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What We Didn’t Know About Sarina

Grandmaster Vic Unveils Debut Single "TRINITY": A Journey of Musical Revelation

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Scorching Passion: Unveiling Bairi's Fire Siren

Jean Deaux's First Headline Show in Atlanta Kicked Off Her 'Nowhere, Fast' Tour with a Must-See Concert

Written by Alex Cherry Photographed by Ashton Jones

June 18th, 2024 (Atlanta, GA) - Jean Deaux’s performance at Center Stage in Atlanta, Georgia was a phenomenal kickoff to the Nowhere, Fast Tour and marked her first headline show in the city. From beginning to end, the concert was a masterclass of the Chicago native’s shining personality. Her stage presence, captivating personality, and historic catalog tipped off the sold-out Atlanta show, marking an incredible night for everyone involved.The evening began with palpable anticipation as her fans, known as the “deauxnuts,” awaited her attendance. Atlanta vocalist Payton Moore opened the night with a stellar performance of records, which included a cover of “Say Yes” by Floetry.

When Jean Deaux took the stage, the audience's roar was deafening. She opened with "It’s Whatever," instantly setting the tone for the night with her magnetic presence. Jean Deaux’s setlist was a well-curated mix of her latest project, HEAVY, and seasoned classics for the day-one fans. Each song felt like a part of a continued story and showcased the versatile musician’s evolution.Jean’s crowd engagement was an aspect of her live performance I was previously unaware of, adding to the show’s ambiance. Her genuine and charming personality seeped into the pores of the night. Moments filled with laughter and reflection as Jean expressed appreciation for all of those who have been supporting her career up to this point.Her interactions with the audience were heartfelt which added an extra layer of intimacy to the evening, allowing the surprise guest appearance of Ambre to perform their record, “ChopNScrew” to hold even more weight. You could visually see how stunned the crowd was as one of R&B’s hottest artists graced the stage for a brief moment. Their chemistry was electric, and the crowd loved every second.Jean’s stage presence was commanding and confident, amplifying the crowd to get active by reciting a cover of “Closer” by Goapele. She also took us back in time to “Healer” with Mick Jenkins and energetic performances of “Zodiac Killa” and “Yeah Yeah.” The rap prowess side of her discography is stellar and showcases the true artistry and versatility to help characterize how exciting Deaux’s discography is. She even joked at one point that we were fooled into thinking this was going to be a R&B concert.As the lights came up and the dynamic artist exited the stage, Jean Deaux had left an indelible mark on Atlanta. The crowd even called for an encore to truly close out the night and she popped out one last time.NORBU briefly spoke with Jean after the show to ask her thoughts about kicking off the Nowhere, Fast Tour in Atlanta. She talked to us about how every concert makes her realize she’s living beyond her wildest dreams.“I always had low expectations growing up. So when I have moments like [the Atlanta Concert]...it means a lot to me,” said Jean.The Nowhere, Fast Tour kicked off in a major way. Jean Deaux reminded everyone why she is a star in music with a thrilling showcase of phenomenal music and charisma. She has wrapped shows up in Washington, D.C. and Brooklyn with Chicago and West Hollywood on the way…you won’t want to miss it!

Gabriel Hernandez: A Lens on Elegance

IN THE VIBRANT world of fashion photography, meet Gabriel Hernandez, a self-taught visionary hailing from Caracas, Venezuela. Our lens focuses on his captivating journey, transcending borders to find artistic resonance in the United States since the winter of 2010.Discover the roots of Gabriel's photographic passion, blossoming in the corridors of high school during his junior year. A serendipitous encounter with a city luminary ignited a spark, propelling him to acquire a camera within a week – the genesis of an extraordinary odyssey.For the past eight years, Gabriel has sculpted his narrative in the realm of freelance fashion photography. Join us as we unveil the tapestry of his experiences, where every click captures not just fashion but the essence of a life lived behind the lens. Along this illustrious journey, Gabriel has woven connections with some of the industry's most talented, creative, powerful, and charismatic personalities. Step into his world where talent meets the shutter's click, and creativity finds its canvas in the vibrant tapestry of fashion.

Breaking Down the Walls with
Deb Fan

Written by Patu Ong Photographed by Alex Gonzalez

Bad situations likely occur when the scales start tipping in your favor and twice more when you’re on your knees. Regardless of your trajectory, turning a negative into a positive requires dedication. Channeling misfortune into art is not only therapeutic and revelatory but also makes for some of the strongest pushes for creative risk and intention. After her debut EP Gemini Moon, Taiwanese artist/producer Deb Fan returns a year later with Kowloon Demos. While Gemini Moon follows a bout of heartbreak, the follow-up EP comes with more unique baggage.After her American visa expired, Fan returned to Hong Kong after living in the USA for eight years. Being home–away from her home away from home–influenced her to record a project centered on reinvention and identity. Serendipitous silver linings of an unfortunate situation lend listeners a glimpse of her self-examination, further detailing her evolution and growth as a musician and being.Only months before Kowloon Demos dropped did I realize the fascination with Kowloon Walled City. According to the viral video by neo, “The Densest City on Earth” has roughly the same amount of people as New York City’s East Village with a fraction of the space, making it about three times more dense than the Big Apple’s most packed areas. From what started as a Chinese military fort that escaped most colonization jurisdiction and policing, the zoning anomaly became a skyscraper-domineered area rife with people and triad gang activity.Fan spent much of her childhood “moving around the city a lot” and “renting different places” with her parents, Kowloon included. When she returned to Hong Kong proper for her trip back home, she took the cultural re-shock of being back home to write all the songs on the demo. It also became the grounds for “existential” and “introspective” thinking, developing the reflective tone of the lyrics.

“It was fueled by solitude,” Fan says of the project.

Throughout the collection, she poses several questions to herself that drift into the void. “Start Over” interviews herself, asking if it’d be okay to begin anew, to make the same mistakes, and subvert the expectations she laid upon herself. The intro harnesses the longing for control but communicates it masterfully between herself and New Jersey MC Sol ChYld.Norbu met Fan along the bike path of Venice Beach, sporting a matching olive green set and mixed metal jewelry. She was kind and courteous, reciprocating interest in our literary medium and creative process. Between tourist visas and “three hours of interrogation at immigration” we wanted to plant her in the Venice sand. Kowloon Demos marks a sort of homecoming and what better way to mark that experience by getting yelled at to get off the lifeguard tower?We perched in a public gazebo overlooking the beach after the shoot to discuss Kowloon and how it reflected her current state of affairs and persona. Even navigating starter questions like what she had for breakfast (three soft-boiled eggs and a yogurt, the same as every other day), Fan is keen to discuss the musings of her everyday routine. And possibly even more keen to answer them than the questions about her music. Maybe because it is such a personal project that requires digging for answers not yet available to her. Though quite a seasoned traveler and adept musician—classically trained in piano and opera singing—there are many experiences yet to occur.Fan, now draped in a beach blanket, eagerly discusses the crew surrounding her. From longtime producer Max He, guitarist Leo Varella, Aphi Tenza, and the aforementioned Sol Chyld, she credits everyone she can remember. Even Mimi Li, who wrote Deb’s Chinese lyrics on personal standouts “Special” and “Willow” and music director Breanna Lynn, who shot the exquisite “Lady” and “Closer to Hell” visuals received praise from the vocalist. She especially credits He for his surgical production, accomplishing soundscapes that sound nearly analog.

“I’m a huge slut for stripped-down acoustic vibes,” said Fan.Endlessly thankful for those around her, Fan assembled an all-star ensemble that is largely female, international, and POC. By voicing support for those around her, she seems to find confidence and support in herself by championing her peers. By translating Kowloon’s atmosphere into audio and visual media or enlisting the expertise of people around the world, Deb explores the depths of her artistry on Kowloon Demos. It doesn’t mean the problems go away or the questions answer themselves, but there is a deeper sense of optimism and clarity. With music and the daily trials, one aspect is true: it doesn’t get easier, you just get better.

What We Didn’t Know About Sarina

Written by Alex Cherry Photographed by Cameron Elysia

Sarina is one of this generation’s premier star-ready talents. The DMV native with a deep Haitian heritage showcases her tasteful quality of music, dynamic visuals and a live-performance-driven mindset that can’t be matched. Her latest EP, What U Didn’t Know, delivers all of Sarina’s prominent qualities to the fore.What U Didn’t Know is a pop/R&B crossover EP emphasizing “Kompa'', a modern dance-style genre deriving from her heritage popularized in the mid-1950s by the band Conjunto International. Some of the distinctive characteristics include the common use of the tanbou, the barrel drum that is also the national music instrument of Haiti, along with the pulsating beats and rhythms which are effortlessly heard. An emphasis on Kompa adds a potent Haitian flavor to the overall production and aura of Sarina.NORBU had the opportunity to converse with Sarina in June. We discussed growing up in a Haitian household and how that–and the DMV culture–influenced her as a musician and individual. She was candid with NORBU about gaining confidence through her continued evolution, almost not releasing one of her popular records, “Olé,” and teases what’s on the horizon.

“With this project, I feel that I have found my sound. I’m 100% confident in this music so it’s translating into my overall confidence.”

Cherry: Sarina, how have you been? And equally important, how has your mental health been?Sarina: Thank you for asking that. It's in a pretty good place right now, especially with this EP coming out. Usually after a release, there are many highs and lows so I’ve managed to temper my expectations and emotions but [my mental health is in the best place it’s been after a release. This EP is doing very well but I try not to connect my well-being to what happens with my music.Cherry: How do you combat your expectations and ignore outside factors?Sarina: It’s a daily thing I'm still battling. We compare past releases but it’s about trusting the process and controlling what I can. Once you stop overthinking, you begin to see the positives happen. You have to be truly passionate regardless of who is or isn’t supporting you.Cherry: I read an article about you taking music seriously when you were 16. Do you remember the moment?Sarina: I remember starting a summer job as a camp counselor before my senior year [of high school]. It wasn’t for me, but I saved up to purchase my first keyboard. I loved performing and being in plays when I was younger but I never thought I could make music professionally. I recorded my first song, “Begin,” in 2017 and showed it to my parents. I was scared but they loved it.Cherry: Let’s talk a little about your Haitian culture. How much does it influence your music?Sarina: It’s influenced me a lot. I was born in the States, but my parents were both born and raised in Haiti. I learned French and Creole before English. I practically grew up in a different world because of my household so it was a big culture shock trying to adapt during grade school. I appreciate my Haitian culture because it adds flavor and passion to my music.Cherry: What about the DMV culture?Sarina: Absolutely. The lingo and the music played an important role. When I was in school during the day, it was different from my life when I was at home. I almost felt like I was living a Hannah Montana lifestyle going to public school in Maryland.

Cherry: What have you learned about yourself since releasing your first project, Come To The Light, in 2020?Sarina: Trying not to attach my entire identity to my music. In the beginning, my life was tethered [to my music]. It’s hard because I love what I do but learning to have other hobbies, especially in times where everything may not be working in my favor, is important.Cherry: Let’s jump into discussing the EP. When did you decide to put a full body of work out? Can you take us through the whole process?Sarina: “Say It Like” was originally supposed to be recorded in 2021 and stand alone as a single. I wanted the outside to open up more because I knew the song was special and waited to release it until last summer. We also finished “Damage” but I didn’t initially plan to release a full project until my manager Jordan and I secured a distro deal with Genius. After that, all the other records were written to complete a project.Cherry: How did “Olé” come about?Sarina: I actually had to push myself to write that one. I didn’t think of doing anything with the original version of “Olé.” I felt elevated at that moment because I usually only go based on knowing I will release a song. I don’t want any of my music to feel forced but I challenged myself. It became a learning moment.Cherry: What does the post-rollout look like/what do you have planned for the rest of the year?Sarina: My focus right now is live performances. My biggest show is coming up in New York (BAYO Festival) which will be my biggest crowd yet. It’ll also be my first time playing anything from the project live. I’m also working on the music video for “Olé.”Cherry: What are some difficulties you’re still facing?Sarina: Number one is budget. My ideas are special and I want my visuals to look a certain way. That’s why I have dropped certain songs. There are some released songs I will return to when the time is right.

Cherry: The “Say It Like” music video looked like a blast. How was the experience shooting that?Sarina: That was my first time in LA and I loved it. I want that experience to be the norm regardless of any stresses or craziness that may have come with it. It was a 2-day shoot with multiple locations. The director [Sabrina Lassegue] is also Haitian so it was amazing to have her a part of this. I also went to high school with my choreographer [Aisha Olemba] so her help to bring this to life was also special.Cherry: How would you define this era?Sarina: This is my discovery era. I don’t like when people put artists in a box but I understand how important first impressions are. I want people to know Sarina as an amazing pop artist.When people click on a Sarina song, I want them to know they’re going to get good vocals and production. When they watch my videos, I want them to know they’re going to get a movie. That’s what I’m portraying.

Grandmaster Vic Unveils Debut Single "TRINITY": A Journey of Musical Revelation

Written by Tenzin Dekyi Photographed by Zach Arquilevich

Grammy Award Winner, Victor "Grandmaster Vic" Ekpo celebrates the highly anticipated release of his debut single, "TRINITY," marking a profound and emotional milestone in his evolving artistic journey. Reflecting on the overwhelming support from fans and peers alike, Grandmaster Vic expressed deep gratitude for the outpouring of love he has received since quietly embarking on his solo career in 2020.Trained initially as a classical violinist, Grandmaster Vic's exploration into vocal expression marks a pivotal shift in his musical identity. "TRINITY" transcends conventional boundaries, blending a rich tapestry of sounds that range from intricate background vocals to his signature violin inserts. The track's infectious verses and unforgettable hooks firmly establish Grandmaster Vic not only as a skilled instrumentalist but as a versatile artist capable of weaving diverse musical elements into a cohesive whole.The single is accompanied by a visually stunning music video directed by the talented duo Daniil Demichev and Gary Biddy, adding a cinematic quality and narrative depth that enhances the listener's experience.Hailing from Nigeria and shaped by his upbringing in Los Angeles, Grandmaster Vic's musical journey has graced some of the world's most prestigious stages. His performances alongside Khalid at Coachella, appearances at the BET and Grammy Awards with H.E.R, and contributions to notable albums like SchoolBoy Q's "CrashTalk" underscore his dynamic presence in the music industry. Most recently, nominated for a Grammy at the 65th Annual GRAMMY Awards for his work with Kendrick Lamar on Mr. Morale & The Big Steppers, Grandmaster Vic's ceiling is nonexistent in all that he can accomplish.As "TRINITY" continues to captivate listeners globally, Victor "Grandmaster Vic" Ekpo looks forward to a promising chapter in his musical journey, promising more innovative creations that push the boundaries of contemporary music.

Photographed by Nani Vision

Povi: Grace Through It All

Written by Patu Ong Photographed by Alex Gonzalez

Every generation has its hardships. Living in the 21st century might equal deeper accessibility to knowledge than any prior age, but it feels insurmountable to break through without being an endless content mill. Denver-born, LA-based R&B artist Povi has been making music for ten years and toured with some of the biggest artists of this generation, but time and expectations have never been part of the equation. By translating her past relationships into her latest EP, Sweet Tooth, Povi stays present and lets the future come to her.Nine years ago, I saw Povi open for Tinashe as a sophomore at Cal State Long Beach. She sauntered onstage wearing a veil, equal parts hypnotic and mysterious. When Norbu met her at Kenneth Hahn Park after Sweet Tooth dropped, she hid behind nothing.“I am fully funding myself through this whole thing,” said Povi. It may surprise no one, but being a full-time musician takes some serious overhead that many cannot afford in the early-to-mid stages of their career. Your favorite rapper might push work between sessions while the seemingly successful indie vocalist might still fold clothes at the mall. Povi works five days a week bartending and delves into the music when she clocks out, clocking back in.

Norbu caught her on an off day–a rare feat. We waded through the park grass, and far off the concrete path before settling underneath some trees for photos. It wasn’t long until we realized we were in the disc golf area and packed up so two old dudes (Stuart and Rodney, in my mind) could continue getting their reps in.After concluding the photo session, we found a bench for our conversation. Off rip, Povi radiates a fine, gentle energy. The birds started singing whenever she spoke as if they’d heard her melodies through the wind.“I wanted [Sweet Tooth] to be a story,” Povi says of the EP’s sequencing. Each song varies tonally, from the “honeymoon stage” of “Come Around” to the process of working through problems with your partner as evident in “Message in a bottle.” After a bout of unfaithfulness, “It’s Alright” caps off Povi’s gratitude for the experience and wishes the best for their former lover. She also included “Who Better” and “Lilac,” two songs written in 2020, to reintroduce them to new audiences.Povi has a knack for confidently describing the hardships she’s managed without a lick of doubt. People sometimes have those random embarrassing thoughts creep into their memory just to punch them in their stomach and leave. Povi admitted full-faced that moments of Sweet Tooth developed from past relationships. “Message in a bottle” reflects her time dating an alcoholic (“swimming in your pool of ruin”), a harsh reminder after growing up with an alcoholic father. It ties into the meaning of the EP’s title, comparing a toxic love to harmful cravings for sweets, drugs, and other vices.

Even though the project is steeped in the sickly sweet, the undeniable groove is there and feels bright in some areas. “Message” combines Povi’s haunting vocals with the instrumental powers of Elijah Fox and Kiefer, exposing a small glimmer of optimism. “It’s Alright” reconciles with past reckonings and can be a song about forgiveness, but also “dedicated to a friend or parent or lover.”Povi retains the power, evading all sense of jade. There’s merit in learning from mistakes, but owning and growing from them advances true fulfillment. Sweet Tooth is a legitimate entry to her career as a musician, but it remains a snapshot of Povi’s past. It’s a chapter in her book, a circle in her pointillist portrait, and an arc in her movie.At a certain point, we accept the chance to move on and celebrate what’s in front of us. “After all the grief and loss,” Povi has been ready to move on for some time now.“My next project will be rooted in joy,” said Povi. The birds live to chirp another day.

FARR: A Long Summer Coming

Written by Patu Ong Photographed by Alex Gonzalez

Regardless of the environment, availability may be the best ability when it’s all said and done. The consistent nature of showing up for oneself and others goes a long way in the eyes of many. This rings true for professional athletes, food service workers, marketing professionals, and entertainers–musicians included. After their first US tour and a recent stint at School Night Hollywood, alternative R&B duo FARR releases their new EP, Blink Twice If You’re Okay (BTIYO). Their fresh, new sound uses more guitars and fewer synths without sacrificing any substance.After twenty minutes of circling for parking, I arrive at Bardot to see our photographer already taking photos of FARR by the stairwell. A red glow emits from the floor below, giving the impression they’ve narrowly escaped the exhaustion and repetition of playing their first US tour. They supported Erick the Architect throughout ten cities in two and a half weeks. Their faces revealed as much. The band powered through the shoot and interview despite the wear and tear, braving questions throughout other musicians’ sound checks.

“There was this kid that came up to us in New Mexico. He fist-bumped us like thirty times,” producer/vocalist Roméo says of his favorite memory from Erick’s Mandevillain tour. “He was so hyped and excited…he licked his entire hand before going straight into an air bass solo.”“Our friend Michael was doing video for us while we were on the road. We wished him a happy birthday onstage every night and got the whole crowd to do it too,” said producer/instrumentalist Linden Jay of the standout tour moment. “He had a lot of birthdays.”Linden and Roméo formed FARR eight years ago after a mutual friend invited Roméo to Linden’s London studio. With Linden being the only person in London “who had good weed,” the two became fast friends. They recorded a song that night and worked again immediately, requiring flights back to London three times that summer and Linden crashing on Roméo’s parents’ couch in the garage for two months.Further correspondence became quite “obsessive” to the point where a project became inevitable. They conceived their namesake after a post-hike lunch when they came up with Feels About Right–which sounded too boyband-ish–found it claimed on Instagram, and were encouraged to add another R for Feels About Right, Right?FARR’s shift in music is another thing to note. Reverse engineering this journey, BTIYO strays from their 2020 project, Weightless. Their debut outing sounds more stripped down to make Roméo’s voice melodramatic and bombastic while BTIYO’s instrumental motifs work more closely with the vocals. The dichotomy dives deeper, reflected in the music videos, live performances, and the lyrics.

“There’s fewer fireworks in the new stuff,” says Linden. Even if BTIYO has the cutting, but ultimately optimistic “Restless Child,” Weightless pens the hyperaware doubt of an early twenty-something on the aptly-named “Paranoid” (I don’t like that, want my life back, I didn’t choose this/ When they see me, think they know me, it’s a front/ I think I got this, am I wrong in giving up?/ Maybe I’m a little bit paranoid of this world I’m living in).With years in between projects, livelihoods drastically change, ideals flip on its head, and songwriting methods mature and develop. With “less to prove,” FARR transitions their new sound to be more easygoing, feel-okay-to-sometimes-good, and involve more varied instrumentation. It signifies their elevated synergy, making FARR feel “more like a band” than a “collaborative project.” With Roméo learning more about production, collaboration ingrained itself into their most recent work tenfold.“[BTIYO] is a check-in with yourself or with the person you’re with,” Roméo describes the EP’s name and theme. While the title may evoke dramatic dialogue from an action film’s hostage situation, “Blink Twice” mirrors the new addition of eyes in their logo. While it might only be a slight correlation, the EP depicts the rise and fall of a relationship before looking toward brighter days. There’s a constant act of checking in on a partner who may not reciprocate and holding on to something doomed from the start. Even with altering their sound, the drama and yearning is here to stay.

After completing the interview, FARR and I parted ways under the warm-toned walls of Bardot. With them is their videographer/frequent birthday boy Michael and their manager, who all seem thankful but ultimately relieved to get the “media” part of the day out of the way. An hour of downtime awaits them to get food and some errands out of the way.When showtime approached the intimate room filled up considerably. An older couple–already tipsy–poured in donning the new forest green FARR shirt with a cream logo and lettering. Their set time was around the night’s sweet spot when everybody was around one to two drinks in.The duo went onstage and immediately activated into form. It’s unsure if they just needed some food in their system or if entertainers can bypass their burnout with a snap of a finger and a hundred smiling faces. From performing songs off BTIYO to covering La Roux’s “Bulletproof” to switching through multiple instruments on the fly, FARR showed up with every inch of professionalism expected from musicians.No one in that room could tell how many days and how many miles were spent on the road driving an RV before that moment. Once the music started, it was all forgotten in an instant. There was just one mandatory trick to make the show a FARR show: Roméo introduced himself and Linden to the crowd and pointed to the trombone player accompanying them onstage.“Everybody give it up for John on trombone,” Roméo exclaims to the crowd. After the applause fades, Roméo cracks a smile. “By the way, it’s John’s birthday.”

Nascent: Move at Your Own Pace, Even When Life Doesn’t

Written by Patu Ong Photographed by Zach Sulak

“Growing up is weird” is a statement as old as time. Those lucky enough to reach old age have plenty of reasons to be grateful, but they also reap cynicism and new sores on their body. No matter what, memento mori approaches. It reminds us to participate in life because it passes quickly, so might as well enjoy it and remember the good times. When Grammy-winning producer Nascent reflected on his life, he worked on healing and thus created DON’T GROW UP TOO SOON, his second album.Norbu doesn’t have a lot of analysis about this album besides it being thoroughly fantastic for eighteen songs and unearthing some feelings about our childhood we haven’t considered in a long time. Do we remember staring into big brown eyes during more naive, vulnerable days or calling up your homegirl to talk shit on your man? We all relate to a story about childhood and because the production is so powerfully complementary, the words hit so much harder. It’s a Pixar movie, it’s a moment of quiet realization, it’s an upburst of laughter after a tense situation.Norbu was lucky enough to interview Nascent on the day of his album listening event, right before the release date. We talk about the album’s themes, creating with talented vocalists (Saba, Orion Sun, Jordan Ward, Maxo Kream, and much more), and of course, dead homies.

Patu: How are you feeling today? There have got to be a lot of emotions goin on right?Nascent: Yeah man. I’ve been sitting on this album for a while so it’s weird to have your baby out in the world. It was cool to hear early reception because I was anxious about it at first. But so far, so good.Patu: You said your mom pulled out some VHS tapes and inspired this album. Can you tell me more about that?Nascent: This was in 2022 when I won my first Grammy with Kanye. My parents flew out and my mom brought some tapes with her. When I got them digitally converted, I sat in the parking lot and watched them on my laptop. It was surreal looking at myself at that age and the memories came rushing back.Patu: How’d that make you feel?Nascent: There was a moment of sadness because I felt like I neglected that inner child. I’ve been running from the shit I knew how to deal with but was still carrying with me from those days. I went through this healing process and had these conversations with my parents and therapist. I thought, “All right, cool. Let me start working on this album.”Patu: This leads us into the intro.Nascent: I wanted it to be my way of saying, “Hey, I’m good now.” And that’s why the arc of the album starts off a little bit more aggressive, a little harder. Towards the middle, it gets a lot softer musically and conceptually. It’s like movie character development: you must find the inner child and then you heal it.Patu: Sequencing is pretty crucial to this album–“Take Your Time” to “Spinnin These Blocks” is a crazy run–how do you coordinate eighteen valuable songs?Nascent: Sequencing is about being intentional in how you best deliver the experience to your audience. I spent time on it with my friend Ben Lusher, a producer on the album. I already knew “Take Your Time” had to be the first song after the intro.Patu: Of course, it hits you right in your chest. How much do you contribute to the songwriting process? Do you give them any guidance or context?Nascent: It depends. When I worked on DON’T GROW UP TOO SOON, I asked one person to follow the concept: Ab-Soul. He will be the one to deliver it best and bring it home. The theme is a constant right away. After, we’ll have fun…because music should be enjoyable.Patu: So you were pretty hands-off with the rest of the album’s songwriting?Nascent: I can always get the concept off through the rollout, the artwork, a song, etc. The rest is enjoyable and it’ll be musically cohesive. I always allow freedom and openness because I don’t want to boss anybody.

Patu: You seem to have a “less is more” approach to production. There aren’t a lot of bells and whistles, just good drums, horns and keys. How do you prevent outside factors from entering your true sound while making it sound fresh?Nascent: From my experience, the best way to make music is to give the vocalists as much space as possible and not do too much in the beginning. You always want them to have the creative freedom to go where they want before building on top of that.When you’re trying to find that magic, I like to keep it very simple. Drums and chords–sometimes no drums. See what they do and build on top of that. Sometimes salt and pepper gets it done and it hits.Patu: Just simple spices. We don’t need truffle oil in everything.Nascent: Mhm. There is art in minimalism. Also, you’re leaving yourself very vulnerable and visible. You can’t hide anything. You gotta pick the right stuff because you’re gonna hear it.Patu: How did the concept and design of the monster come about?Nascent: Last year, I was driving from Atlanta to Nashville. I was listening to what I had so far and for some reason, my iTunes put this picture of Muhammad Ali knocking out Cleveland Williams. It’s an old, iconic picture with an aerial view. I loved it and wanted something like that for my album. I figured it’d be a fight between the kid and a shadow–or a monster.I told the concept to Alina, this Paris-based artist. She has a beautiful oil painting on a canvas of the actual cover. She designed the monster too.Patu: It reminds me of Yo Gabba Gabba.Nascent: Yeah, yeahhh. He’s also kind of shaped like Grimace or “Where the Wild Things Are.” It’s a little bit of everything and doesn’t have a name because everyone has one.

Patu: I’ve been loving the promo videos as well. I watched the “Spinnin These Blocks” video recently and every visual you do has this cinematic flair you carry onto the album. Where does this stem from?Nascent: I love it when people create worlds. My favorite director is Tim Burton. I love Beetlejuice and his Batman movies. And I love Tarantino. He has these packs of cigarettes in all of his movies called Red Apples because it’s his world. That’s the coolest shit ever to me because he gets to escape and that’s why artists do this shit.Also, what story can I tell when there’s new music dropping every day? I can separate myself with the music because I really do this shit. I think of rollout tools that are fun and tell my story.Patu: How do you get Sway and Slink Johnson to help?Nascent: It was super last minute getting Sway. I always saw him on MTV when I was growing up. Slink is Lamar from “GTA IV,” you know. He also had this show called “Black Jesus” I used to watch. I’m doing it for whatever version of me–fifteen, eighteen-year-old me–that’s who I’m doing it for. That’s what it was getting Paul Wall too.Patu: When we discuss this album and the bonus track “LONG LIVE DOC,” it’d be remiss not to mention Doc and JDott Trife. Can you talk a little bit about how they inspired you to keep going?Nascent: Doc was one of my closest friends. We met when I was a junior in high school working at the radio station. He passed in 2019 and I was left with survivor’s guilt. I was certain I could’ve done more, but I barely had enough for myself at the time. We always planned what we would do and wanted to do in music.I made that promise a long time ago and felt this was the perfect album to put him on because of the theme and the timing. JDott was another of my really good friends and he passed in 2015. We got music together and I still see his mom whenever I’m back home. I’ll put him in the next one.Patu: It’s a heartfelt way to immortalize your friends.Nascent: That’s exactly what it is. He has kids the same age as my nephews. When I go home, I always remind them who their father was and what he meant to me.

The Chris Patrick Interview: Reflection leads to a new era envisioned by “THE CALM”

Written by Alex Cherry Photographed by Hritwik Chhabra

Mixtapes were–and still are–a prominent tool of a musician's artistry. The raw nature and canny ability to deliver thoughtful bars on a variety of production needs no co-sign or clearance. It has always been an opportunity for listeners to witness their favorite rappers elevate and express themselves without fear of creative restraint. Legends like Lil Wayne, J Cole and Kendrick Lamar have contributed their success to an era seemingly forgotten where artists released music in abundance. Chris Patrick’s newest offering, THE CALM, is the first installment of a compelling mixtape series and a testament to the continued importance of the musician’s authentic artistic expression.Patrick became a prevalent figure in Jersey’s underground scene with many impressive records, including Before The Summer’s Over, a compilation EP from his CXR collective. His lyrical prowess and songwriting versatility lead him into new conversations, knighting him as a torchbearer for the next generation of rappers. THE CALM continues the thread, fusing the budding star’s personal experiences into an introspective project that listeners are sure to love.NORBU was able to catch up with Chris Patrick to discuss THE CALM, the many topics surrounding the depths of his past year, his friendship with Ben Reilly, his long-term vision and more. Available now is an insight into the mind of one of music’s brightest names.

Cherry: Chris the last time we talked was Before The Summer Was Over. How are you feeling?Chris Patrick: I love the summer but the current weather is calm. I’m happy with the way things are being in Jersey right now.Cherry: I want to congratulate you on the new project. Have you celebrated or do you have plans to?CP: Thank you. You know what’s crazy? I don’t have any plans. It has been a crazy year and I've been celebrating by playing video games with my brother on a nightly basis. I've also been kicking it with my parents and that’s enough for me. I know more wins are on the way so I’m good right now.Cherry: It seems you’re always doing something music-related. Do you ever take time for yourself?CP: I've been having real talks with my homies lately. This is the first time I have been able to give myself a break from “work.” I spent time between Nashville and LA working on most of the tape. I’m always actively working but there's a lot less pressure currently.Cherry: How’s your mental state been since the last time we talked? Do you feel calm?CP: I do feel calm. The first time we talked I was antsy. As I progressed through the year there were so many things happening but I'm in a place of peace. Seeing the love and reactions surrounding [THE CALM] has helped because I know what’s coming next.Cherry: What have you learned about yourself between the time you released X-Files and now?CP: There’s been so much that’s happened in my life since then. THE CALM is the first piece of this whole journey. I had to be honest with myself about what I wanted and who I wanted to be. I want this shit bad and I realized I have to be selfish.

Cherry: I wanted to talk “NUMB” and “BARCELONA.” You kicked off the project with some heavy-hitting bars. What was the influence behind those first few words?CP: I wasn’t talking about anyone specifically. In my time of reflection, I got tired of hearing people talk about what they wanted to do. It’s from the general space of “If we’re going to do something, let’s do it!” When things hit the fan you’ve got to keep it moving.Cherry: What is your friendship with Ben Reilly like and how would you describe the value he provided to this project?CP: I met Ben at a Kenny Mason show in New York and ended up at a SinceThe80s camp at the end of 2022. I remember being in a recording session with him, being amazed by how cold he was, and I asked him to be a part of the project.
Ben took it to another level and I’m happy he’s on [THE CALM]. That’s really my dawg. I was bumping his music throughout this process. His being the only feature was important to me.Cherry: Why Atlanta as the city for the Interlude?CP: “ATLANTA INTERLUDE” happened in Atlanta. It was me, Mizz and my homie Marco Plus. I made that skit because it really happened. I was cutting records at a Dreamville session and someone called me while we were in the city. That specific experience taught me a lot.

Cherry: It seems like THE CALM has allowed you to reflect. How did you stay inspired during this process?CP: When I got back to Jersey, my homies sent me the beat to the outro and something clicked. I just knew I had to lock in because I love rap. I felt the fire reignite.Cherry: How did you feel about the project leaking a few days early?CP: I don’t remember where I was when I first heard about it but people were hitting me up saying they weren’t bumping it, reporting the leak, etc. I decided to trust the process because there was nothing I could do at the moment. I’ve grown so much in how I respond to situations.Cherry: Let’s talk about the blog era. What are some of your favorite mixtapes?CP: I’m going to say Section .80 and Dreamchasers 2. When Dreamchasers 2 dropped, me and the homies always bumped it.Cherry: Is there anything you felt could have been done differently during this process?CP: No. We put a lot of time into X-Files but THE CALM…I didn’t overthink at all. I trusted myself and that’s how it became perfect to me.Cherry: You’ve hinted at THE CALM being a part of a series or trilogy. Is that the case for the rest of the year?CP: I’m not going to lie. I have been away for too long and purposely released this early in the year because I know what time it is. We’re already sitting on the next one. The entire “weathering the storm” concept came from my time in Nashville. I know how crazy it is to get and people will see that on the next project.

Roo Nostalgia: Utah’s Rising Voice

Written by Patu Ong Photographed by Brevin Perkins

There’s talent in every space. Even if people flock to central music hubs on each coast, there are droves of budding musicians between the crevices. Every artist wants their music to reach a larger audience and possibly establish their home as the next big music scene. It brings us to today’s question: “Who from Utah makes music? And what does it sound like?” If no one is sprinting to be the face of Utah’s hip-hop scene, Roo Nostalgia can take that mantle.From a quick Google and Wikipedia search, no one really reps Utah like that. The Osmonds are a product of several generations past while apparently Mary Elizabeth Winstead (Scott Pilgrim, Death Proof) worked on a single with producer/engineer Thai Long Ly and featured on a Portugal. The Man song. The emerging artists aren’t exactly on our radar (yet), but Roo made his interest and musical gifts known as soon as NORBU launched back in August last year. After releasing a 2019 project, Heaven 37, he took time to re-think his direction and strategy. In 2023, he dropped “Rent Due,” a confectionary love song depicting two destitute souls starring Roo’s real-life partner, Dawn.After catching our attention, I met Roo during his brief stay at a California DoubleTree. Amidst the amber and mahogany-hued lobby, Roo towers over the business casual, wearing a Ralph Lauren windbreaker, lightwashed denim, and white New Balances. We head outside to the hotel pool, where Dawn opens the gate, greets us, and leads us to the lounge chairs for our conversation. The sky was pretty clear, but damn if it wasn’t windy as hell. As we talked, the pool formed mini-waves like an overcast beach afternoon.

From one coast to another, Roo and his whole family are from Liberia. He was born in Monrovia, the capital of Liberia, before moving with his mother to Boise, Idaho, where his dad attended the University of Idaho. He was only a little bit more than a year old before his dad made him VHS mix-tapes of Michael Jackson, Lil Wayne, and Aaliyah videos. It was a surge, slowly building over the years.“I’ve always been super attracted to hip-hop and music in general,” says Roo. Naturally, he found his way into the rap rabbit hole, listening to Kanye, Drake, Kendrick, and J. Cole. He found himself attracted to the songwriting aspect of rap, developing stories and journaling throughout grade school. When his parents couldn’t accommodate his repeated Christmas requests for recording equipment, he spent more time with his older cousin, ZekeUltra, who had a small coat closet studio setup at his house.Music was always the plan. Even with being a Division I Linebacker at Weber State, “[the] goal was to be a world-renowned musician.” Roo channeled his entire life and pent-up emotions into Heaven 37, including mental health struggles, expectations of being a first-generation child, love loss, family dysfunction, and more. The record details his gauntlet of traumas, taking apparent influence from Saba’s CARE FOR ME. As much as it was his music, life, and writing, there was still room for growth and healing.

Between Heaven 37 and “Rent Due,” there’s a four-year gap. Roo released music during that gap and scrubbed it, doubted himself, and felt unfulfilled by the fact his deeply personal work went largely unnoticed. “Rent Due” was the rebrand. Smoother, higher vocal ability, and more self-assured. What changed?“It really happened with her,” Roo said, looking to Dawn who’s been silently observing and trying to keep warm. They started dating at the top of 2022 and with that, really worked out the kinks of his knotted interior while re-positioning him as someone who moves at his own pace. Dawn, a skilled musician in her own right, retains her independence and avoids being that “music couple.” However, Roo asked her help in fleshing out the concept of “Rent Due.” She verse clocks in a little bit over 30 seconds, but she steals the show–and Roo would agree.When 2024 arrived, Roo dropped House Pack, repacking “Rent Due” with two more singles, “Moment” and “At All.” “Moment” takes the rapping up a level from 2019 Roo while maintaining the growth and polish he’s acquired over the years. He’s barring out over a jazzy beat with chords similar to Ronnie Foster’s “Mystic Brew” legendary baseline.

“At All” is an interesting case. Roo started the song in 2019 by writing the first two lines (You know just what you doing? /Who do you think you fooling?) and didn’t write anything else for five years. That pair of lines, a possible self-reflection, became a time capsule to finish half a decade later when Roo couldn’t be more self-assured of his artistry, outlook, and happiness. It’s the ultimate reason to spin the block, assign words new meaning, and lastly, film a music video in downtown Salt Lake City. The video (shot by Marcus G. Chase) pairs nicely with the track and perfectly exudes the “Nostalgia” aspect of Roo.At this point, our teeth started chattering, our Q&A responses grew shorter, and the previously stagnant water started actively splashing out of the pool. We wrapped it up, took a flick, and returned to the lobby. Before splitting, Dawn and Roo asked me about the possibility of living in Los Angeles. It’s pricey but largely worth it for music purposes.

So maybe Roo isn’t the face of Utah. Maybe in a year or two, he and Dawn will move out to Los Angeles like the many transplants before them. He has the makings of a great artist with a seamless sound and stylistic versatility. But for now, Roo represents Utah by default. He has my vote.A little birdie even told NORBU that he might drop a song with NORBU alum Claydough sometime soon. Keep an eye out and an ear open.

Box Dreams: Whirlwind Personality

Written by Patu Ong Photographed by Justin Lee

From left to right: Kevin Litman-Navarro, Brett Fuller, Adam Rhodes, Shane Sato, Avi Durchfort

Maybe it’s an old-head mentality, but music seems more like a pathway than an art form lately. Everyone wants to direct mid-budget movies, plan corporate-sponsored pop-up events, or partner with a fast-food chain for a limited-time meal. There is clear optimism in thinking that in this world, full of creatives and multi-disciplinaries, there are musicians who just make good ass music. Psych-rock band Box Dreams may not be shooting Target ads endorsing their newest High Noon flavor, but their debut album Gradients accomplishes what needs to be done: making music for the sake of making music (and having fun while doing so).

Musician and Box Drummer Shane Sato kindly reached out to Norbu, requesting coverage and the possibility of an in-person interview at their Jefferson Park studio. They released five singles (of the nine album tracks), providing ample material for a first impression. Each subsequent single responds in a different emotion; “Hang On” is defined by its jazzy-pop tone, “River” provokes loneliness and longing, and “Impressions” conjures a wistful wonder. Even if the listener can’t quite pick out everything frontman Adam Rhodes is saying, his melodies express emotion clearly and bend along with the instrumentation like a curved on-ramp joining the through lanes. The drive over had a little bit more verve than the usual trek down LaCienega.

Those unfamiliar with psych rock might hear Gradients and imagine the outfit in the corners skulking and brooding, only recording the more uptempo songs because their crossover ambitions forced their hands. Modern rock connotations usually lie in one of three fields: uppity douchebags (that may or may not consume raw meat onstage), apathetic art snobs who don’t care about self-promotion, or Imagine Dragons-esque rock for bros and Republicans. Box Dreams were just guys being dudes, evoking the sort of friendly, genuine camaraderie expected only from childhood friends who see each other once every five years.Walking into Box Dreams’ studio setup felt like walking into the nicest fraternity on campus. It took 30 seconds upon entry before someone offered me something to drink while another member was toying around with the TV to turn on the Rose Bowl Championship game. A painting that doubles as the Gradients’ album art hangs from the studio’s ceiling, drawing my eyes even though I’m meeting everybody at once.

Box Dreams has five members: Adam, Avi, Shane, Brett, and Kevin. Adam Rhodes (guitar, vocals or “breath”) started the project in 2014 and recorded a song with Shane pre-pandemic, who both slowly recruited members, completing the ensemble in 2021. Adam and Shane’s natural charisma and pension for jamming with strangers allowed access to Avi Durchfort (lead guitar), Brett Fuller (bass guitar), and Kevin Litman-Navarro (keyboard, saxophone). They coalesced in September 2021 and booked a couple of shows in December to test the waters.“If that show went well, we’d stay a band. And if it didn’t, we were probably gonna split. That’s how I felt,” said Shane. Everyone kind looked wide-eyed with this newfound information before busting out laughing.

Three years later, the band has a grasp on their on-stage chemistry and is developing their recording identity. At formation, Box Dreams would record live versions of songs that Adam had written. Newer material required more input from other members, allowing them to write their individual instrumentation or the space to collaborate on a song as a unit. It’s not without its growing pains but makes for a better overall product.“This is a band that has five very capable cooks, all working on the same dish,” said Avi.Box Dreams has quibbled about everything: from song sequencing, to which cover songs to perform at their shows, to “tack[ing] on parts at the last possible second.” Patience, attention to detail, and striving for a great debut as a band, do pay off.

Gradients is a dish that has simmered for two years, absorbing all the spices and rendering all the fat. The record is impeccably clean and professional, a rare feat for a band that’s this new. Credit is given to Box Dreams for their diligence, and some to Thomas Rojo, their producer/engineer, who had helped them “get their sound a little bit more polished.”“I've enjoyed this process because working with a bunch of guys with a bunch of different opinions would usually be a catastrophic event of drastic proportions,” said Thomas.In the simplest of phrasing, the album keeps interest. No two songs sound alike enough to make one expendable, and no single song feels too left-field. It can transcend from a meandering mystery, spiral into a frenzy and arrive back into an organized arrangement. A welcome disarray that feels refreshing and distinguished.

I asked each member what was the most difficult part of making this album and received a variety of answers, but none of it feels apparent here. All that remains is the work that’s been done and the allure of what’s to come next.I previously made a big stink about the music just being the music but Box Dreams both has the talent to make it as far as they’d like to and the personality to stay relevant outside of music. The conversation gradually became more deliberate the more we talked about the art, but the goofiness resumed as soon as I stopped recording. Before long, I announced I was leaving the studio, and without fail, Adam offered me a swig of cognac before walking out the door. Of course I took it, no commercial endorsement necessary.

FREE: Detroit, His Way

Written by Patu Ong Photographed by Khalil Copeland

Plenty of artists know they are destined for music from the day they first pick up an instrument or perform karaoke in front of their family. Plenty of artists that mess around in their parent’s garage on a dusty guitar and pursue their purpose without any fallback. Not to discredit that, but there are also plenty of artists who seek music after realizing everything else isn’t as satisfying. The road less traveled is still a road nonetheless. Though both paths have merit, sometimes the rollercoaster with more peaks and valleys feels more invigorating.“This is a collection of demos and should be consumed as such” prominently displays on FREE’s Instagram page. It’s more modest than tongue-in-cheek, but the “dark R&B” artist sounds invested in his sound brewing since 2015. Still a work-in-progress, but raw in its own right. The project weaves moody, sensual instrumentation with lyrics and melodies fitting right into early OVO Sounds. The concluding track, “PILGRIM,” is its finest example: a dirty mackin’ anthem that will make listeners chortle and shake their heads, but can’t deny singing its chorus.To know more about FREE and his journey into music, read his interview with NORBU below.

Patu: Hey FREE, thanks for joining. What initially grabbed me was your “Fine By Me” visual. Can you tell me a little bit about that?FREE: We shot that visual in 2021 near the Ambassador Bridge, which takes you from Detroit to Windsor, Canada. We received this tornado warning before my girlfriend–the visual’s lead–showed up. She was running late and decided to shoot some B-roll at dusk. By the time she got there, the tornado warning was on high alert. We decided to get some shots in and if we got caught in the rain, we’ll figure it out.Moments later, we look back to see a curtain of wind and rain hurling towards us. I picked her up, ran to the car, took her to her car, and ran to grab the rented equipment. My boy Choice tried to grab one of the lights and almost got blown to Canada. My other homeboy actually ended up flooding his engine.Patu: Dang, starting your first video off with a bang. Makes sense that the whole visual is so dark and moody. That was real.

FREE: You can see that in the project trailer. There are some shots where you see lightning in the sky. It’s not After Effects. That’s natural light.Patu: Not to mention the song is pretty good too.FREE: Thank you. My current pursuit of music is very focused on world-building. The Weeknd is really great at that. My sound is more PARTYNEXTDOOR, Weeknd-inspired. There are other influences, but I try to give people the closest comparison.Patu: Who else?FREE: Michael Jackson is a major influence. Growing up in Detroit, I got into so many different electronic bands and groups…I’ll leave my Spotify on and I might sample something. Electronic music and techno music are deep in Detroit’s roots. Like JMSN, he does a lot of electronic R&B-type stuff. I’m all about blending genres.Patu: I see that. Speaking of Detroit, can you tell me a little bit about you and your background?FREE: Growing up, my mom and godmother introduced me to Jodeci, Boys II Men, male and female R&B. My government name is DeVante after Jodeci’s Devante Swing. I didn’t start making music until I was 15, didn’t record a song until I was 18, and went to college for graphic design. Being from Detroit, I didn’t know you could become a recording artist because all we had was Eminem. Even now, Detroit artists are just starting to become mainstream.Patu: People love referencing Danny Brown too.FREE: He was there during this cool underground scene. Dej Loaf too. That’s where a lot of Detroit people started to find their voices. I tried that for myself before moving to Chicago. I lived in the Chicago/Indiana area from 2012–when Chief Keef blew up–to about 2016, moved back to Detroit, did some time in Los Angeles musically, and now I’m here in Atlanta. As far as me getting into music, I started pretty late.Patu: How did you transition into working in music?FREE: I did a lot of songwriting. I won’t name them, but I was working with somebody and some of the dark alternative R&B sound I was going into was getting appropriated. I didn’t have the business mindset and I had my first kid so I kind of stopped pursuing it publicly. I planned to pivot from being a rapper and rebrand into this darker direction and sound.

Patu: So you’ve been working and plotting this move out for a while?FREE: Exactly, me and my creative team, Otherworldly Just Visiting (OWJV), shot those visuals two years ago. I envisioned this project to be a collection of interludes I’ve made in the last couple of years and then go further. Having my youngest daughter also pushed me to finally put my music out.Patu: Is OWJV your video team?FREE: We’re a collective of artists and we all help co-write for each other. Ashton Woods, Worst Choice, Jx, we all help each other out. The name alludes to us being “others” in Detroit. People wouldn’t necessarily associate how we dress, how we act, the type of music that we listen to and make with the city of Detroit.Patu: What else can you tell me about FINExME?FREE: All of these songs sound like they belong even though they were made over the course of five years. There’s some drill influence, samples from Jagged Edge, Toni Braxton, and some retro anime. It kind of narrates my life as it pertains to my current relationship with glimpses of past experiences throughout even though you can’t tell from the actual subject matter, I can directly attribute the birth of my youngest daughter to my decision to put this out.Patu: And of course, we have to talk about “PILGRIM.”FREE: In 2020, I was tweeting about a chick–or a couple of chicks–before my current relationship. I said that chicks are pilgrims because the first thing they do is settle laughs. Choice and I heard “Still Your Best” by Giveon and he had to sample it. A lot of dudes are gonna like that one.Patu: It’s definitely Instagram caption material.FREE: It’s a spiteful chant. It’s the last song and it kind of caps off the project, leading into where I want to take the next project.
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Smile High's The Vibetape: Crafting Jam-Infused R&B Magic

Written by Brian Harrington Photographed by Alex Gonzalez

There’s plenty for LA artist Smile High to be smiling about right now, which doesn’t really matter since he’d be smiling regardless. The veteran keyboardist, producer, and engineer’s reputation precedes him, earning his name based on his “resting smile face.” His latest smiles stem from the release of his newest project, The Vibetape, in collaboration with The Main Squeeze, in which he plays keys. On these ten tracks, Ben “Smiley” Silverstein was able to not only flex his chops as a keyboardist but as a producer and A&R as well.Though this isn’t his first project under his own name and far from his first working with The Main Squeeze, it does feel like the project his whole career has been leading up to. Jams and collaboration were always a staple for The Main Squeeze, the five-person band Smiley co-founded while attending Indiana University, and that’s only increased since relocating to Los Angeles.“We’ve been doing the jam sessions for like six years. It’s always been a thing since we moved to LA,” Smiley told me over Zoom. The Vibetape, released November 24th 2023, is an aptly named attempt to try and capture the good vibes of those jam sessions onto tape. “The inspiration you got from those jams kept you going for months afterward, and the word spread around LA.”Created to be a direct contrast to a typical LA studio session that “usually has a little bit of pressure behind it,” the Squeeze house jam sessions always made a focal point out of “the spirit of collaboration.” With less focus on making the suits happy, artists would find themselves feeling more free to express themselves and experiment.“The spirit behind this album was inviting our friends into the space to create in a low-pressure environment.” The stakes were so low at earlier sessions that they didn’t even hit record. It created an atmosphere that attracted the best people and the best artists. “I think the most high-caliber musicians in LA are coming to these jams.” Some of those musicians included features from Felly, Cocoa Sarai, Chuck Inglish, Abhi The Nomad, and others.The initial push to record these jams and turn them into a full-length project came from an unexpected source: the advice of a neighbor. It helps to realize that you’re neighbors with 3-time Grammy-nominated R&B singer/rapper 6LACK.

“One of the first people that [planted] the seed to make it an album was our friend 6LACK. He was our old neighbor at our first house in LA when we were doing these jam sessions. He would hear the band jamming in the backyard and we didn’t know he was our neighbor.”After eventually meeting and starting to jam together, 6LACK found himself fixating on some of the material they made during a particular jam session at his house. The Atlanta artist kept texting Smiley, reminding him to release the music and urging him to “make an album with this vibe.” Once the idea was set in stone, the frequency of the jam sessions increased.“Those were like 6-7 hour jams that would usually start at 9 pm until 1-2 in the morning, and I would record them just to see if anything magical happened, which it usually did.”The Vibetape also saw a major shift in contribution from Smiley, and what distinguished this project from being a Main Squeeze album, is the inclusion of “another producer that kind of helps be the sixth person of the team to make decisions.” For example, producer, bassist, and former American Idol judge Randy Jackson served the role of producing the band’s second album, Mind Your Head, in 2015. For this sixth album, Smiley was ready to take on the role himself.“For this specific album, I was that. I had the vision for how to finish it, I knew that I could do it and I was up for the challenge.” As The Main Squeeze started shifting more towards rock and soul music, they knew Smiley was the one they could trust to see these R&B jams to the finish line.“It was in my wheelhouse genre-wise so I told the band it would be great if I could have final hands on this album and finish it, and everyone was down. I just took it upon myself to ask all the features to be part of it, project manage it, and take it to the finish line. When it was all said and done, it ended up sounding closer to a Smile High album than it did a Main Squeeze album, mostly because of the heavy R&B soulful influence.”

Smiley wore plenty of new hats to embody the driving force behind this project. He completed paperwork, wrote contracts, and emailed artists, managers, and label reps to be featured on the album.Everyone’s contributions came together to create this fantastic collection of jam-band R&B that Smiley saw through from start to finish. His role as producer allowed him to play one of his favorite instruments after keys: the computer.“One of my favorite instruments is just being behind the computer while a dope instrumental plays, and just taking my favorite parts and fitting that into a song.” Curating a group of talented musicians into a room to jam for hours is one thing, but it takes a whole other skillset to be able to then go back and try to make sense of an hours-long jam session. Thankfully, Smiley is skilled at that too.“A lot of [the songs] came from the jam sessions themselves so that was literally just me sifting through six hours of jams. A lot of the time, I would take a video of my favorite moments just to bookmark it in my head, and then from there I would go back into Ableton and look through the seven hours for those favorite moments and take a twenty-minute jam, and somehow put it together to make it a four-minute song.”Though it proved to be tedious, Smiley is more than happy with the results. “It was a wild process, but it led to some really cool songs.”Be on the lookout in the future for Vol. 2, which Smiley says has “gotta happen.” If he had to change one thing, he would “hire someone to help with the contracts and the paperwork.”

A Yearly Check-in with
seiji oda

Written by Patu Ong Photographed by Mariela Isabel

A good remix is difficult to hate. My sometimes pessimistic brain shrugs at the idea of sped-up/slowed-down versions of songs more than a lazy deluxe album, but seiji oda’s AERO series hits that sweet spot of reinvention and echoing a great idea. There’s something to be said about not fixing something that isn’t broken, but there’s also the possibility of tweaking the recipe to reflect your evolved state as an artist.“aero4ever!” is the fourth iteration of AERO, oda’s most defining song. It delivers similar characteristics from previous entries while adding a new chorus and a guest verse from his brother lil ricefield. oda feels way more grounded and attuned to nature, sprinkling in jungle ambient sounds before the new instrumental outro hurls pitched and sped-up vocals when the listener least expects it. It orients the song in a crisper and mobile direction that mirrors oda’s development as a producer, vocalist, and artist.seiji oda joined NORBU to talk AERO, holiday plans, and 2024. Read ahead to learn more.Patu: I think we first met in September. What’s been going on since?seiji oda: I was rolling out CITY POP. That was the end of summer so everyone was high-energy. Right now, I’m much more in a reflective mood and trying to aggressively do nothing.Patu: What do you have planned for New Year’s?seiji oda: I will be on this meditation retreat at Twentynine Palms. My friend and I went to one at the beginning of last year. We’ll be meditating, making and serving food, and setting up the center for others doing their retreat. I just wanted to return and give back since it’s a free program.Patu: Is this going to be a yearly tradition for you?seiji oda: I did the full retreat in February last year. It was my first time and I did two in Japan when I was out there. Hopefully, this could be the beginning of a yearly tradition.Patu: From one tradition to another, let’s talk about aero. Besides it being your most popular song, what makes you want to return to the instrumental and melodies?seiji oda: That was the first song I made that defined the sound, “lo-fi hyphy.” I get to revisit that first time, mix it with whatever newer things I’m working on and remix my foundation. I also use it as a self-check-in to see how I’m feeling and where I’m at.

Patu: How are you feeling? Sounds like you’re reflecting on the year you’ve had.seiji oda: I’m feeling hella open. Way more alive and aware of who I am and shit. For most of my life, I’ve been a very logical, control-oriented, and linear-minded person. I still see that as a strength of mine, but I’ve been more “Yo, it’s cool to let go of that, let it be, and let it fucking fall apart.”I’m also focusing on people being the most important thing. I had this mindset of working and grinding if I want be successful and happy. I still want to work hard, but I think I did that at the expense of being a good person, friend, son, and family member. You can be raw as fuck, but if you’re not a good person and doing right by the people around you, then what the fuck is the point? You’re just going to end up a millionaire with no friends and no purpose.Patu: I think that says a lot about “aero4ever!” too because I felt like this was the biggest departure. Instead of changing the keys or adding another element, there’s a whole outro, guest verse, and a beat switch. It kind of signals how far you’ve come since four years ago.seiji oda: Damn. It’s been damn near every year–I didn’t even plan that out.

Patu: What’s the process for that? Do you go back to all of the songs and decide what you can change? How do you make it feel fresh and retain some of those key elements?seiji oda: When I made “aero4ever!,” I didn’t even listen to the other versions. I tried a whole different beat for Aero 4 before, but I think I was trying to force it. I just went back to randomly making shit and didn’t question how to make another aero, making it different, and how to build off the previous one. I’m sure I subconsciously had those thoughts, but it turned out exactly how I wanted it.That’s how “aero three³” felt like for me. I definitely listened to the last ones because I needed to make this one greater and better. This one was more natural.Patu: At what point do you decide you want to bring your brother in?seiji oda: The song had an open verse from the jump. I wasn’t necessarily planning on it being him, but he was the first person I thought of. I was reflecting on our time together in Japan, where I started making the beat. I wanted him to give his take on it and he achieved the same feeling I was trying to get across.I originally thought since it was aero4 and Jordan Ward had done FORWARD, it’d make sense. But I’m glad this worked out because it feels a lot closer to home with my brother.Patu: There’s always next year.seiji oda: I think I’m going to be making aero’s until forever, you know? It might not be every year but I want to make an aero 80.

Patu: Can you talk a little bit about aero and its significance?seiji oda: Originally, it was Aeropuerto and then it became its own thing. When I was in Chile [writing AERO], I was talking about “now these police double check when I’m at the airport.” The song feels like air and the sky. The cover art of it always depicts the sky.Most of them were songs I made away from home while I was traveling. I made [AERO] in Argentina and Chile. “aero three³” was made in Mexico. “aero4ever!” was made in Japan. “aero2” was made in Los Angeles, which makes sense because my friend Sai made an “AERO/seiji oda type-beat” on YouTube.Patu: How do you go about performing it live?seiji oda: I have a live version of it. I had to tune the song down to 432 Hz, which is the frequency of the universe. One and three are like that, and two and four are detuned. So if I’m performing one or three, I tune it back to normal speed.

Patu: When can we look forward to seeing that next?seiji oda: I’m putting together a tour for Spring 2024. We’re gonna do shows up and down the coast–California, Washington, Seattle, to Vancouver, hopefully.Patu: Is there something on the horizon I should know about?seiji oda: “river people ~” and “home…” are going towards a project called human + nature. That project is coming.Patu: Besides the album and tour, what else are you looking forward to in 2024?seiji oda: Rice is moving to Japan. I’m excited to have him out there. “aero4ever!” comes out on the fourth and I think he gets to Japan the same day. We also made this song in Japan, so it’s kind of crazy. I’ll probably go back around March, the same time we were out there, to see the cherry blossoms. I love it out there.

Izzy Spears: What Is Politically Correct in America?

Written by Patu Ong Photographed by Hendrik Schneider

The biggest pushback about music in America is that it seems so…clean. Everything is communicated through a filter of a dozen yes-men, leaving audiences to see only the finished product after a game of telephone. If you strip away all the character from music, is it worth the polish? Izzy Spears’ music can be described as a blend of punk, grunge, rap and alternative. Whatever genre you label it, it’s palpably provocative.After touring twice with experimental rock enigma Yves Tumor and releasing 2022 EP MONSTAR, Spears plans to rub people the wrong way again with M * A * D (Miss American Dream). With a black, gay, non-conformist rockstar who refers to himself as a f*ggot and names a song “Shock Therapy,” he’s bound to make some waves. Why polish something enough for people to accept you when you can apply friction and shine like wildfire?NORBU is pleased to host such an unpredictable figure like Izzy Spears to talk about M * A * D (and some other things).

Patu: How are you feeling ahead of release?Izzy Spears: I feel great. It feels like it’s a little rushed because I was touring but I’ve had these songs for so long.Patu: How was touring this time around?Izzy Spears: Touring was great. The shows were bigger, the sounds were better. I have a better understanding of how I want to proceed onstage.Patu: I know you’ve toured with Yves Tumor before. Does it still take some getting used to?Izzy Spears: Not really. I know how to remove myself and remember that he’s human. Plus we’ve been friends for so long, so I never gave him that fan reaction.Patu: Have you ever been starstruck?Izzy Spears: I’ve only really been starstruck around Lauryn Hill and Andre 3000. I’ve met Frank Ocean and Jane Olivor and A$AP Rocky, so I haven’t really been starstruck much. And if I have, I’m definitely not gonna let you see it.Patu: Is there a story behind Frank following you on Instagram?Izzy Spears: I signed an NDA, so there’s nothing I can talk about there.Patu: When did you challenge the idea of the American dream?Izzy Spears: It was just MAD at first. The themes just come from us being in a shitty place in the world, blah blah blah, bullshit. But you know, I was listening to Britney [Spears] and singing “I’m Miss American Dream since I was…” like that. And I love abbreviating things, so it just clicked right away.Patu: Before M * A *D was released, we heard “Serena” and “New Normal.” What makes “Blind Leading the Blind” a great intro?Izzy Spears: It’s very alluring. Also very different from the rest of the music I’ve been doing and what people expect of me. It’s the newest song that I’ve made and it was all freestyled. I wanted it to be the first thing that represents me on this particular project because the sound is more of the direction I’m headed toward.

Patu: Is there a specific place you write songs?Izzy Spears: Normally, in a moving vehicle. I don’t know why, it just gets me into writing. Ever since I was a kid riding a school bus, that was pretty much the vibe.Patu: How did you and Duskdriven figure out the production and instrumentation for M * A * D?Izzy Spears: I think it always starts with a bassline. Bazzi (Duskdriven) just comes in and we either have a reference or he starts playing bass before I conduct where he goes from there. He’s the pro, so he knows what he’s doing. It’s not super formulaic though, sometimes we just go in and be on some shit.Patu: I feel like you’re selling yourself short.Izzy Spears: Well it starts with bass–and I’m learning to play it, but he’ll come in with the bassline and I’ll always conduct. It’s just that I don’t know my scales or the technical stuff so it’s sometimes difficult to explain. He’s able to translate my thoughts into music.Patu: Is there a reason why you specifically wanted to pick up the bass?Izzy Spears: So Shanti–I’m sorry I can’t keep on saying Yves–he has a studio and we go play musical chairs. Everybody has instruments: drums, bass, guitar, keys, whatever. We go in, move around, and jam on a song. I don’t play any instruments, so I was nervous coming into it. But when I picked up the bass, that was just the one.Patu: When was the first time you were naked in public? Was it those House of Lotus parties you threw back in Atlanta?Izzy Spears: Oh shit, how do you know about that? Umm yeah, around that time for sure.Patu: How long did it take for you to be comfortable in that space?Izzy Spears: In that era, I was going through a breakup situation with my ex who’d always comment “That’s weird” or “You’re dressed weird” or whatever. Once we broke up, Izzy came alive and I started doing photos with Pierre Pastel. He had this idea but he said I had to be naked for it. It wasn’t even a thought.

Patu: I know it’s relatively early, but what else do you want to accomplish in your career?Izzy Spears: I definitely want to do film. I already do creative direction but more world-building for other artists. I want to get more into producing and playing instruments. Things outside of entertainment too.Patu: Like what?Izzy Spears: Build homes. Make art in the form of a home or a landscape. Architecture. I just want to be able to use everything I have.Patu: Do you think America will be ready for a pop star with the music and aesthetic that you project?Izzy Spears: We had Marilyn Manson, Prince, David Bowie. It’s about time we get back to embracing some freak.

Jite's Resonance: "Flowerboy" Unveils the Heart's Melody

Written by Tenzin Dekyi Photographed by Alex Gonzalez

IN THE SYMPHONY OF CREATIVITY Jite graces us anew, presenting her second offering, "flowerboy," across streaming realms. Following the serenade of her debut, "isolation," this 23-year-old LA native orchestrates a creation of the expression and exploration of a multitude of emotions. Within the verses, Jite's raw vulnerability unfurls, weaving a tale of uncertainty and the sanctuary found in the first bloom of love. A sunlit track, it mirrors the warmth of autumn drives, capturing the essence of perfect days spent simply, in the cocoon of companionship."I wrote this song about how sunny, safe, and warm it feels to be in love with this boy. My idea of a perfect day is any day I get to spend with him regardless of what we do. Just simply sitting passenger side in his car, listening to music, holding his arm, and feeling the air through the windows makes me the happiest and most at peace. The title has a bit of a double meaning. I jokingly started to call him "my flowerboy" because to me he feels like Tyler the Creator's flower boy album personified, but it's also me saying he is my little flower (literally) because the way we met fell like the equivalent of talking a walk on a random day, unexpectedly finding a single flower on the ground, and picking it. I was scared to start writing songs about love because nothing is promised. This song speaks to the idea of fully surrendering yourself to somebody, regardless of that uncertainty." - Jite

The title, "flowerboy," conceals a poetic duality. A nod to Tyler the Creator's album, yet an intimate revelation—her love, a delicate bloom plucked from life's garden. It echoes the chance encounter, akin to discovering a lone flower on a whimsical walk, a metaphor for the serendipity of their meeting. The display of Jite’s intrinsic ability to successfully manifest feeling and emotion directly into art is apparent when she shares the inspiration behind this single.Jite, a luminary rising from the world of socials and surpassing 100k followers on her spam Instagram account, she has then branched into YouTube, adorned in threads of fashion, comedy, and soul-stirring melodies. A creative alchemist, she steps into the musical booth with newfound purpose. In the crucible of self-discovery, Jite draws inspiration from Solange, Aaliyah, Sade, and Kali Uchis, shaping a unique soundscape. Her journey, a testament to surrendering to love's mystery, beckons us into the heart's sacred terrain. As she cultivates her own musical tapestry, Jite promises a melody that resonates—a timeless symphony echoing the genuine and heartfelt echoes of her soul.

Exploring Zahir's Multifaceted Artistry

Written by Tenzin Dekyi Photographed by Courtland Myles

IN THE BUSTLING REALM where visuals meet melody, 21-year-old DC native Zahir emerges as a multi-hyphenate virtuoso. Initially recognized for directing captivating narratives for major companies, Zahir seamlessly blends his musical roots in piano, trumpet, and percussion into his creative repertoire. Influenced by luminaries including IDK and Joey Bada$$, Zahir's debut single “Unusual" unfolds as an R&B/Alt Hip Hop masterpiece, featuring the soulful collaboration with Phoenix James and Wiseboy Jeremy. This sonic gem not only found a spot on COLORS' Weekly Releases but also garnered high praise from the acclaimed duo EARTHGANG. Zahir's directorial prowess shines in the visual experience for “Unusual,” earning accolades from industry heavyweights like Saba and IDK. As the lead single from his debut EP, Chaos St., "Unusual" sets the stage for Zahir's foray into a musical narrative that promises to captivate and resonate within the vibrant corridors of the creative community.Tenzin Dekyi: How does it feel now that Chaos St. is out?Zahir: It’s been great. It's like having a baby. It's been wonderful to be able to express myself so succinctly in the forms of both art and film and combine them in a very nice way. And it's been very therapeutic as well. I'm talking about very real stuff so to have the support of the community that embraces it all really has been amazing. And then of course just the opportunity that I've gotten to meet people and talk to a lot of my favorite artists and companies is just really nice and really humbling so I'm trying to enjoy every part of the experience.Tenzin Dekyi: That's amazing. I feel like that’s a really cool place to be in.Zahir: It's just very fun and very humbling to be recognized. I'm like a learner at the end of the day. I just love learning, meeting people, and allowing that to navigate me to the places I know.Tenzin Dekyi: What was your creative process or the inspiration behind the EP?Zahir: The process is pretty interesting. I wrote the verse for "Unusual" and I went to rap it and it sounded horrible. There was this weird disconnect between how my brain knows it should sound versus how it's coming out of my mouth. It was very humbling too because music is one of those things. It's like painting when you look at it, it looks so easy but it's actually very difficult. So for the next six months from October to March. I just studied my favorite artists' live performances. I was just studying a lot of their voice inflections and stuff and my favorite rapper is Saba. So just studying a lot of his stuff and how he was able to manipulate his voice. I rapped the “Unusual” verse for six months straight until I got to a point where I felt it was suitable. It was around March and then I had Phoenix James and Wiseboy Jeremy who are both really good friends of mine get on it and it clicked. By then I had a vision, so we did the video and Chaos St. developed from that.

Tenzin Dekyi: One thing that's unique about you is the fact that you are a director. How has it been marrying the two different creative processes and what is your creative process?Zahir: For me, I've always looked at art very holistically, so I try not to separate them too much. I think maybe the processes are different but the beams are thematic. I'm looking for similar things that can be expressed visually or sonically depending on how you choose to do it. I don't try to separate them. As far as marrying them, It's been a really easy process actually because it's all about presentation whether it be musically or visually; people always remark to me about the presentation of my work, how presentation enhances both aspects of it. So sometimes people will find me through the video and then listen to the video be like, wow, the music is fire or vice versa. When it comes to directing, my process with it is very similar to how I make music. I just sit and think about what ideas are coming to my brain. What do I want to write about? What color am I seeing? What is the temperature? Is it a hot red or is it a dark red? So a lot of times I go off of those instinctual feelings and it hasn't been wrong yet.Tenzin Dekyi: You were recently a part of IDK’s “No Label Academy.” What was that experience like?Zahir: The best thing ever in the world ever. I don't even know how to explain how it pushed me to be the best artist I could be. For all of the days that I was there, it made me have to dig deep within myself. The very first day [IDK] made us write on a whiteboard. He made us write where we wanted to be in ten years. Where did we see ourselves? He wanted someone to come to the front of the class and share what they wrote. I like speaking in front of people so I volunteered, and I started reading off of the board. I'm like, I want to be a director. I want to be a visual translator. I want to be a musician. I want a better vision. He said “Stop. Excuse my language but make me feel that sh*t.” That set the tone from the first day. It was truly an amazing experience. IDK broke us down to the base level and built us back up. And by the end of the week I met Saba on the second to last day. It was a very emotional moment for me. We talked for an hour and he was like “I have seen your video before. I just didn't know it was your “Unusual” video. It was really fire.” Then he said he followed me to keep up with me and my work.Tenzin Dekyi: Wow, that's crazy.Zahir: It was crazy. But it goes to show you how people really are watching whether you believe it or not. They just might not know who you are personally, but they see you on social media and they see your work. To me that was kind of like the crown jewel of the week.

Tenzin Dekyi: It looks like growing up you played a variety of instruments, do you still produce or play a major role in the production of your music?Zahir Muhammad: Definitely. Every single beat that comes through, either I write music to go over top of it or I take something away from it and fill it. I’m kind of always like, “take this out or add this piano here, let's add a bridge there or take the drums out here.” I definitely do credit it to my musical years that were developed by playing all those instruments. I know how I want things to sound and I look at it very holistically. So the beat is just as important as the vocals which is just as important as the video and that is because it all comes together as the presentation.Tenzin Dekyi: I feel like you are the epitome of someone who touches every aspect of art and that’s so cool because now you have a million different ways to express it.

Tenzin Dekyi: Who are some of your biggest musical influences or just creative influences in general?Zahir Muhammad: Initially I'm going to say Saba and Tyler The Creator. Smino, No Name. And as of late, it's been a lot of Bobby, IDK, and Jordan Ward. I say that because I've been able to meet all of them and work with them. It's an emotional thing now. One thing that I find very cool is that the more emotionally attached I get to something or someone, the more impactful they become in my life. Lastly, I would say my friends too. I feel like my friends are the most talented people ever in my opinion, each in their own ways. And I'm learning so much from them every day and really look up to them too.Tenzin Dekyi: I think it's fair to say the DMV music scene is crazy right now, and it probably has been for a while. But I especially feel the rising scene is brewing with talent. Who are some of your favorite up and coming artists from the DMV area?Zahir Muhammad: Yeah, my hometown has so much talent, it's so great to see. One of my best friend's, his name is Ezy. He actually made it to “No Label Academy” with me and he's one of the craziest MCs I know. He was actually so good at NLA, he got chosen to be IDK’s opener for the Boston tour stop. He's definitely someone I want to shout out. I got a few others like Armani Jordan, I really like his work.

Tenzin Dekyi: Last question, what can fans look forward to in the future? What can we expect?Zahir Muhammad: I look at Chaos St. like a saga. This isn't just a one-off thing. So I have a project coming out centered around that similar to how Chaos St. is centered around "Unusual." We're gonna drop a video for every song and then I'm dropping an LP. I also have a lot of work with some major artists coming out as well so I'm looking forward to that too. I think it's all gonna work very well together and continue to create this presentation of my art and how I feel it in a very cohesive and striking way both visually and sonically.Tenzin Dekyi: One last question, do you see yourself directing for other artists?Zahir Muhammad: I don't want to spoil too much, but yes, yes. I have to see myself fitting in within the vision of the presentation. I want to maintain my authentic self-expression within someone else's world and work. So some cool stuff is coming out in that area as well.Tenzin Dekyi: There's so much strength in that.Zahir Muhammad: At the end of a lot of interviews people will be like, “is there anything that you wanted to say?”Tenzin Dekyi: Yeah.Zahir Muhammad: I want to say one thing a lot of people have been asking about; shows. This is part of my presentation and how I want people to feel with my art. I really don't plan on doing a lot of shows. That doesn’t mean I don't plan on doing any shows, I just don’t plan on doing a lot. The reason for that is because I want every show to be like a “you had to be there” experience. I want it to be a combination of the best visuals ever coupled with a very emotional show. I myself want to cry every show. I want it to be a very selective experience.

Josef Lamercier: The Light at Tunnel’s End

Written by Patu Ong Photographed by Tenzin Dekyi

A MAJORITY OF PEOPLE — are going through tough times. Every lifetime possesses peaks and valleys, but some treks up the summit face Sisyphean burdens. Most escapes to social media nowadays don’t offer much solace and can even inflict further heartache. No matter how bad it gets, cathartic self-expression can be the first step toward self-healing. On “Pray On It,” NOLA–born songwriter and R&B artist Josef Lamercier laces up, approaches the base of the mountain, and begins his ascension to brighter days and clearer views.Fresh off a performance at Bardot’s School Night event, Lamercier and producer Niko Oroc invited me to Slow Jamz gallery in Los Angeles’ Art District. Oroc, who partially owns the half art gallery, half event space, welcomed me into the stark-white setting adorned with portraits of iconic R&B and hip-hop artists. The eyes of MF Doom, Lauryn Hill, and Sade followed me as I climbed the stairs into their creative headquarters.It’s my first time meeting Oroc, but we both have ties to Long Beach. While I lived there for several years, Oroc made some of the most recognizable songs coming out of modern Long Beach. Oroc produced two albums under the name Nikobeats for Long Beach rapper Huey Briss, one of the first musicians I met during my time at California State University Long Beach, where he met Lamercier not long after.“We just really connected human to human,” Oroc said of their first time meeting and recording music together.As soon as Lamercier joined us, his calming energy was immediately apparent. Only a few minutes into the conversation, he pretzels himself into criss-cross applesauce on the couch, a gesture that gives him a wise, sage-like air.

Lamercier has always been able to express his voice without talking. His songwriting expertise has been well-documented, with credits for Dua Saleh, Kyle Dion, Elijah Waters, and Berhana’s recent album. It began with contacting his college buddy, Channel Tres, when he moved out to LA, which resulted in Tres’ “fuego (feat. Tyler, The Creator).”Lamercier also contributed his introduction to the “business of songwriting” to collaborator Barney Bones and the late August 08. Although he signed a publishing deal in 2021, he got tired of “giving [his] story” to other vocalists and decided to “take a chance” on himself to sing his own songs.When Lamercier’s grandma and Oroc’s uncle passed, they channeled their grief into work. It’s a coping mechanism that always sounds unsustainable, but making art doubles as a cleansing release. The pair locked in for a week at the start of 2022 and created the majority of songs that would make Merci, Lamercier’s forthcoming debut project fully produced by Oroc.“This project is rooted in grief,” Oroc shared.Without listening to a single note of Merci, the duo has a chemistry rivaling most blood families. They know when to let the other speak their piece on relevant questions but roast each other for their wildly different dream riders.“[I need] Fresh ginger root and lemon [for tea], cough drops, green apples, Nerds Gummy Clusters, Haitian rum, nacho machine… and edibles,” Lamercier pondered.“I need a PlayStation 5, I need [NBA] 2K,” Orco said. “I need a Hennessy coke Slushie machine. Three cases of Yerba Mate, Filipino mangoes, and Haribo gummies,” Oroc stated.

The duo’s most recent single, “Pray On It,” imparts keeping the peace and staying ahead when down bad. Despite rarely rapping outside of this song, this unique single is a perfect encapsulation of what Lamercier represents as an artist. His time hasn’t come without obstructions, and he’s not afraid to present his vulnerabilities.“I can't get out the deep-end/ I’m drowning out/ Been peeping out this shit/ Can't call it out/ All my niggas they trapped too.”

As the track moves along, it transitions to North Carolina rapper Reuben Vincent, who graces the song with a slightly more boastful yet highly pensive verse. While still weighed down by grief and troubles, both vocalists start the process of wringing out the excess.Oroc’s production also shines. The violins flutter in conjunction with the chorus, hugging and uplifting it. He creates an atmosphere that feels like Lamercier is lying on a bed of grass looking up at the clouds, grasping for guidance from a higher power. The gradually positive environment turns the verses’ layered ad-libs into welcome company, instead of the “slow psychotic” overthinking that Lamercier vents throughout the song.“Pray On It” has already had its fair share of recognition. It’s Lamercier’s three-peat appearance in Spotify’s “Fresh Finds R&B” playlist, and it has recently been played on Apple Music’s Ebro Show.Lamercier and Oroc teased the release of Merci with a performance in New York’s Ludlow House this week, where they offered a sneak peek into Lamercier’s debut project.Times have been tough for the two, but speaking on your grievances makes the baggage a little lighter. Doing the work and carrying that weight doesn’t get much easier for the path ahead, but it’s worth it to prepare yourself for the journey’s next phase. On to the next one.

Behind Wynne’s Captivating Stage Presence and Lyricism

Written and Photographed by Tenzin Dekyi

Wynne has been taking the rap game by storm since the release of “Jaw Morant” and “Hot Friend” earlier this year. Currently she’s on her first headlining tour that includes 14 dates and locations. We got the opportunity to catch up with her before her St. Paul show in Minnesota.Tenzin Dekyi: How has tour been so far?Wynne: Tour has been lit, it’s been super lit. I've been surprised because this is my first solo tour so I didn't know what to expect, what my fan base was like, who would pull up, but it's been a really mixed bag; a lot of hip-hop heads and a lot of baddies pulling up with their nails like mine. It's been both and just been fun to play to both crowds and been turnt the fuck up. I love performing. I love being able to rap on stage because so much of my presence is on the internet, people don't always expect me to have such a presence on stage so it’s been fun to introduce the fans to another side of me. But i am tired as fuck.Tenzin Dekyi: What has been the craziest or most surprising moment on tour so far?Wynne: I think New York was the most surprising show. New York has such a reputation of being kinda stoic, but to me New York was maybe the most lit show. It was super turnt and it flooded that day so I was super nervous if it would get canceled and if not, if anyone would show, but we packed bodies in there.

Tenzin Dekyi: Take me to the making of “Some Like It Hot,” what was the inspiration and intention behind it?Wynne: With Some like it hot, i wanted to show people that i can do both like i can do radio record and also rap my ass off and not compromise either one. That is why I wanted to put “What Would Comb Do?” next to “Jaw Morant” because I wanted to let people know “don’t get it twisted.” That really is my bread and butter. Being able to just write for three minutes over a soul trap is what I really love. But I've found this medium because I want to make those big records that you hear in arenas, so for me this EP was experimenting with trying to find where my voice fits because I used to be a cypher MC. So Ty and i did a lot of artist development during the pandemic, learning how to sit on a beat and focus on feeling and statements, and pauses. It’s been a lot about development.

Tenzin Dekyi: What is your favorite song to perform?Wynne: That’s tough. I would say “Jaw Morant” because I don't think I've rapped “I’m a motherf*cking dog” this whole tour. I also like performing “In the Mood'' because the hook really works well. The last one would be “Mary’s Lambo” which is produced by Cristo who produces most of J.I.D’s stuff. Its like rhythm gymnastics so that's fun to do on stage because it's hard so when I’m out there, I have to be really sharp. I would say those are my big three.Tenzin Dekyi: As rising artists, community is really important - who are some of your favorite up and coming artists?Wynne: Chris Patrick, I think Chris is so talented and Dende, the whole Crossroads camp is so good and I love what they're trying to build and doing it all independently by building community. On the girl rapper tip i think a lot about Baby Tate, i feel like she is so talented so i'm excited for her. From Portland 3wayheff, who i had on the first half of my tour, there's a rapper named Milc who’s like my favorite rapper in the city. There’s also this kid named Piscee he's like JT meets Pharrell and he produces everything himself, he’s super talented.

Tenzin Dekyi: Who has been some of the coolest co-signs so far?Wynne: Missy Elliot was a big one for me, because I love Missy. I model so much of my attitude and the way I approach rhythm from Missy so that was definitely a huge one. Meek Mill was a dope one, Benny the Butcher, The Game, Ghostface Killah was a also dope one, The Alchemist was crazy. There’s some big ones.Tenzin Dekyi: What do you want people to take away from you and your music?Wynne: Lyricism. I really want people to remember me for my lyrics and the way that I pen my verses. That was always my favorite element of it. It was being able to hear lyrics that somebody wrote and that made me feel like that was mind blowing, how did you think of that or i didn't know i felt that way until you said that. For me it's always about the lyrics. I want to be remembered for my lyricism.

Megzz Breaks Through the Noise

Written by Patu Ong

Exploring the comments under any popular social media post is enough reason to believe in humanity’s lack of empathy. Our unaligned necks and minds fill with FOMO in an echo chamber with no reflection, but there are always moments of refreshing clarity and honesty. In an era of digital disregard, Northamptonshire (UK) soul/R&B singer Megzz wears emotion for all to see in her newest EP, Through the Motions. The four-track project serves as a direct passageway into her psyche, emboldened with clean instrumentation and emotive vocals that’ll hit you in the chest.

Megzz is an independent artist, chronically writing her thoughts and feelings. Sometimes it doesn’t leave the Notes app. When it finds its exit, the venting or poetry materializes into a sincere symphony detailing dark topics and tender confessions. Everything is personal and tragic and beautiful. Play any of her songs and you’ll get a clear picture of Megzz’s personality, but there isn’t a better introduction than Through the Motions.Megzz plans to release a self-directed documentary to showcase her life as a “British, mixed-race, female R&B artist with no label and no manager” before the end of the year. As for now, Norbu was lucky enough to talk to her about the EP and its motifs.

Patu: How does it feel to have Through the Motions out?Megzz: It’s a relief but it’s intimidating at the same time. I put in so much hard work, so I’ve been waiting for it and was excited to put it out. But any artist will think, “Are people listening to it? Are they enjoying it?”Patu: Do you get caught up checking what people say on your phone?Megzz: I push [my phone] to the side. I’m not a numbers person, so I try not to focus on followers or streams. I’d much rather have a small community that actually listens to the songs or lyrics rather than having millions of streams from people who have it playing in the background.Patu: Through The Motions touches on consent, control, and other topics. What else binds these songs together?Megzz: The main topics are boundaries and mental health. Just being aware of your well-being: knowing it’s okay to feel emotions, knowing there’s strength in those feelings, and knowing it doesn’t make you weak. “Boys Will Be Boys” is very much about consent and others disrespecting your boundaries, whereas “Love Me from a Distance” is about setting your own boundaries and being content with it. “Too Much” is what happens when the boundaries blur–letting someone in and letting your guard down. “Motions” is the boundaries you have with yourself.Patu: The title of the EP is Through the Motions, but the topic of boundaries is rightfully strict. These are lines you shouldn’t cross. How do these themes coexist?Megzz: It relates to the duality of life and other emotions. It’s rare for one day to be entirely happy and the next to be entirely sad, with no overlap. You can simultaneously go through the worst time of your life and the best time of your life. There’s so much power in accepting that and knowing those feelings can coexist. You can set boundaries, but if you look at the bigger picture, you can still go through the motions and accept whatever is going on.Patu: What is your songwriting process? How many times are you crying per day?Megzz: [Laughs] So many times. None of my songs actually start as songs. I write, whether it’s journaling, poetry, or spoken word. It’s my form of therapy and why I try to keep it so honest. I think it’s easy to be honest with other people when you’re writing songs, but it’s not easy to be honest with yourself.Patu: You recently performed Through the Motions in its entirety for the first time at The Old Blue Last in London. How’d it feel?Megzz: It was such an intimate and special night. It felt like there was a strong sense of community, and people came with open ears and open hearts. There was a lot of vulnerability in the air, not only playing some songs live for the first time but also the personal nature of the lyrics. I received an equal amount of vulnerability, support, and love. It felt very freeing and a little bit surreal.

Patu: Have you performed in the United States before?Megzz: I would love to! I’m still trying to build my US fanbase. I’ve actually never been to the US, so I would love the opportunity just to visit.Patu: Maybe you’ll get the opportunity once American listeners know a little bit more about you. Can you tell us when you decided to pursue music?Megzz: I played the guitar since I was five. As a kid, I’d always make little books before it occurred to me I could combine the two. I put videos on YouTube but I didn’t really have the confidence until later. When I was about 18, I was hospitalized for my mental health. I was writing every day, which helped me get through depression. Before nearly getting discharged, I asked my mum to bring me my guitar. I started playing it in the communal area and everyone sat together. Suddenly, the people who went through such a difficult time started smiling, laughing or simply processing something.Something really clicked for me at that moment. That told me that music is what I’m meant to do. This is my calling.Patu: I apologize for bringing up such a sensitive topic. Though, it sounds like something good came out of it.Megzz: Yeah, it was the hardest–but also the best thing for me at the time. I was going through so many different issues that I had no time to process. When it all came out, writing got me through it. And apart from “Boys Will Be Boys,” I wrote all of Through the Motions during that hospital stay. That’s why they had to stay together as a body of work.Listen to Megzz’s Debut EP “Through the Motions” Below:

ClayDough and Ajai’s “PROLLYSHOULDN’TSTAY” Album Displays Art In Its Purest Form

Written by Tenzin Dekyi Shot by gabesuniverse

Oakland’s ClayDough and Ajai Kasim came together to release their most recent project “PROLLYSHOULDN’TSTAY” late July of 2023. The album begins with the track “WE CAN BE KEEP STEPPIN” that feels like an inviting entrance to the sonic expedition the two plan to take the listeners on. Ajai’s melodic hooks floating over ClayDough’s harmonious loops along with the Bay Area bounce, the pair display a sound that has yet to hit the ears and emotions of many. The producer/artist duo describe this project as a direct reflection and expression of their life experiences through raw and colorful eyes.Tenzin Dekyi: How's the reception been in your opinion since the drop of “PROLLYSHOULDN’TSTAY?”Ajai Kasim: It's been good, I've received a lot of love in real time so that's been reassuring for sure. It's been a slow build but we've seen that the people are really being moved by the music and in some sense understand that we poured a lot into it. So I'm happy about it.ClayDough: Yeah, I feel like it was being received really well online and once I got to New York, meeting new strangers and watching them see the vision and start supporting and believing in it instantly was the craziest feeling.Tenzin Dekyi: What was the inspiration and influence behind this project?Ajai Kasim: Overall, just trying to reflect my story. Life is the biggest inspiration that pushes all the narratives in this album forward. A lot of what I write about has to do with my romantic life and what I'm going through at the time. It's hard to say what one thing led to the next but I think it was the process of growing together, evolving with and through the music that made for a really beautiful project in the end. Without all the chaos, we wouldn't have gotten where we are. It took a lot and it was a series of small steps and long periods of grinding to get here for sure.

Tenzin Dekyi: Which songs are your favorites and which ones did you enjoy making the most?ClayDough: DUBBED. As well as OPEN CLOSURE.That was a fun one for me because I got to take one thing and completely remix it at the end. I feel like a lot of our work is just crazy ass ideas. PRADA ME, was really fun to make also.Ajai Kasim: The first one I absolutely adored was FIRESIDE HIGH. Something about the way that song feels it's just so special to me, and I honestly thought FIRESIDE HIGH would be the one to take us “there” and be the one that people gravitated towards the most. Mainly because I thought it felt the most universal.ClayDough: It feels familiar.Ajai Kasim: So that was the first one that had me. I think I was also moved by OPEN CLOSURE. As I was writing that song I was definitely going through all the emotions I was talking about and it fully reflects the situation I was in. It's so easy to fall for someone special and get caught up in the simple things. The lack of complexity in that process can be so moving. As well as the fact that sometimes you just want to keep the door open for somebody. The hope in that song is a product of understanding how available we can make ourselves to someone, but also realizing that it's not always the best idea. It's just a bittersweet reality that comes with the turmoils of love and relationships.Ajai Kasim: Lastly, DUBBED is special. We poured all of ourselves into that one song. It captures not only just the romantic aspect of what I was going through, but exactly where I was in my life. And I feel like it reflects me being a young black boy. It also reflects me being a lover boy. It reflects me trying to dip into different colors.ClayDough: It's a realization over the course of the entire song.

Tenzin Dekyi: How much does being from Oakland influence your artistry?ClayDough: It influences a lot. Sometimes we call ourselves “New Hyphy.” Being from Oakland, a lot of the music from the outside perspective can sound the same, but I feel like what really inspires me is that bounce. I've been honored to bring that to Ajai's music.Ajai Kasim: As I started to grow up, I started to understand how the sound moved the people of Oakland and how it moved me, but not understanding how I could bridge the gap between that and everything that I'm rooted in terms of the sound my parents raised me on. Clay coming into the picture really helped bridge that gap because he also had a bunch of outside, worldly influence along with being rooted in that bounce. The balance works well enough to write songs in my own way. Clay is definitely the reason I love it so much now. And he said “New Hyphy,” but I would like to say more of a “NU Oakland” because Hyphy is the thing and was the thing. But I really want to be the evolution of that. Honoring what and where the bounce comes from but representing a new Oakland. A new sound as an expansion of the Hyphy feeling.Tenzin Dekyi: Clay, you do such a good job on the marketing/branding side. How important do you think branding is as a producer and how do you get your name out there as well?ClayDough: I feel like there's a lot of producers out there that are just posting audio files on their social media and that's a way of doing it and sending out beats through email to random artists that you don't know but it’s not the way I want to do it. Recently, I have been performing with my artists playing keys, DJing and being the hype person or whatever. As I evolve in this, I want to be one of those producers that can work with anybody and It's listed as an artist, like a Terrace Martin.Tenzin Dekyi: And then Ajai, dissecting your artistry. You seem like you're an all around artist. Currently doing both music and fashion; do you see any similarities between the two or how do you marry them into one? And kind of just your creative process as an artist and overall artist and kind of how you do.Ajai Kasim: Yeah, there's so much crossover. I feel like I don't have to work too hard for it, it's very second nature to me, in terms of bridging the two worlds. As soon as I start making the song I'm thinking about the video and I'm thinking about how the clothes relate to the video, I've always been that way. And in terms of the creative process behind that, it's very much intentional. I want to bridge the gaps, and continue to push the narrative forward. I'm a creator before we get to the specifics of writer or fashion designer whatever and I love to bring things into the world. I believe I'm a vessel and have been given the power to choose how art exists in the world. It feels like a higher power is passing through me when creating.

Tenzin Dekyi: Now I want to get into the looks for the photoshoot we did. Ajai, can you describe your designs and what your thought process was behind those pieces specifically?Ajai Kasim: The biker look, I didn't design those but I did style them. A little backstory for those jackets that we were wearing; I pulled up to Oakland for my brother’s birthday and saw Clay in this jacket. It was my first time seeing it and he told me that his mom gave him this beautiful motorcycle jacket. Funny enough, the night I got home, my mom was about to give away a bunch of clothes. She had a pile of beautiful things that she was about to get rid of and from the pile I lifted up this beautiful motorcycle jacket. I said….”So this is mine now right?” And I tell Clay I have the opposite of that jacket he was wearing. It's literally in the same world, just the complete opposite so I'm like “we have to do something with these,” just based off that story. It's so crazy that both our mom's kind of passed down this little moment to us because it felt too perfect. We call ourselves “The Goons” and I feel like those jackets definitely scream Goon to me. It was the perfect way to kind of capture that “Goons” essence for us.ClayDough: Those are our GOONiforms.

Ajai Kasim: The second look features a couple of my own garments from my brand Children of the Urf; Clay is wearing the pants. The star-crossed lovers, which were part of my last semester's collection, and I think it fits him perfectly. I wanted to do something that kind of paid homage to Oakland, They both had this loudness to them that was colorful and fun.Ajai Kasim: So I made sure he did that and then, I put him in this lace piece underneath his own T-shirt which is the Dizzy Tee. Everyone should buy one of those.ClayDough: We're both rocking Dizzy Tee.Ajai Kasim: For me, I wore one of my recent pieces from this for my summer collection, I called it the “Summer's Over” collection, which is all up cycle army scarves or just little fabrics that I had from leftovers from last semester. It really worked because there's a star lace that I'm wearing, under the jean jacket. And similarly with the motorcycle jackets, we get the same story across but in opposite ways. It speaks towards our true essence and what we really bring to the table in terms of our energy and personalities.ClayDough: And then you made that bunny hat as well.Ajai Kasim: Yeah, that's OverPink Bunny. You will see him probably everywhere. I made that in high school and he works as my creative mascot, similar to Kanye's bear from the college dropout era. It works as my character and a signifier that drives the room.

Tenzin Dekyi: I love how everything is so intentional and authentic to you guys.Tenzin Dekyi: Who are some of your influences and they don't have to be musical in a sense, just like a creative influence?ClayDough: Mine are definitely gonna be musical just because that's the world I live in. I would say Pharrell, Stevie Wonder, Larry June, Seiji Oda, the list goes on.Ajai Kasim: I'll just start with overall influences. I'm gonna start with my mom, just because I wouldn't be anything without her, literally and creatively. She was the first vessel, in terms of the position we play in a kind of divine sense. My mother is a fine artist and singer. She was definitely the first creative vessel that I was exposed to, and a lot of how she channels through her artwork, I also do in a similar way. Aside from my mom, my community has inspired me to be the best version of myself and always keeps me grounded. And musically, I would say the Neptunes for one!! That’s how we got our name, the Goons; it was obviously inspired by them.Tenzin Dekyi: What can fans expect from you guys coming up? What do you guys have in store?Ajai Kasim: I think you're definitely getting a B side to the album that expands the idea that “we're still here,” like we probably shouldn't stay… but we're still here. We're figuring it out as we go. A lot of really great music is coming. We have a lot of stuff in the vault.ClayDough: We have a single coming up soon with a music video that's gonna be fucking awesome.

Check out "PROLLYSHOULDN”TSTAY” Below: