing along as the evocative vocalization in its various layers and textures fill the spaces between each note performed in the grand release that is their self-titled EP 'Asterous.' Congratulations on the release of this project! ‘Asterous,’ takes us through highs and lows as the anticipation never steers us wrong in this composition. What inspired the concept behind this EP? Thank you very much! This EP was actually heavily inspired by comic books (yes, I am a nerd). The stories, the vivid imagery, the heroes, and the outlandish villains. I think that’s why the EP takes you through so many different emotions because as a band, we expressed ourselves in a way that would capture the mood of a particular character and their journey. Writing from the lens of a fictional character (imagining their lives, traumas, triumphs, and failures) helped us to set a scene, and in general, allowed us to really open up and be free. We also wanted to reflect the surreal stories with our artwork/photos as well as you might notice. We love the sound that you have created for yourselves! How did Asterous come to be as a dynamic duo? What have you taken away from this debut release? Thanks again! Asterous came about thanks to the isolation that came along with the pandemic. We had written bits and pieces of music over the years but never seemed to be able to put it all together into something substantial. The time that working from home and isolating afforded us allowed for the intense focus needed to really create and compose. We were able to set up recording spaces at home and could hop in there in the middle of the night (my most creative time apparently), to record. We owe so much to a fabulous producer in Finland through Sonic Pump Studios named, Nino Laurenne. He was absolutely incredible in offering us guidance and great tips on recording by ourselves at home, and we were able to work remotely (and very effectively) together from opposite sides of the globe. He was responsible for mixing our songs with love and care. In fact, he seemed to understand right away that we wanted a BIG European sound…we wanted a mood and emotions! We had difficulty finding this support, or even communication here in Canada. Creating this EP has really allowed us to understand that nobody should ever settle for mediocrity with their creations. Create what you feel proud of, what honestly represents your vision, and don’t conform just because you might not be creating songs that are considered to be, ‘popular’, or what you feel might be a success based on what others are doing. That’s what we really came to understand anyway. Do you happen to have a specific song that resonates with you more than the other tracks featured on this project? Personally, speaking for myself (as the lead singer), what resonates with me truly depends on how I’m feeling at any given moment. I love them all for different reasons, like children you can’t choose between. Afterthought is the most stripped-down and raw tune and always hits me right in the heart. Murder the Machine gets me pumped up and feeling aggressive. Heroes just make me want to jump around, and I love the message in the lyrics. What does this project say about you both as individuals and as a collective? I think this project says that we are collectively a little, ‘extra’ …lol. We like intricate and elaborate sounds, and weaving many layers into the music. Individually, one of us brings wild creativity and the other brings the essential technical skill. We believe it is a great balance in terms of a partnership and we both possess what the other lacks. Hence the dynamic duo moniker! Unraveling the deep themes and messages weaved into this body of work, what are you hoping that your audience takes away from this EP in its entirety? Our hope is that this EP takes people on their own individual journeys. If the music makes the listener feel something…anything (positive or negative) to remind them that they’re not dead inside, that is a great success in our books, (it’s a bonus if the listener can connect the theme of the song to any particular hero or comic book story as well). Thanks so much for the interview, BuzzMusic! Instagram Website