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Coming to us from Los Angeles, California, Ohreo dropped his latest track "Lockdown" from lockdown, showing us his creativity has suffered no setbacks during this challenging time. Instead of becoming recluse, Ohreo reached out to fellow friends and artists on his latest release, "Lockdown." His devotion to creating music that reflects on daily life is what influences him the most. Staying in tune with how others live their lives, Ohreo creates content that understands the struggle and empathizes with life's obstacles, conveying his more important message of hope and triumph. Ohreo's artistic journey has been about finding his voice by living an honest and dedicated life to his greatest passion: creative expression. Through music or acting, Ohreo strives to be unique in all of his endeavors, never trying to emulate other artists that have come before him. To keep his sound unique, Ohreo collaborates with various producers and artists within the artistic community to gain fresh perspectives he enhances his music with. Not wasting a moment of 2020, Ohreo has been busy creating music to expand his musical catalog, and with more spotlight projects in the works, we are certain this is not the last time we will hear from Ohreo. Discover "Lockdown" here. instagram.com/aryaanohri #BUZZMUSIC

The New Jersey-based artists, Okayyy Bee and Les Simple, are back at it again to mix the sound of new waves and modern rap. Their latest release, “Whoop,” brings together the sounds of melody with grit to create counterbalancing sounds that seamlessly fuse. “Whoop” instantly opens up with a dirty hip-hop drum kit that feels reminiscent of classic ‘90s hip-hop, then bringing in a more modern approach to the vocals takes us back to modern times. We couldn’t help but feel like we were taken to the darkest of corners while listening to “Whoop,” the slightly sinister feeling to the record - notably from the tense piano and driving drums. There are honest, and raw vocals from both Okayyy Bee and Les Simple that tells us about the hustle and how working towards your goal can leave you feeling like an absolute baller at the end. From start to end, “Whoop” is full of energy, and we love the evolution of sounds between Okayyy Bee and Les Simple, and we can’t hear what this duo will be coming up with in the future for both their collaborative and solo releases. You can vibe to “Whoop” here. Welcome back to BuzzMusic Okayyy Bee and Les Simple! Your collaborative experience “Whoop” is full of energy from start to end, what was it like to work together on this one? What was that whole creative process like? The experience working together on this track is full of energy and going bar for bar back and forth created a lot of chemistry. We thought about the song on the spot and went from there. When you listen to whoop you are hitting the gym, you’re on the way to the club, you’re on the way to work and you have to play this song to bring energy into your day. We felt that “Whoop” was about the hustle, what does this record mean to the both of you? Did both of you write your own parts or was it a collaborative experience? We hit the studio and just felt the beat, had a few drinks acted like we were at a party and then went in the booth. We wrote our separate verses at the studio while listening to the beat and that was like 10 min tops. The production of this record has a bit of that dirty south vibe to it but the vocals had that modern touch to it, was this a direction you wanted to go in from the start? How did you come up with the beat behind it all? We both are different on solo projects. Les Simple has a boom-bap/conscious flow and Okayyy Bee has a melodic/trap flow. Whether its a collaboration with a rock star, a pop star, an R&B singer or a jazz musician you learn something new and get better gaining new skills going outside of your element. How do you feel both of you have grown from your solo releases to this collaborative one? Did you face any challenges while working together? We never face challenges in music because we make music based off of how we feel at the moment and just go with it. What are some goals you have for future releases? What else is coming in 2020? Our goal is to create positivity and uplift our fans throughout these hard times. We have a duo album that’s coming soon called bee simple. The album is a crazy party from the first song to the end instagram.com/okayyy_bee instagram.com/its_simple88 #BUZZMUSIC

Sephyr Patriq has been writing songs since the age of 10. After exploring the world of theater, Sephry found his passion for the stage and eventually moved back home to Memphis to put all of his musical and theatrical skills to work. Years later, he decided to release his debut EP, Departure 1989, as an expression of uniqueness, loss of love, and overcoming. Sephyr describes his music as poetic pop. You won’t want to miss his new track, “Who? Nobody! No.” In Sephyr’s song, “Who? Nobody! No.”, he captures a dynamic in production that was new for us. Mixing multiple diverse genres such as Reggae, R&B, and Dance, Sephyr managed to create a futuristic atmosphere within the music. We can hear the emotion and loss of love behind these lyrics and musicality, and with a hint of eastern sounds, it’s evident to us that Sephyr knows how to create uniqueness in his music. The sharp melodic hooks will have you coming back time and time again to keep listening. Sephyr release “Who? Nobody! No.” as a track off his debut EP and his first step into the industry. Don’t miss out on this up and coming artist. You can find "Who? Nobody! No." here. Hi Sephyr! We know you started writing at a very young age and used it as an escape during difficult times in your life. What inspired you to write your first song? What made you want to turn it into a career? Hello, thank you for the opportunity to talk music. I wrote my first song when I was 10 years old after listening to artists on the radio and wanting to make song myself. I can't tell you what that song was but I'm sure it was derivative and possibly trite lol. I then began writing more and more and it stuck with me through the years, songs were my emotional blanket, there to keep me warm when the world got cold. I knew this is what I wanted to do, to write songs to help the world to process and get through their problems. So I finally overcame my fears of not belonging to the music industry last year and released my first EP Departure 1989 and the feeling of accomplishment is uber gratifying. You’ve captured such a futuristic vibe in your song “Who? Nobody! No.”. Can you tell us more behind the lyrics of this song and what inspired it? Thank you for the futuristic compliment. This was actually the last song I wrote for my project. I wanted to write something fun, unabashed, bold, and this song came out. I was inspired by the disconnect that I've experienced in past connections with people. How I know that I gave and was emotionally available but it never seemed to work because they weren't giving that same energy. I used to find some way to make it all my fault but I grew and saw that sometimes it's on them. So in this song I lift myself up and I remind whoever it is that I was there, I gave 100 percent, and you're not going to find someone who deals with all of your mess. Nobody, no. With so much theatrical experience under your belt, what have you learned from it? How do you apply this to your writing and production? Theatre is such a power thing. I learned compassion for the human condition at large, I learned how to be open and honest, how to just emotionally put it all out there, also subtlety as well. I take different songwriting structures from theatre and also the ability to break traditional structures from theatre. Also, counterpoint and chordal experimentation from composers like Stephen Sondheim, Jason Robert Brown, Jeanine Tesori, and Andrew Lloyd Webber which I incorporate a little into my background vocals and some of the co-production I did along with C Ma”J”or of Memphis, my main producer for Departure 1989. I have many more ideas to experiment with in the future. Your debut EP, Departure 1989, was your first grand step into the industry. Do you have any goals are dreams to reach for in the future? I want to tour the country in the next couple of years. I want to win grants to help fund the promotion and production of my art. I want to find an Indie label that understands and embraces my artistry. I have a few projects I have been developing. A visual album talking about toxic masculinity and its ramifications throughout history. Also an EP talking about my turbulence in my life and how its necessary to mature. I want to be an artist that helps people and also stays true to my aesthetic and ideals. I aspire to reach the level of artists like Bjork and Imogen Heap. What can we expect to see from you throughout 2020? I want to release the next EP before the year ends and maybe a video for a song from Departure 1989. I feel the songs on there are evocative and can only benefit from a visual. Thank you so much for talking with me and letting me share a bit of my journey. Stay safe and encouraged through this pandemic. instagram.com/sephyrpatriq facebook.com/sephyrpatriqofficial twitter.com/Sephyrpatriq #BUZZMUSIC

Catching the waves in LA is the EDM artist Alexi Diem or otherwise known as GHO$TBOY. Initially picking up music with the guitar at just five years old and then after graduating from the University of Southern California's School of Cinematic Arts. GHO$TBOY has been working in music full-time due to the help of his distinctive sound that captures the audience's attention and has them wanting more. Recently, GHO$TBOY is showing again his ever so unique sound with his release "Not Mine (Feat. Adam Pastel)". "Not Mine (Feat. Adam Pastel)" immediately transports us to an outer world in the intro with the use of synthetic bells that have the perfect amount of bite to them. Then transitioning to the verse, we were introduced to an engaging vocal performance that tells us the story of missing someone you cared about dearly and wanting them back. The cherry on top, however, is the drop within "Not Mine (Feat. Adam Pastel)". GHO$TBOY beautifully crafts an elegant synth and bass groove that is instantly able to get our bodies moving to the beat. "Not Mine (Feat. Adam Pastel)" is a record that you can easily find yourself enjoying at the club, and we definitely cannot wait to hear what else is coming from GHO$ TBOY's definitive style. You can listen to “Not Mine (Feat. Adam Pastel)” here. Welcome to BuzzMusic GHO$TBOY! We’re loving your danceable anthemic tune “Not Mine (Feat. Adam Pastel)”! What was your source of inspiration for coming up with this tune? Did you write the verses or did Adam Pastel? First off, thank you for having me I'm stoked to be talking with you guys! The instrumental is based on a tune that I made while I was studying at USC. I used to release music under my full name "Alexi Diem" and it was very similar to what I have been releasing for the past year. When I changed my name to GHO$TBOY in 2019, I wanted to continue with the same hard-hitting future bass sound and it happened to work that there was already a tune with a good foundation get inspired from. From there it was just figuring out how to make it better and opening up the instrumentals for vocals. As for the actual songwriting, all of the lyrics and toplining was done by Adam after I sent him the instrumental. Speaking of the lyrics, we’re loving Adam’s performance, what was it like to work together? How much of the song was completed before he came on board? Working with Adam was super easy. I've never actually met Adam in person yet but we have the same manager Noah Schwartz and he was able to connect us and really help the record come to life. I gave Adam the completed instrumental and he sent back-vocal takes that he recorded himself and from there it was just about mixing and mastering the tune and making it the best it could possibly be. A highlight of the song for us has to be the drop, what was that whole creation process like? Did you start off with a particular element? Could you talk to us about how you create some sounds? The creation process for me is usually starting with a small idea whether it be a chord progression, melody, or even a drum groove. For this tune, I already knew what I wanted the drop to sound like because it was heavily inspired by an earlier track. It started with getting the chord progression down and then adding the simple melody that goes up the scale. I wrote it with my two good buddies when I was traveling in Sweden and the rest is history. As for the sounds, sound design for this particular genre is very important. The drop is really only a chord progression with a simple melody, bass, and drums; it was all about layering synths to create a sound that would fill up the space. Since moving from Minnesota to LA, how has the shift in city culture affect the music you are creating? What are some of the things that inspire you in your everyday life? Moving from Minneapolis to Los Angeles was for sure a bit of a culture shock. I had been to LA a few times before with my mother to go on sets and watch film productions but I never really got to explore the entire city; I just knew I loved the energy and how everyone was trying to make something of themselves. I decided when I was halfway through high school I wanted to move out to Los Angeles to pursue a career in filmmaking and the fastest route to moving was to attend the University of Southern California. I played music growing up but music production was never really on my radar; I just wanted to join a band and play my guitar once I got to school. My freshman year a buddy of mine was playing with a DJ controller down the hall and I really started to get into it.  Eventually, I started to play parties around campus. I got really inspired by the music everyone was playing and knew that I had to start producing original tunes of my own. I don't think I would have every started producing if I hadn't moved out here. I get super inspired by hearing other artists do dope things. Going out really helps as well. We thank you for talking with us GHO$TBOY! What else can we expect from you in 2020? Thanks for having me! I'm working on expanding my catalog with different sounds and blending genres. I'll be releasing more singles as well as a few official remixes in the latter half of the year and I'm excited to share it with everyone! instagram.com/ghostboydj #BUZZMUSI

"Rolling Stone" commences with a heavenly harp creating a celestial soundscape as we are given flashes of KDFROMTHEPACK fast-paced rhymes fading in and out of the atmosphere. Born and raised in Nigeria, with a brief stopover in the UK, KDFROMTHEPACK now calls Toronto, Canada home. This self-proclaimed "band geek" has had music coursing through his soul his entire life. Carving out a local niche in the Toronto music scene KDFROMTHEPACK is embarking on having his music recognized worldwide. "Roling Stone," features low-frequency beats paired with melodic harp harmonies, ticking percussions, and the other instrument blowing up track is KDFROMTHEPACK himself. His rhymes set the tempo of the track and fly through the soundscape highlighting the melodies produced by the harp and as he stomps his lyrical foot down with the hard-hitting bassline. "Rolling Stone" is an ode to his dedication over his artistic flow. Verses siting lyrics like "Crawlin through the mud now I'm standing on the ceiling," "Really want the pressure I'm going to bring it like a gas pipe," and "they can never match who I beat, they just get it wrong," exhibits the cerebral ferocity KDFROMTHEPACK brings to the table. Do not miss out on this legendary song and discover "Rolling Stone" here. Hello KDFROMTHEPACK and welcome to BuzzMusic. You certainly aim to impress on your latest single "Rolling Stone." Can you start off by explaining the meaning behind this song? Hello BuzzMusic, first off I want to say I appreciate the in-depth feedback and genuine appreciation of my latest single “Rolling Stone”, it shows that BuzzMusic truly has great taste. This song is inspired by an English rock band formed in 1962 called the Rolling Stones. Following the exhilarating success of my first ever performance in late 2019, my new found love for “rocking” a crowd and energetic stage presence made me feel correlated to a rock star; in this case, a Rolling Stone. You rarely hear a harp playing in a hip hop song. Do you always try to explore new sounds when making music? One of the favorite parts of my whole creative process is exploring new sounds. Since a young age, I have always been fully immersed in the world of music and even taught myself to play many instruments including the drums, piano, and the guitar. This has given me the privilege to explore and learn about all the different types of music from Hip-Hop RnB to Classical/Jazz. Due to such a musical past at an early age, my natural versatility has always found its way into the music I make. Not only vocally but also in the instrumentals I carefully choose. How has the music community in Toronto impacted your sound? Despite my many other musical influences, I can definitely say the music community in Toronto has played a huge impact on my sound. Toronto is one of the most diverse cities in the world so it only makes sense that it reflects in this cities music as well. Toronto also has its very own sound that cannot be duplicated anywhere else in the world. Ever since I moved to Toronto I have listened to a wide range of Toronto sounds, especially from the underground Toronto rap scene. Toronto's influence allowed me to merge my own unique sound that I bring to the city with hints of the Toronto culture, to formKDFROMTHEPACK. You mentioned you have been passionate about music from a young age. What are you able to achieve personally when you are able to express yourself through your music? My passion for music has lead me to so many different achievements in my life, but the personal achievements are the ones I value the most. When I express myself through music it really resonates to me is therapeutic and gives me a sense of freedom when I have a lot on my mind and need a way to let it out. I am able to channel all my thoughts, emotions, burdens, reflections, and dreams at that given time in my life and pour it into a song. It is a feeling like no other and I will always be grateful to music for giving me that opportunity. instagram.com/KDFROMTHEPACK twitter.com/KDFROMTHEPACK #BUZZMUSIC

Coming in from Swansea Wales, the ever-changing group Taurus 1984 releases their nostalgic and retro album' Dream Warriors'. The band consists of Alastair Jenkins, Bobby Cole while including other artists like Tim Sudbury, Steve Sax, Abi Davies, and Jeris Spencer for added sonic depth. Their latest album "Dream Warriors" takes us back to the synth-wave sound of 1984. Kicking off their album with the intro track/interlude "One Nine 8 Four", we can already feel that this album will be a cerebral and conceptual piece. As the track opens with white noise and radio static until landing on that groovy station "One Nine 8 Four". As the radio host gives a sweet intro to Taurus 1984 and their album "Dream Warriors," we already shift into the next track. Not to mention, we have a few music videos within this album release, so we've decided to touch on some of the accompanying videos as well. With the next track "Dream Warriors ('20 Mix)", the track opens with the sweet kick of retro drum breaks, low bass-like synths, and vibrant keyboard melodies. Taking a look at the video, Taurus 1984 goes back and forth from vintage imagery in retro cars, performing with that 80's flare with big hair and mood-setting lighting. The track serves us something old and something new, giving us those timeless unifying vocals by Jeris Spencer at the hook, hi-fi electric guitar, and bringing forward the never-ending feeling of positive growth. Opening the next track "Invisible Summer ('20 Mix)", we're hit with nostalgic electric guitar riffs and upbeat drum patterns. A very melodic song as the soft synths really gives us those calm and reminiscent 80's-like pop songs. Taurus 1984 also incorporates a short edit through a video of a female minding her own business and ripping down the pacific coast highway in her corvette. The track gives us a very warm-hearted feeling through added saxophone and those classic clear-cut female vocals. Giving us a track to blast when you're in those introspective summer days, Taurus 1984 knows how to set a precise mood/atmosphere. Moving into a haunting retro beat with "Ghosts," the track opens up with a gradually growing bass-like synth while raining down with powerful male vocals adding warmth to the track. This track runs incredibly deep, highlighting growth in all its ways and forms. With a cleverly-edited 8-bit lyric video, we're really feeling the mellow and introspective vibe of this track. With lyrics that surround a two-sided relationship where views were utterly different, Taurus 1984 builds up these lyrics with energy. It drops the beat giving the track an unreachable climax through sublime instrumentals. As the next track, "Home" makes its way over, we noticed that the track's music video has gotten lots of attention and is continually being recognized. Shot with precision and detail, the music video consists of Taurus 1984 and added vocals from Abi Davies, giving us bright ambiance throughout "Home." While the band continues performing under atmospheric lighting, Abi Davies brings us those 80's music video scenes through talking on the landline and being in the comfort of your own home. Again adding in blistering electric guitar melodies, the track really stands out as a reliable song to turn up when you're winding down at "Home." A serene mid-tempo beat with ambient keys set off the intro for "Callin' You," all while Abi Davies once again brings her bright vocals that highlight distractions after a breakup. She sings lyrics of independence and moving forward, while this being the last time she'll be "Callin' You." Taurus 1984 really brings in a well-rounded and uplifting 80's sound through the brilliant use of synths, added pads for atmosphere, and the sweet aspect of layered vocals. With their music video, Taurus 1984 takes on a passionate performance from the comfort of their own homes during the Covid-19 lockdown/quarantine. They've really brought a powerful breakup song to the table with "Callin' You." We are opening the next track "Icarus" with a deftly produced beat building up energy and waiting to be dropped alongside the rest of the song's instrumentation. Again, heavily tying in those dynamic electronic aspects of the '80s, Taurus 1984 sets off with incredible energy on this track and soars through with blood-pumping instrumentals and Abi Davies' striking vocals. Also adding in that melodic saxophone and hi-fi electric guitar once again, "Icarus" takes us to warm places where we roam carefree of anything but what's going on inside ourselves. This track definitely resides best with the intoxicating synth-wave sound that takes us back to 1984. With the next track "U," Taurus 1984 starts off with a hard-hitting mid-tempo beat and impressively ties in a more modern feel through instrumentals similar to MGMT, the electronic side of Arcade Fire and even similar rhythmic techniques as Gorillaz. What sounds like a variety of people singing the same message (from young to old), we really feel a sense of unity and community through "U." The lyrical content on this track runs beautifully deep, especially during this time of self-isolation. Taurus 1984 brings lyrics of missing a specific person and wanting to go back in time just to hang out with them without a worry in the world. Giving a groovy aspect to the album with "Situations," this track definitely stands out in a funky aspect by tying in heavy funk-like elements. Taurus 1984 definitely enjoys incorporating unifying vocals through layers, as "Situations" starts off with exactly that. Singing about being on different wave-lengths as someone else, but still wanting to get back to where you used to be. The production/instrumentals bring in an incredibly groovy atmosphere through brilliant brass elements, funky bass lines, and pulsing electric guitar. Not to mention the short mini edit video, we see a variety of spunky females all dressed up in 80's outfits and ready for a good night out. Reaching the end of the 'Dream Warriors' album with the last track "Invisible Summer Reprise," we've noticed that it's the same lyrical content and melodies as the second track "Invisible Summer ('20 Mix)", yet is taken down in tempo and is upped in emotion. Adding in those textured drum hits that really display the deep-running passion, this version of the track really allows you to reminisce to the summer of '84 but in a different and more placid way. Closing off the album with the blissful saxophone that we couldn't get enough of, it's fair to say that Taurus 1984's album 'Dream Warriors' exudes authenticity towards modern-day trends/music. Indeed a project straight out of 1984, Taurus 1984, provides a musical time machine that swoops us back to the days of DeLorean's, big hair, and celestial pop. You can listen to 'Dream Warriors' here. Hey Taurus 1984, welcome to BuzzMusic! We’re hopping right in that time machine of yours and loving the 80’s feel throughout your entire album “Dream Warriors”. Since the band is known for your 80’s sound, does “Dream Warriors” carry different aspects/themes than your previous projects? Hey BuzzMusic, Thanks so much for having me and for the kind words! Absolutely, Predominantly I was playing in a lot of guitar-based rock bands previously, so this was quite a big departure and steep learning curve. I completely fell in love with the process and the freedom of it all. I’ve had a giant love for the 1980’s culture, retro pop, and modern pop music since I was very young, it left an everlasting impression on me which in turn inspired me to create something which amalgamated these elements. It’s a really exciting and relatively new scene to be a part of, it's constantly growing and mutating all the time. It’s been fantastic to see how the 1980’s aesthetic is now creeping into popular culture more and more, with shows such as Stranger Things and artists like The Weeknd, Dua Lipa, and even Lady Gaga giving nods to Synthwave and 80’s pop. Within your album “Dream Warriors”, Taurus 1984 brings in a variety of different artists to aid in the sonic depth of some songs. What was the creative process like when collaborating with these artists, and how did you collectively reach the end goal of each song? I always liked the idea of a revolving door of a select number of artists who can bring their own style and unique sound to a song, I think it’s an excellent way of keeping the sound fresh. I’m always mindful when choosing people for a track to ensure that they fit the vibe of a song in the best way possible. Process wise, I tend to write 90% of everything musically, lyrically and melody wise in my studio here in Wales, it’s then exported and taken to Bobby’s studio who puts his shine and layers on the tracks. We then start the process of deciphering who would best suit the track vocally and whether we need to add any further external instrumentation, such as Saxophone, Guitar solos, etc. We’re super lucky that everyone we work with are close friends of ours, so the process is such a blast from start to finish. Not having any time constraints in the studio has been a wonderfully positive, it really brings out the aspect of play and experimentation to get a result that we’re happy with. Once the songs are complete, they are then sent to London to be mastered by mastering engineer Pete Maher. Pete has worked with some incredible artists such as U2, The 1975, Jack White and Katy Perry to name a few, He just gets the sound and nails it from his end. We’ve noticed that Taurus 1984 has almost updated a few songs with 2020 mixes, as well as remixing songs to add a different atmosphere. For your album “Dream Warriors”, did you have some tracks in your repertoire already waiting to be released, or were all the album’s tracks made specifically for the project? These songs were specific to Taurus 1984, Before I signed with Outland Recordings, there were a few demos released as ‘Singles’, we made the decision that we would re-record and rearrange these two songs to improve them sonically from the original mixes and arrangements. In hindsight, it could have been better to have not released them in their demo form, but that was all part of the process really. Luckily we did because it was the demo of Dream Warriors that caught the eye of Outland Recordings, so, I’m very grateful for that. Speaking on your album “Dream Warriors”, we can feel a variety of moods and emotions set out through the entire project. Was there a specific concept that Taurus 1984 wanted to portray within the album? Absolutely, Dream Warriors is a mega personal album to me, lyrically I wrote it as a bit of a time capsule experiment. It deals with a range of situations and emotions during the time of writing the album, each song is based on a real event or a conversation that I had. I really enjoyed exploring that aspect of things and I especially liked being quite conversational in the lyrics for a lot of these songs. The way the album runs is in an exact timeline to how things were playing out at the time chronologically. What can we expect to see from you next? So we’ve made a start on album number three already, I felt it was a great opportunity to get a bit of a head start while the world pressed pause. We want to keep evolving as artists and trying new things, different instrumentation, and incorporate elements musically to keep pushing us forward and to keep things interesting. We plan to make a few more music videos for the current album, which unfortunately were put on hold due to the current climate. One of which includes a runway, a DeLorean, and one or two planes… Asides from that, we plan to start doing some live performances as soon as it’s safe to do so and get this next record finished. Thanks so much for having me BuzzMusic! taurus1984.com facebook.com/taurus1804official instagram.com/taurus1984_official #BUZZMUSIC

Hailing us from Florida is the six years coming Hip-Hop artist GB Zizzy whose music is known for being versatile since making a name in his town. Drawing influence from early R&B and then fusing that with modern music that he is listening to, GB Zizzy makes for unique experiences that we’d be hard-pressed to forget. Recently BG Zizzy released his album ‘Forever in Control,’ and we’re going to be diving right into the release “The eMotions” this one is a hard-hitting bop. As soon as “The eMotions” opens up, we were thrown into a vibrant, colorful painting that felt like a reflection of GB Zizzy’s life. “The eMotions” is fun and upbeat from start to end. GB Zizzy does not hold back on what he is capable of. Using spicy 808 drums that line up with an exciting piano makes for the perfect combination where his master-crafted flow will be able to breathe without getting in the way of other parts. With lyrics like “I don’t feel no pain,” we felt what GB Zizzy was not able to feel and could not help but think about the events that lead to the creation of this song. We will definitely be listening to the rest of the ‘Forever in Control’ album after listening to this one. You can find “The eMotions” here. Hey there GB Zizzy! Welcome to BuzzMusic! We couldn’t help but feel that “The eMotions” was a reflection of your life, how do each of the lyrics relate to your life? Was there a particular event that inspired this one? “The eMotions” is definitely a reflection of my life. At 20 I’ve faced many obstacles and been in the face of adversity many times. The song was supposed to represent “day to day”, “the motions of life”, and emotion we all deal with. This release is vibrant and fun from start to finish. Was this something you wanted to achieve during the initial songwriting phases? How did you come up with the beat and piano groove? I never was looking for an initial vibe just had some lyrics from thinking to myself one day, found a beat to go along with my lyrics and got to it. After listening to “The eMotions” we are definitely going to be giving the rest of the album a listen, is there an overall story that you are trying to tell throughout the album? How does each song relate to each other? My album represents being in control of your life, meaning, taking responsibility for your actions, putting initiative towards your goals, and not blaming anyone for your mistakes. BEING ACCOUNTABLE. Each song was a different emotion/thought process to really bring the meaning all together but the album really focuses on improving and taking action. How do you feel Gainesville has helped the growth of yourself as an artist? Have you ever felt like changing cities to find new inspiration? Gainesville has given me tons of opportunities to grow my fan base and myself. From doing shows in night clubs to performing at parties, there’s support but there’s also a sense of disconnection and misunderstanding, so it’s made me realize to keep bringing attention to the hip hop culture here in Gainesville. I’ve thought multiple times on looking for new inspiration somewhere else but I think it’s a pretty special thing to grow as an artist where you grew up your whole life, people will respect that. What's next for you? Next, I plan to do more shows not just in Gainesville but around Florida, hopefully around the US and just bring good music to the people, I hope to a build team in Gainesville one day to help all aspiring artist succeed and gain knowledge on the passion we all share. instagram.com/gbzizzy twitter.com/GbZizzy #BUZZMUSIC

IAMPOPULA hails from Brooklyn, NY, and is heavily focused on his creative outflow. As a Hip/Hop and Rap artist, IAMPOPULA is extending out the music category with his persistent style and projected character. Staying true to his original roots, IAMPOPULA derives inspiration from his own hometown to manifest the content and visuals of his music. As a Brooklyn-native, IAMPOPULA pushes to get certain messages across to his listeners, all while bringing a chilled-out and lax sort of energy. IAMPOPULA recently released his single "YKTB: You Know the Vibes," and it's proving itself to be a hot track necessary for establishing a flavourful ambiance. IAMPOPULA cleverly uses his music's technological aspect to his advantage to bring an almost otherworldly effect on his sound. "YKTB" carries riveting energy and confidence from IAMPOPULA, making it easier for us to vibe along to the Brooklyn artist's work. IAMPOPULA has a lot to say about his daily life within "YKTB," and the track itself is incredibly entertaining to listen to, primarily if focusing on the clever wordplay IAMPOPULA brings about. That's really what makes IAMPOPULA stand out within his tracks--the natural flow is always there, but it's the cleverness of IAMPOPULA that highlights itself throughout his tracks. All in all, the actual environment presented within "YKTB" will ironically have you knowing what IAMPOPULA is talking about. Check out "YKTB" by IAMPOPULA here. Hello IAMPOPULA, and welcome to BuzzMusic. We loved your latest release "YKTB." Can you tell us a bit more about the song and the meaning behind it? This song was a bit of a tribute to Brooklyn, Even in the video, I tried to show that Brooklyn vibe. You shot the music video for YKTB in Brooklyn's historic Bedford Stuyvesant neighborhood, why is it important for you to incorporate the City you call home into your music? Like most of my songs, it's based on my life and is basically a coming of age story of a kid from Brooklyn that went from Good Employee to becoming his own man A boss. "YKTB" gives the feeling of a  connected group of individuals just having a good time together. How were you able to achieve that feeling of connection through your rhymes? I was raised on the block after Biggie Smalls. Brooklyn shaped me as a child and taught me many valuable lessons. But I'm blessed to be able to have moved to LA 3 yrs ago & to still be bi-costal. It was because for a long time I was a simple local artist performing in bars and clubs in NYC with my rock band. I felt stagnate and wanted to be more so I moved to LA. How has the local music community influenced or inspired your own artistry? Build my core following of listeners and drop Single after Single until I can amass a catalog & listenership that can compete & compare to any major artists, Sign my first artist to my label and do for him/her what I've done for myself. What's next for you throughout 2020? The next move is the rollout for my free album "Moving Diesel Like Its Legal" that you can only get by buying merch directly from me. as artists, I feel like we have become complacent in our thinking that the listener has to stream your songs for it to be official when streaming services are literally paying us pennies while they pocket dollars off our culture, music & hard work. I wanna disrupt this model with a play from Nipsey Hussle's playbook. RIP instagram.com/iampopula twitter.com/iampopula #BUZZMUSIC

London Ontario’s, rock group Hiroshima Hearts drops their flaming single and music video “Smoke.” Consisting of Tyler Turek (guitar), Michael Del Vecchio (bass), Jenn Marino (vocals), and Mark Swan (drums), Hiroshima Hearts have worked long and tedious hours in the studio to fine-tune their craft. While coming up with their single “Smoke,” it’s evident that these time-consuming projects are worth the while. Through scorching rock instrumentals and Jenn Marino’s striking vocals, we’re left seeing “Smoke” escape through our speakers. Not to mention the deftly edited music video taking us back to the sweltering year of 1969 through nostalgic scenes. Kicking off “Smoke” with Mark Swan’s infectious drum patterns, bringing a high dose of energy to the song, we’re swiftly hit with Tyler Turek’s fiery electric guitar riffs and Michael Del Vecchio’s bass line giving us that vibrant rock infused melodies. Taking a turn into the music video, scenes of nostalgic cars and fashion in 1969 play out. Jenn Marino’s indulgent vocals take the video by storm and exhilarating chase scenes straight out of an old action movie. It is also giving us haunting imagery through witchy women being tied up to posts and a devilish man around a fire. Hiroshima Hearts wanted to tie in “Smoke” with the original meaning to the culture in 1969 that effortlessly steered away from the silent generation, being sex, drugs, and rock ’n roll. Which we can hear and see through psychedelic editing effects, steamy scenes of couples, and the overall striking element of high energy rock. Be sure to listen to "Smoke" here. Welcome to BuzzMusic, Hiroshima Hearts! We’re really getting down with the energy and nostalgia in your single and music video for “Smoke”. How did the band come across this old-fashioned path that exudes rock at its prime? JENN MARINO: We like to think our sound is a mix of 70s and 90s rock. But our influences are so much broader than that. I love metal and dirty blues. Mike grew up on punk rock - skate punk to be more specific. Tyler’s favorite band is probably Run the Jewels. Mark has a degree in Jazz from Western University. Although we all come from different musical styles, the main goal of our music is to create pure energy. It's all about going after that original feeling of Rock & Roll. From Little Richard to Black Sabbath, rock music is about making you feel something deep down and letting it all out at the moment! While we try to focus on grit, and the old school sounds of Rock & Roll, in the end, it's all about the live show. It’s about flying hair, stomping, moving bodies, and sweaty leather and denim… You know, just having a really great time!  We want you to party with us and forget when or where you are while we are on stage.  We try our hardest to translate that feeling into our recorded music. Within your music video for “Smoke”, Hiroshima Hearts had help when editing from 331arts. How did that process go with 331arts, and did you have to converse about what sort of theme/atmosphere you wanted to deliver? TYLER TUREK: We are lucky that 331arts is run by our bassist Mike. He has made videos for us in the past including our very first music video from 2015 and a more recent video featuring London, Ontario legend Bev “The Dancing Cowboy” Camp. We are really happy with the video he came up with, but it wasn’t our original plan. We had really stepped up our investment in audio production for this single and wanted to do the same for our artwork and video. We had just begun the process of shopping for a local artist and videographer to help us finalize our vision when COVID hit. The combination of not being able to gather to shoot and the loss of all band revenue from live performances, the bulk of our and most bands income, meant we had to replan. We had a band video chat at the end of March when it became clear the pandemic wasn’t going anywhere. We talked about everything from canceling shows, to songwriting, to what we were going to do with the single we had in the can. The idea for the video sort of just evolved naturally out of that conversation. Mike mentioned the idea of cutting up old public domain footage. Jenn, being a huge horror & VHS fan, suggested finding some old horror movies. Being that it was a driving song, the old car commercials and a public service film about not stealing cars made natural fits. We’ve heard that Hiroshima Hearts’ songwriting process usually begins with Jenn Marino and Michael Del Vecchio’s lyric writing. Could you expand on where the band goes from there, and where the tone of the song is established during the process? JENN MARINO: We have a very democratic process for songwriting. Everyone has an equal say and an equal opportunity to bring song ideas. The process can be very different depending on who brings the song idea to the table. Mike and I definitely tend to start more with lyrics and basic melodies, where Mark and Tyler are perhaps more riff focussed. Once it gets into the band room, however, everything is fair game. This specific song started as a demo our drummer Mark Swan brought to the band after discussing our old school dirty Rock N Roll sound. We loved this punk rock cowbell type of riff and built the lyrics around that. We wanted a song that captured the feeling of freedom you get on the open road with the music cranked. Side note:  “Punk Rock Cowbell” was actually our place holder for the song until we decided on the name “Smoke” after production. Seeing as Hiroshima Hearts started back with the founding two members Tyler Turek and Michael Del Vecchio, how has the band's original sound changed over the years with the addition of Jenn Marino and Mark Swan? MICHAEL DEL VECCHIO: Over the 8-year span of Hiroshima Hearts our sound has slowly but consistently gravitated toward faster and heavier music. We started out in 2012 somewhere between blues rock and indie rock. In the very beginning, the wasn’t really a plan to form a band as much as a desire to get together and jam. Our early music really reflects that. Its fun and spontaneous, but perhaps lacks a cohesive vision. As we started to play live with more frequency, we wanted to write songs with more energy. We wanted to play Rock & Roll you can dance to. The addition of Jenn in 2015 was a big first step in that direction. Our first song was a fantastic singer (and person) but she was a blues singer, through and through. Jenn was a Rock & Roll singer. One song into our first practice with Jenn (technically an audition, but she was really auditioning us I think), and the feeling was just so natural. When Mark joined the band there was a similar feeling. He had seen us play several times in the past and knew what we were about. He has a really deep understanding of the inner workings of music and really helped us articulate exactly what we wanted to sound like. What can we expect to see from you throughout 2020? MICHAEL DEL VECCHIO: It’s so hard to say at this point. We had a super busy summer planned that kicked off with an opening slot for Buckcherry at the London Music Hall, went on to several (well paying) festival gigs in June and July, and a couple short 3-4 day runs throughout Ontario in August. Obviously, that has all either been canceled or postponed. We are looking into some live streaming options, though that option does seem much better for acoustic and/or solo artists. The difficulties with production and the risks still associated with gathering also make it difficult for bands with multiple members. So, on a live music front, weather online or in person, we are sort of in a holding pattern waiting to see what happens through the summer and into fall. Although we are able to gather, we are still writing both individually and collectively. We hope to be able to get into a studio again before the end of 2020 to record our next single. facebook.com/HiroshimaHearts twitter.com/hiroshimahearts instagram.com/hiroshimahearts #BUZZMUSIC

Akira AK hails from Connecticut and uses his singing/songwriting capabilities to create very raw-sounding Pop-influenced music. Stemming the inspiration for content via both personal and fictional experiences, Akira AK loves to create music with an entertaining purpose. Attempting to appeal to the masses, Akira AK shapes his overall content around themes and topics that listeners can undoubtedly relate to. Combined with the ambitious production, Akira AK's music can easily have that elaborate pop effect! Akira AK has recently released his album, titled 'Pearl.' The 5-track album features a range of emotionality from Akira AK and ventures along with vivid imagery regarding his intimate feelings. The first track, titled "Pearl," kickstarts the album and delves into the sacrifice and pain attached to the feeling of love. Akira AK takes the time to explain the strong and intense passion that love can manifest out of someone. "Pearl" is definitely a feelings-packed song, which effectively begins Akira AK's journey in expressing his underlying affection. Soon we find ourselves transitioning to the album's second track, "White Noise," which offers a positive aspect on beginning again. The production for this track picks things up and offers a bit more of an electronic presence to elevate the atmospheric soundscape. That electronic element continues to persist with Akira AK's third track, "Storm in My Head." The track fondly uses a more prominent piano for its production, allowing for a serene and tranquil component to be established within the song itself. But Akira AK shakes things up the second the track brings about its electric guitar riffs, which work to deepen the intensity of the pop song. Akira AK doesn't keep this escalation going, as the album's 4th track, "I Too Shall Be Saved by Love," highlights a lighter auditory feel. The message Akira AK projects within "I Too Shall Be Saved by Love" is very encouraging, and it genuinely made us look at Akira AK a bit differently. We felt the yearning Akira AK so strongly discharged, and the potent emotionality involved within the song gave it an elaborate personality. This emotionality stayed just as pungent within the album's last track, "Rose." The positivity, warmth, and growth that comes out of this particular song makes it such a fitting track to end off 'Pearl.' "Rose" goes deep into the appreciation one has for love, and especially the appreciation that extends out to those that give it to us. Akira AK allows listeners to travel with his perspectives, and often, the perspectives he holds are very selfless and full of honest care. As an album, "Pearl" is incredibly personable, and Akira AK ensured the narratives told would encourage some light or understanding within others. This is what makes Akira AK extremely intriguing to listen to, and we already know his future music will stimulate similar impressions. Discover Akira AK in his latest album 'Pearl,' here. Welcome, Akira AK! The release of 'Pearl' occurred not too long ago, and the 5-track EP features such a string of emotions! Would you say that the bulk of the content within this EP remains influenced by both your personal life and fictional stories, or would you say one superseded the other? Thank you!! I’m glad the emotion of the lyrics were communicated and felt, because that was definitely my intention – to have those noticed (as in all my songwriting). And I would say that the push to tell a story inspired by a fictional character was the main driver for the EP’s content. That being said, like last time we spoke, I always make sure that what I write is very particular in the respect that it pays homage to the source material (i.e. the story and character arc of “Pearl” from the show “Steven Universe”), while also being vague enough to apply to anyone who is not familiar with it. This way the song can be enjoyed by the most amount of people without going out of one’s way to really sit find and out what the song is referring to before enjoying it – you can just enjoy it. In that respect, there is something for everyone with every song I write. I have always been a huge fan of music that is both an earworm, and has something “more” just below the surface to find if one decides to look – I make my music with that in mind. And for those looking – yes, my personal story is embedded within each song, but in a more general sense. My habits, behaviour, thoughts, and mantras are all woven into each song’s content while still serving the EP’s ultimate narrative. 'Pearl' has been your second EP release, following your earlier EP 'Autotune + Heart.' How do you feel that "Pearl" has contrasted in comparison 'Autotune + Heart?' Would you say that you observed any level of growth between the two EP releases? “Pearl” FOR SURE has a stark contrast from “Autotune + Heart” by way of how each song is constructed. I really wanted to experiment on “Pearl” more with different sounds, instruments, plug-ins, effects, song structures, etc. I mean, for one thing, there are more drums on “Pearl” then there are on “Autotune + Heart”. To that effect, I really wanted to dive into more 4-to-the-floor music and make my dance background more known. I started out writing dance-pop back in 2011 in college – that’s where I learned the most about creating music (considering I am not professionally trained and all), so I really wanted to pay homage to that through this EP. It helps that “Steven Universe” (the TV show that the EP is inspired by) also delves into dance/electronic-pop – so it fit the sonic narrative of this EP nicely. Lyrics-wise, I still was writing from the same point of view about life: that is reflecting on what has happened and recognizing how it was not great in the moment, but better for you in the end. The real growth I feel like happened in the instrumental. It was very purposeful to keep some core instruments from “Autotune + Heart” in “Pearl”, to really show the growth from that EP to this one. My goal… suggestion… preference is to have people discover my discography and listen to it from the top (as in starting at the beginning of “Autotune + Heart”) to bottom (as in ending with the last song “Rose”, on “Pearl”), to really hear the transition from the foundational sounds being built upon all the way through to where we are now. If you have synesthesia like me (the condition in which one type of stimulation evokes the sensation of another, like the hearing of a sound and subsequently visualizing a color) then the whole listening experience of my discography should be like experiencing a color gradient – the transition should feel natural/earned by the time the sounds/colors flip. Were there any particular tracks within 'Pearl' that hold more significance than others? Like any parent would say about their children, I love all my songs equally for different reasons… BUT I do have one song on “Pearl” that I have always liked just a smidge more for no discernable reason. That song is “I Too Shall Be Saved By Love” (the 4th song on the EP). "ITSBSBL" holds a special place in my heart and ears for many reasons – maybe it’s because the chorus is so catchy and just scream-in-your-car worthy? (To me anyway) Or maybe it’s because while applying to the story of “Pearl” from “Steven Universe” (the character from that show that this EP and its narrative is inspired from), the song actually is DIRECTLY inspired by a panel in Tom King’s GEINUS “Vision” comic. There is one page in the story that just says literally says “I TOO SHALL BE SAVED BY LOVE” only, while the art depicts Vision and Scarlet Witch in bed coming to terms with their relationship. (pic here: https://pbs.twimg.com/media/CjSP9jIWkAAz5Ve.jpg) IT COULD BE BOTH. But what I will say is that the song just feels “big” to me – and when I get the chance to honour the grandiosity in the future, I for sure will. As an artist who focuses on bringing such rich and emotionally-packed music to listeners, what would you say your next theme is for future music set to be released? Do you see yourself switching up with the chosen themes down the line, or are you comfortable writing and recording music that follows the theme similar in 'Pearl'? Oh well, you are too kind – thank you so much again for touching on that aspect of my music. It means a lot that you are able to really take that from what I create – it gives me faith that my music is heard on its merits above all else. As far as switching up the themes of my music: I like to think of it as transitioning (using the color gradient example again per my synesthesia) into the more nuanced aspects of the overall subject matter of which I have always talked about: reflection and self-confidence. While I don’t want to give too much away, nor rehash what I said last time we talked, about how the next EP I am writing for will be inspired by a certain X-Man (or woman), what I will say is that the themes of creating your own narrative, and being in control of your own story, and even your own mistakes (through the inspiration of this character) is what I will explore. The way I personally relate to this narrative is that I have (and maybe even still do a bit to this day) let outside forces, events, and sometimes even people, control how others see me, and even sometimes how I see myself. I wanted to really confront that habit of mine head-on with this EP, and explore why that is, what it feels like, and really push myself to move past it in order to feel comfortable with myself. Like all my music, I relate to it on a below-the-surface level, but the motifs that will be used throughout the songs will be taken directly from the source material in order to really embellish the EP and make that strong connection to this character that I love so much. Excited to share it with you and everyone else when it’s all finished! AkiraAKmusic.com instagram.com/AkiraAKmusic facebook.com/AkiraAKmusic twitter.com/AkiraAKmusic #BUZZMUSIC