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Daniel Ojo makes the type of Gospel music that you'd want to listen to every day. Hailing from Ottawa, Canada, his congregation of believers under the cognomen, The Psalmist Music, spreads love through their sonic amalgamations. By gathering the touchstones of what makes worship music uplifting, like; anthemic drums, echoing harmonies, and dynamic transitions that swell over-enthusiastic top-lines; and utilizing all these crucial components to blossom over God's uplifting bestowals. His latest single, "Solid Rock," employs much of the same sonic strategies. Daniel hones in on his tight band's energy and ushers this song's message forward through a five-minute worship performance that demands a standing ovation by any standard; developing and shifting into broader and more intense as it presses on. It's a powerful number reminding believers that God can be their refuge and that they can always look to him as an unbroken foundation when in darkness. As you traverse through the uplifting atmospheres of verse and chorus, the drummer blast over his tom-toms with effortless speed and a full choir harmonizes over Daniel's cherubic mantras; tailing the gospeler as he sings: "Lord, you are my solid rock!" When the sonic environment slowly develops into its highest worshipping maxima, an array of delightful synths, scintillating guitars, and synergizing keys erupt like an amalgamated wall-of-sound in support of Daniel's God-given gift of singing. There's truly no one more suited to deliver that message than the talented ensemble working with Daniel Ojo to produce "Solid Rock," and it's sure to have listeners rewinding for more. What were the primary emotions that led to writing and recording "Solid Rock?" Primarily, God led me to write this song from one of my favorite scriptures - Ps. 46 which then ties to my feeling of just being overwhelmed with everything going on, and the current hopeless state of the world. Why do you think "Solid Rock" manifested itself in you during the challenging times associated with 2020? 2020 has been a difficult year, full of many ups and downs, losses and disappointments, success and failures, despair, fear, anxiety, pain and to top it all, the relentless COVID-19 disease which has taken a lot of lives and put the world in a standstill and out of order! But God has always reminded me that He is still here even in the midst of everything, He is in control, steadfast, unshakable, and unmovable and I can trust him completely. There's no better time to share "Solid Rock" than now. How did you go about incorporating so many different instrumental elements into "Solid Rock" without it taking away from your core message? Working with really amazing and talented producers/musicians of like minds such as Hillary Godwin, Lacy Comer, Kemy Siala, Johnathan Miller, Dan Shike & Daniel Ayitta, people who understand the balance between the message the song carries and are able to also connect to it while also delivering an excellent instrumentation and music production really makes it a lot easier for me. If you could give your audience a few words that would act as the prologue to the experience behind "Solid Rock," what would say and why? Don't give up, no matter how hard or difficult things might seem, God is in control! What has been keeping you inspired in 2020? Keeping my eye on Jesus, trusting him completely, and never giving up or losing hope. Instagram #BUZZMUSIC

Multi-talented electronic producer, Robbie Washington better known as “Xanity” is making herself known in the Houston area especially with her latest creation, “What You Need.” Her passion for music started to develop when she began playing drums at a very young age. As she grew older, her creative appetite cultivated and she decided to pursue a career in music getting a degree in Audio Recording & Technology. Originally, she was an independent rapper who was trying to make a name for herself in the Houston area but quickly discovered that she loved the creative process of producing and writing songs rather than being on stage, so she decided to pursue the route of becoming a producer. As “What You Need,” begins, we are greeted with a dreamy atmosphere containing the elements of sparkling and warm tones amidst the ambiance of big city traffic. In this purely instrumental, electronic production, we hear melodies of soft-spoken vocals acting as an instrument themselves that send chills down our spines in a heavy and resonated environment. The airy and delicate mood throughout the entire piece of work puts us in a trance with the soft and uplifting qualities Xanity blesses upon us. Each element brought together continues to add a new essence before closing off this story and the instrumentation hits the musical components exuded flawlessly throughout this sound voyage. We can’t get enough of the production quality from Xanity. This record definitely has us wanting to be immersed in the big city lifestyle full time. Congratulations on the release of “What You Need.” What is the meaning behind this release and what would you like your fans to take away from it? This song is a stepping stone for my career since I’ve decided to rebrand my music and my sound. The sound doesn’t really have an emotional meaning to it that people can relate to, but for me personally, this song means everything to me because I’m finally at a place where I can truly show everyone what I’m capable of. Could you please tell us a bit about the vibes of the studio session where “What You Need,” was created? The session for this song was quite interesting. I originally was listening to what you need by JoJo off of her new album good to know And I wanted to make an instrumental that was similar to the song but one of my friends who just happens to play guitar sent me over a guitar track And asked if I can make something with it. So the song was actually supposed to be an R&B song but it turned into a future bass/ambient chill EDM vibe. When creating a single like, “What You Need,” who is the target audience that you have in mind? I never really target an audience when I make music. I’ve had this motto like going on in my music career is that basically is if you like my music you like it but if you don’t then you don’t everyone’s entitled to their own opinion and not everyone is going like my music and that’s okay. In terms of musical influences, who do you look up to? Oh, that’s a long list but I’m a keep it short. Number one on that list is Demi Lovato. Back in 2014 when my grandmother passed away I was a wreck I couldn’t eat I couldn’t sleep I couldn’t think I was having like five and six anxiety attacks a day and my mental health WASNT at the greatest during that time so I turned on her music because I could relate to her lyrics in a way that I couldn’t relate to with anyone else. The second artist that I look up to is NF. I discovered him back in 2016 when I first started college a friend of mine introduced him to me and I got hooked on his lyricism. He expressed his pain and suffering in ways that I have never actually heard before in rap music and I grew up on rap music it was always around me people were always listening to it when I was younger there was never really a day when I would go without hearing it. When I heard how could you leave us I wanted to create something similar to different at the same time and thus the song the last thing I said was born. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music? The lockdown itself was a blessing and a curse for me but more of a blessing because since I couldn’t go anywhere or do anything outside of my own house I literally ended up locking myself in my room and my studio coming up with different ideas for various songs that I wanted to come up with and make. I would sit and watch August Rush for days on end and study the symphony at the end of the movie. Trying to pull inspiration from there. Like for the next song I plan on releasing I ended up blending an orchestral sound with future babies kind a like Illenium did in his song lonely. I’m looking forward to when I finish that song because I shock the hell out of myself when I create it. After all, that song in particular was actually an accident. I was just layering different sounds together and I got sort of like a Like the orchestral film scoring sound that you hear in the movies. But to actually answer your question I’m inspired by the fact that music is a universal language when we were in lockdown I couldn’t see my friends but when I would talk to them they would recommend different songs I should listen to and when they did that they were indirectly telling me how they felt which I didn’t know at the time but I understood it through the song if that makes sense. Instagram #BUZZMUSIC

The Oakland Singer/Songwriter Jane Handcock takes listeners through a vastly modern R&B dream with her recent hit, "DOA." With her highly anticipated album "Fa Real" released on all streaming platforms, Jane Handcock has shown incredible growth and maturity since her first few releases. Creating music straight from the heart while singing and rapping to display her versatility, Jane Handcock is indeed an artist to keep an eye on. Her single "DOA" submerges listeners in the sweet and sultry world of R&B, while Jane Handcock delivers her mesmerizing vocals with deeply heartfelt lyricism. While riding the blissful beat with elegance and pride, Handcock tells a highly relatable story over top of captivating production. "DOA" calmly opens with drifting R&B production through tapping trap drums and Jane Handcock's warm vocals. As she begins questioning someone's intentions and what they're looking for in her, Handcock delivers her lyrical content with a tremendous sense of pride and confidence. The supporting production continues to drift in the background through subtle pads, soft keys, and intoxicating sub-bass that pulls us in deeper. As the track continues, Jane Handcock's surreal vocal layering offers incredible harmonies that speak to the listener's heart and soul. Delivering a highly reflective and introspective piece with "DOA,' Jane Handcock spills her heart on this track for listeners to find peace and bask in the song's universal concept. We love the raw emotion and heart you've infused into your track, "DOA." What inspired you to write a heartfelt song questioning someone's intentions? Thank you! Phone conversations with my friends really inspired “DOA”. At times in my circle of friends, we find ourselves interested in a new “prospect” & then maybe a week later, he ghosts one of us or he does something wack to eliminate himself. “DOA” is definitely one of those fun ways of telling someone not to play with your feelings or it’s pretty much over. How did you create such a warm and reflective atmosphere for your track "DOA"? How did you shape the sonics to deliver the same vibe as your lyrics? I just feel. I’d be dishonest if I said that I’m strategic in how the sonics & lyrics align in my songs. I freestyle a lot. I just know that there’s a certain feeling I get & when I don’t get that feeling, the song isn’t it for me. “DOA” just felt right. We've heard that you recently released an album titled "Fa Real." Could you take us through the album's theme and concept, and what the project means to you? “Fa Real” is basically a timeline & story of what I feel & experience. Those who know me, know that I’ll always the phrase “fa real” in my sentences/lingo lol. I felt that “Fa Real” described the songs & mood for this body of work based on the topics I touched on. Everything from, going to chill with your boo to feeling played to being frustrated with the ways of the world we live in right now are all real moments. “Fa Real” is for those who relate. Most likely when you listen, somewhere in this project you’re gonna agree with a “fa real” lol. We can't help but notice the modern artwork for your album "Fa Real." Could you tell us the significance of the artwork and the role it plays on the album? Big shoutout to the one behind the artwork, Davis! I wanted a cover that everyone could grasp right away. I also love cartoons so, I basically wanted a visual [in cartoon form] that depicted who I really am. A young woman who’s been kinda stuck at home like a lot of people at this time, holding my cat & working on my computer. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music, this year I think my biggest source of inspiration was always focusing on me & what I like to create. I spend the most time creating & honing the skills I do have & I just ultimately life with a crazy, psycho based faith that nothing or no one could ever stop what’s to come for me. Right now is a time for me to stay diligent & I believe it’s working for me, more than it did pre-COVID. Twitter #BUZZMUSIC

New England Patriot turned independent R&B artist Eric Lee performs under the cognomen, Danté Most. His latest release “MATRIX” started as a beat stored on his PC for 4 months when he revisited the original idea he found that it was overwhelming. He started to re-work the track by stripping it down to the key elements and this is when the lyrics emerged into the track. During the creating of this track, Danté says that he was both “exuding control” and constantly allowing himself to be “vulnerable”, saying this track “project’s confidence with a hint of innocence." In a recent interview with BussMusic when asked about the story behind “MATRIX” he said that “We all vie for connection as humans, but how that looks for everyone is always different.” he mentions that the lines between “possess” and “protect” are blurred throughout the track. Be on the lookout for Danté Most as he plans to release another single shortly, and will formally introduce the encompassing EP, 'ISO' to be released soon. To learn more about Danté Most click here. Instagram Website #BUZZMUSIC

Exceptional Singer/Songwriter L.E.E recently released her debut solo single "Black Queen," and this uplifting anthem is full of passionate lyrics, and showcase’s bold confidence aesthetic. In an interview with BuzzMusic L.E.E explained that Black Queen originally started out as a poem she wrote in honor of Women’s History Month but during the “protest for Breonna Taylor and George Floyd, [she] decided to revamp it and make it like an anthem for black women” say’s L.E.E. This track was artistically challenging for L.E.E as while she was recording the track it needed to be recorded at home due to the restrictions of quarantine and also she needed to keep quiet while her newborn was asleep. L.E.E. which stands for "Love Expressed Endlessly", uses music as her personal outlet. She is an empowering artist who’s focused on the vulnerability and truth in her songwriting. During the hard times of 2020 L.E.E is inspired by the vision of her family which has motivated her to continue to do what she loves. Learn more about L.E.E here. Instagram Twitter #BUZZMUSIC

As a “one-liner” rap prophet, T.M knows how to create experiences that we don’t want to miss out on. This flourishing artist has captivated us with his latest single, “Bentley Spaceships,” featuring RiFF RAFF, and doesn’t plan on letting his foot off the gas anytime soon. He has a loud-approaching pace in his delivery that complements his heavy-hitting lyricism over trap beats that create an unapologetic dynamic. Especially when he links up with RiFF RAFF. He leaves us all in the dust of his intoxicating approaches that have us not wanting to miss out on anything he has in store. Oozing with confidence and the power of the intoxicating instrumentals of BG3NIUS that accompany his fervent swag, T.M has us all on the hook during this modern era of Hip-hop. We think it may be hard to follow after the synergy exuded on a record of this caliber, but time and time again, T.M blows us all way with the tricks he has up his sleeve and shows us why he is the artist he is today. Learn more about T.M music here. Instagram Facebook #BUZZMUSIC

Sailing off the whirlwind of their anticipated upcoming EP, The Wistful Larks release a cover of Post Malone's, "Allergic," featuring a hearty abundance of rock provoked sonic vapor. It's a bid to develop their latest sonic aesthetic while also paying homage to their inspirations by taking an original urban concept single and decorating it with retrograde instrumentals, fashionable riffs, and an idiosyncratic approach to vocals; sounding something like a mix of The Killers and an early 2000's the Arctic Monkeys. Compared to the original, The Wistful Lark's version of "Allergic" doesn't overlook the swaying rock 'n' roll-inspired cadence behind Post Malone's meticulously articulated contemporary productions. In fact, they double down on that rock-influenced characteristic of the song. Festering over clean-driven amps, hunkering drums, and a swoony vocal tonality, this Chicago-bred trio takes on a big assignment covering one of the most prominent names in contemporary music, and they come out the other end with a triumphant rendition. Decorating the topic of Post Malone's substance-induced turbulence with scintillating guitar solos and animated transitions that carry you into the well-known hook, "Too bad for you So sad, but true." The band maintains a lithe silhouette throughout despite the melancholy diffusing from the lyrics. It's inspiring to hear the innovative approach these budding artists take when presented with the challenge of taking something prominent and rendering something separate, but close at the same time. Their cover of "Allergic" is a welcoming introduction to the new catalog The Wistful Larks plans on dropping, and it's got listeners itching for more. What sorts of emotions were you trying to focus on in your performances for "Allergic"? Were you trying to mirror the same sentiments Post Malone did on the original? I think the sentiment overall is the same. I think the approach and how you arrive at it is different. We grasped more on that “demons” aspect of the song and brought out the energy and maybe stuck a bit of angst in the track. Why was Post Malone the choice behind the sorts of energy and vibe you wanted to draw incentive from for your newest upcoming music? His dynamic range and color are similar to what we try and achieve. He can go from an incredible hype track to a meaningful somber one and manage to keep you engaged. He’s also great at balancing the dark and bright in music within his writing. Creating a sometimes dark atmosphere but then filling it with energy and hope. It’s those human elements that inspire our writing. Can you run us through the process you took to create this cover? Where did the journey start, with a riff, MIDI notes, or maybe a drum-beat? It started and centers around that intro bassline which was originally a guitar riff. We were also trying to figure out how we could make this cool and make sense with primarily guitars. We used a vintage Magnatone amplifier with vibrato to get those tones you first hear when the guitar comes in. I think that was the point we knew it would work and that we were making it uniquely our own. If you could prefix the experience and intention behind your cover of 'Allergic,' for your listeners, what would you feel the need to say and why? Enjoy the track. Our goal was to make simply a fun listening experience. We also wanted to showcase our sound and the vibe we’re going to create with our original music. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music, this year? Well, we were lucky enough to finish writing and recording before everything stopped. For us, the process of unveiling these tracks to fans and creating the visual identity for this next record is getting us through the year. Instagram Twitter #BUZZMUSIC

Toronto, Canada, is home to a diverse volume of upcoming talent. Ever since a couple of months ago, when like a set of dominos, bands and artists abandoned their pandemic debuts and mixtapes due to circumstances, the city has been itching for something to drop that's potent enough to leave a memorable mark. Well, as if the stars aligned, and the gracious powers above planned it themselves, the life-long party-going mates making up BAD HOLIDAY land on the music scene like a prayer that's just been answered, and it couldn't have come at a better time. With a combination of 90s inspired garage-punk, nerd-rock, and pop-punk fathering top-lines, their debut album, 'Nineteen,' presents untarnished from the dismay festering of a pandemic age, frequently gaining leverage from the nostalgia of the past, and heavy introspections of everything surround that tender age; from finding yourself, haze-inductive partying, and experiencing juvenile love. The four-piece party-rockers pay to tribute their rock ancestors with "Watery Eyes," with that feeling of wanting to march up to your crush and tell her you're head over heels, while whirling organ synths, a hook howled with adolescent harmonic yields and a swaying cadence that floats like a canoe on a buoyant current leads the ways into a shuffling love-torn anthem. It's a texture that BAD HOLIDAY can't avoid in their music, encapsulating the best parts of what makes that genre of rock 'classic.' It's already part of the artistic intuitions that led them to their upbeat debut's aesthetic. Whether it's the anthemic nature behind 'This Ain't Love,' and its contributions to the debut's rock fueling juices, or the existential nostalgia they encounter on 'While We Were Cool,' BAD HOLIDAY perpetually serves to entertain with riffing guitars, husky-sounding drums, and a pliable sense of looseness behind their garage-inspired performances. It's a refreshing sonic encounter as you're chaperoned through a 41-minute collection of youthful buzz, good-vibes, and energy-packed accounts of retired days, which is plainly a part of what makes this debut one of the most entertaining and memorable of the year. From a youth spent bobbing between band practices, or partying away the daylight and making memories with your punk-brat friends, BAD HOLIDAY shuffled through it all as a unit, establishing their past as the running theme for their youthful and carbonated narratives. Every influence they extract from—pop-punk concerts, youthful-filled romances, summer-reminiscent daydreams, or detox hazes after a night of partying—is manifested sonically through their charming high-energy approach; faithfully implementing whacked-out drums, grilling electric guitars, and raspy vocals of the best punk variety. "Can't Control" tightens its brawn in a show of aggression and ruminates over its own urges, "I don't think that any of your bright ideas are better than my own, I wanna rip right into the atmosphere and out into the unknown!" The number is really a "pedal to the metal" driving tune, with all its grueling hot-blood gesturing swallowing everything in its path besides scintillating guitar solos, thrashing cymbals, and potent synths. "Shoulda Never Gone" concentrated on a relationship constrictive and toxic in nature, crooning over a chugging hook that prospects at being their debuts most magnetizing sonic function. Here, BAD HOLIDAY serves us PUP-meets-Remo Drive, conversing with sonic squeals and a discernable rasp from the lead vocals ("She said, you shoulda never gone, I packed the things I moved along,") and exposes the rapture of moving on. The agile, melodic embellishments that highlight "19" produce humid carport fumes over the pop-punk hook, as the band cruises with a unifying roar that carries the revenants of college parties and nights out with the boys to an exacting accuracy. The concept of youth and nostalgia, from high-school to college, from pop-punk to classic rock, and all nerd alternatives alike that ribbons and connects throughout 'Nineteen' never feels like it's kitsch or like an obvious cliché; instead, it's a collection of vivid projections into those adolescent moments, and the emotions they produce through nostalgia. The album's closing portions burst with "Just Wanna Be," a scantier, rock anthem mirroring love-song that leans on a falsetto garnished top-line and guitar riffs that ooze their most enthusiastic melodies yet. Then, in the terminal moments, BAD HOLIDAY devastates listeners with a love-sick ballad. Between the reverberated squalls of "You Don't Love Me Anymore," our lead finds himself being driven to the ends of his mind within the relationship. Facing outward, the narrative chronicles the domino-like outcomes that lead up to losing your heart, beckoning back to the frustration of "This Ain't Love": ("well now you're gone, and I'm let chasing my tail around, even though you drive me crazy, this ain't love.") 'Nineteen' takes you back to growing up at its most glorious, peaking at the ripe age of nineteen, and enveloping listeners in all the attached emotions—especially in ones that are tightly strung around love. The brilliance of BAD HOLIDAY's debut is in how it achieves the nostalgic impression of youth over twelve tracks that traverse between pop-punk and garage. Why try to reminisce about the past when you can jump head-first into the nostalgia-inducing journey this Canadian band renders-up like punk veterans over their debut LP? Hello BAD HOLIDAY and thank you for catching up with us at BuzzMusic. Can you run us through how you made 'Nineteen' happen during a pandemic? Where did record you record the LP, and what was that process like? We actually got lucky in that regard, as the entire recording, mixing, and mastering process was completed before the pandemic struck. The recording was smooth as can be as we all had a lot of time to work on exactly what we wanted. As for the location, it was a dream. Our drummer Ryan Schurman, got lucky when he was asked to look after an incredible property in Elizabethville Ontario. A converted church, this place was ideal acoustically to record an album, and that’s just what we did.  Starting from demos written by lead singer and rhythm guitarist Edward Kennington, the band holed up at the church and laid the whole thing down piece by piece.  Ryan led the charge with engineering and recording and we simply allowed ourselves all the time we needed to get the album that we wanted. Bass player Curtis Crook was the most professional and efficient as he banged out all twelve tracks in a single day, and as you can tell from listening to the album, those bass parts are not only perfect but essential to every track. The drums were laid down by Ryan, who painstakingly figured out the best sound in the massive room, with perfect mic placements for all of his parts. Ed laid his rhythm guitar fairly quickly as well, and then spent a bit more time on his vocal tracks, also taking full advantage of the church’s vibrant acoustics. Our lead guitarist Johnny Keith was the final member of the quartet to record and since the lead guitar is what shines the most, we really took our time on those parts, making sure that everything shone to perfection. After that, we added some additional sounds to the album with some friends of the band really helping us out. Jake Epstein really brightened up the album with some incredible synth, piano, and organ tracks, which are key components to their respective songs, Graeme Gerussi was essential in adding beautiful harmonies all over the record and last, but certainly not least Mimi O’Bonsawin also provided some killer backing vocals and even a lead part on This Ain’t Love. What were some of the emotions and motifs you found yourselves really channeling into for the entirety of 'Nineteen?' Love, youth, and the loss of both of those concepts is the central lyrical theme of Nineteen, with a few stream-of-consciousness tracks thrown in for fun. The album explores new relationships, strained old ones, and a desire to just get drunk or stoned and have a great time. Musically, it’s all straight rock, with some pop and punk peppered in, and we’re just trying to have some fun with the type of music that we all loved growing up. Were there any particular songs that proved to be a challenge in curating for 'Nineteen?' What guided you through your song placement decisions? ​We originally started with 13 tracks. An unrecorded song called “This Is One” was dropped during the early guitar tracking as it just didn’t fit the vibe of the album. Otherwise, for the most part, it was smooth sailing. There were a few areas of technical difficulty as with all recordings, but like the pro that he is, Ryan managed to overcome all of these. ​The tracklisting actually came to us quite naturally as we listened to the rough versions more and more. We always had plans to release the album on vinyl and so we took that into consideration when putting the 12 tracks in order, with a “side one and side two” mentality. We knew that we wanted the album to start with a catchy, quick tune, and so “Pretty Lady” seemed like the obvious choice from the start. As for the finale, we were trying to figure that out for a while, but Jake made the decision for us when he improvised that beautiful piano section that finishes off “You Don’t Love Me Anymore”. Once we heard that, we knew that it was the only way to finish the album. If you could give your audience a few words that would act as a prologue to the experience you intended behind 'Nineteen,' what would you say and why? ​We wanted to capture that “eternal youth” and “endless summer” type of vibe and we’re quite confident that these twelve tracks will take you right to that place. Grab a drink, or smoke, and crank those speakers. Dancing is strongly encouraged. What's next for Bad Holiday? ​Like most bands right now, we are just waiting for the green light to start playing shows. We are aware that it may be quite a while before that’s possible, so getting back into the studio has become our top priority. We’ve already got enough tracks for a second album and we want to get that started right away. After that, the sky’s the limit. As soon as we can play live, we will be jumping into the Bad Holiday Bus and rolling across Canada! Instagram Facebook #BUZZMUSIC

The latest single from RoyStar SoundSick, the LA-based rhymester, draws a long definitive line in the sand marking the separation between his own braggadocious City repping versifications and current new-wave hip hop. "South-Side," which comes with its video feature, finds distinguishment and effectiveness from the others mentions above through the bombastic stanchions it anchors over the comprising focal points within the smooth-swaggering single. Here, RoyStar SoundSick pulls up with his drop-top Jeep, enamoring all he passe along the way, connecting bipartite toplines in the chorus and a yacht-full of boasting over the verse. As you dive into the epitome of monochromatic shots around The City of Angel's "South-Side," RoyStar SoundSick appears. Decked-out in a blacked-out and tailored-made trenchcoat, dripping with probably the most expensive-looking shades you can find at a Burberry near you, and buzzing with confidence over every line. With "keep a couple of bands in the safe, had to ice the wrist, so I went and put a Rolley on it," festooning the opening moments of "South-Side," it's not hard picturing the R&B-reminiscent pads booming out of brand-new speakers in your top-down Cadillac, with a handful of your Hip-hop-loving clique crammed in the back seat, bobbing along to the adhesive vibes dissolving from the rumbling sub-woofers below. When the hook finds its way to the head, the resulting sensation can't be remade. The low rumbling lines from the introduction interweave together with a new sequencing flow from RoyStar SoundSick himself, buzzing with kaleidoscopic texture as the California rapper makes the association to his home-city: "came up on the south side, no it ain't safe you outside." By the time you get past the second resoundings of the mantra-like hook, the concept of buying into the buoyant swagger that RoyStar SoundSick is presenting with every stylish video shot and every curtailing Hip-hop verse doesn't seem that far-fetch. It's that exact notion behind why this L.A. notoriety has already established himself as a household staple in the music industry. Hello RoyStar SoundSick and welcome to BuzzMusic. Where did you shoot Music Video for "South-Side," and what influenced the idea behind that concept? We shot the music video for South Side during a trip to Minneapolis, right next to the Hennepin Avenue bridge Downtown. When you think about what inspired the vibe behind "South-Side," and how the attached Video was shot, what comes to mind as most influential? The bridge landscape was such an iconic scene that I felt the need to add some personal flavor to it. The concept developed from there, with the scenery being the major focal point and myself being included as an “essential accessory” so to speak. Were there any emotions you found yourself channeling into for the aesthetic and attitude you present atop the visuals and sonics of "South-Side"? I really wanted to channel the emotions of the record into the visual, which was more of a laid back, storytelling type of vibe.  Lots of charm, lots of playful charisma; two emotions that I enjoy incorporating into my artistic aesthetic. What were some of your goals behind the Music Video for "South-Side," and did you feel like you accomplished those aims looking back on this project? One of the main goals behind the Music Video for "South-Side"  was that I wanted to give a sense of my personality through the visual, which I feel like we accomplished.  I also wanted to introduce a contextual vibe to the entire “3 Peace” project, which this visual definitely set the tone for.  We’ve got more on the way, with a major feature lined up for the “Run Way” visual. What has been keeping you inspired in 2020? Throughout 2020 I’ve been heavily inspired by the AllatRa movement. I’ve also been inspired by the ideas of progression, peace, unity, and the need to give positive vibrations to the world.  I’m thoroughly excited to use my platform as an Artist as a means to bring these ideas to the forefront. Instagram Website #BUZZMUSIC

Jack of all trades, Rice, releases his long-awaited, hard-hitting single, “Stuntin’ for da Money,” this time recruiting AA Grand in a powerhouse collaboration. As a multitalented artist and activist who wears many hats, Jerard Roosevelt Rice, is a firm believer that music is a universal language we can all comprehend, appreciate, and use to empower one another. As a Hip-hop, neo artist that combines real-life experiences depicting them from different perspectives, you can find Rice in the studio of Hustle Work Grind Records, making music that matters. With a pep in his step and his heart in the right place, he has a desire to spread awareness and overcome any obstacle in his way. All of his projects reflect his passion and ingenuity, including his latest record, “Stuntin’ for da Money.” “Stuntin’ for da Money,” opens up with an eclectic bass line bumping through the speakers before presenting the vibrant and present vocals that Rice exhibits. His ability to deliver rhymes with force is quite impressive, especially with the constant progression the instrumentation holds creating a dystopian ambiance that pulls you in. An early 2000’s nostalgia simmers on the mind with musical components that have you bouncing to not only the rhythm but the seamlessly timed rhyme schemes and lyricism. The dynamic duo of Rice and AA Grand complement each other with unmatched energy. We can’t get enough of this memorable chorus and the energetic alliance between Rice and AA Grand. This record definitely has us wanting to go out and start working double-time towards everything we have ever wanted, thanks to this rising artist. Congratulations on the release of “Stuntin’ for da Money.” We would love to know how this collaboration came to be? Paparatzi produced the beat and mastered the track. AA Grand and Paparatzi had done a couple of projects together, and I was looking for someone who had a different style and could really put a particular touch on the track. I sent AA Grand what I had already recorded, and he said he could hop on the track. Originally Stuntin For Da Money along with my other songs Round it Up Rice ft J-Muzique, Psykasolar, Majesty, and Big Dreams Rice was a part of a project I was working on “Riding With Blindfolds, because all of the songs were about my first years in this industry, the highs and lows, people coming and going, and everyone has a lesson, however even when we outgrow people places or things or even situations, those same people stop messing with you because you changed. It's some of those same people with all the answers just stuntin and they are trying to figure it out as well. I liked Paparatzi, not just his beats and mastering but what he taught me about music as an artist. It is valuable to network and works with different artists and producers to increase your creativity, style as well as attract a different audience. During the creative songwriting process, what was your inspiration for the concept of “Stuntin’ for da Money?" If you think about the Wire with Avon and Stringer being the main characters, both of them were very confident in who they were however when push comes to shove, how do you want your character to be defined. How often do people portray themselves to be different? With a robust and empowering anthem-like, “Stuntin’ for da Money,” Could you please tell us what the energy was like in the studio session for this record? The energy in the studio for me was intense because I had to make something that another artist would mess with and could complement the direction of the track. Both AA Grand and I both agree that Confidence in who you are goes a long way because even when you are the only one who can see your vision, you have to be confident in your dreams goals, and abilities to take risks in order to succeed. Confidence is such a huge part of a song, because how can other people relate if the artist does not even believe what they're saying. My former publicist helped me with the voice play and formulating the words just right to get the right effect. What I like most was that all of us had a professional work ethic and could appreciate critiques. The lyricism is a key component in Hip-hop and you seem to do this effortlessly. What do you do to ensure your wordplay is always on point? The wordplay comes naturally to me because I have always been someone who appreciates language. HipHop dictionary, thesaurus are all resources to find different words or even thinking of catchier ways to say things. I like to make people think, and go beyond what I am saying, and even relate, however in the end, I want my words to inspire, evoke, and empower. Obstacles are like puzzles you figure out, and if you give up every time it is difficult then you will not accomplish your goals. With the unforgettable content that you already have out, we are thrilled for what is next to come for you. What projects can we expect to see and be on the lookout for? I am still working on my EP which I will release next year “Riding with Blindfolds” and it's about not letting the fear of failure life circumstances love, sadness, or happiness you have of doing it alone stop you from your goal.  Having confidence when you are the only one who believes to continue sometimes the road less traveled. Riding with the confidence that if you put the work in that there are no obstacles that you will not conquer. I thank everyone who has been so patient on this journey as I continue to strive for Quality over Quantity. The new EP will not disappoint its new beats from different producers in Massachusetts even as far as the UK.  Happy to say my Brother M-Ezy and I collaborated with Lorenzo and will be releasing Still My Wave M=Ezy ft Rice and Lorenzo on the radio soon and on all platforms next year. We cant wait too! Instagram #BUZZMUSIC