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From New York to Los Angeles, producer, Alex Silver delivers his latest single, “Broken Mirror,” in collaboration with vocalist Kaylee Ameri. As a multi-talented producer of Hip-hop and R&B beats, Silver relocated to Los Angeles to live out his goals, aspirations, and dreams in the music industry. No label. No manager. Just himself as the creative and driven mastermind to create and produce content that redefines the world through various mediums. As one to incorporate his life experiences as influential craters in his work, he completes his projects in order to fulfill his soul and creative ambitions. “ Broken Mirror,” opens with a dystopian ambiance that unites with the deep harmonious elements of vocals from artist Kaylee Ameri. Singing powerful lyrics of not wanting it to be over, Ameri strikes our ears in the most satisfying manner. This song showcases her vocal scale with an empowering presence. As crucial as the instrumentation and production are in setting the tone for this record, it falls into our minds effortlessly with Alex Silver blowing it out of the water. The composition of the instrumentation balances the bodacious vocals presented on this track giving us plenty of time to reflect and take at the moment on the warm melodious harmonies throughout the chorus that are gradually introduced to us over the striking resonance of vocals singing the hard-hitting lyrics. We are already so excited to hear what Alex Silver has in store for us next. He has us going through his music catalog and picking our favorites for every occasion. Listen to "Broken Mirror" here. Congratulations on the release of “Broken Mirror.” Could you please tell us how you and Kaylee Ameri brought this collaboration to life? I was honored to have met Kaylee & develop a relationship with. She's incredibly talented, so it was a huge blessing to get her to work on a few songs with me for my debut Album. 'Broken Mirror' was the lead single off the project. She is Based In New Jersey & therefore we worked on the song from a distance. Once I had produced the beat, I instantly knew Kaylee would compliment it perfectly. I told what I wanted to call the song and she wrote the lyrics, recorded vocals to send back over to me for the mix and master. The rest is history! What is your largest non-musical inspiration that you bring into your music? I try to channel the past experiences and the pain I've been through in order to find a release and outlet. I try my best to make sure my music makes you feel something. What message do you want to get across to your listeners with your song "Broken Mirror"? Balance is everything. When your reflection isn't there the Mirror is broken. Without your other half, you lose air to breathe. How has your unique sound come to be what it is today? I love to listen to music from different parts of the world and incorporate it into my music. I have a lot of different influences that impact my production. I have tried my best to create a unique sound that stands out and is my own. I like to mix things that shouldn't be mixed together and try things that people don't usually think of. I do everything I can to create the visceral feeling you can embody with your entire being and understand a piece of me. What can fans anticipate to hear next from you, Alex? During the quarantine, I've been working on a lot of new music. I am anticipating to release of 11 new singles. A song a week for 11 weeks. Following I will drop my 4th album 'Infinity' which is undoubtedly my best project to date. Instagram Website #BUZZMUSIC

The Bangalore-based Musician and Singer/Songwriter Popcorn Kid release a groovy single for the soul with, "Discotown (feat. Noxigen & Katherine Hb)." Popcorn Kid (Nikhil Narayan) has been running hot for two solid years in the music industry; he's continually being recognized by new eager fans and increasing his monthly listeners on Spotify day by day. With his latest release "Discotown (feat. Noxigen & Katherine Hb)," Popcorn Kid delivers this fiery and nostalgic atmosphere through driving synths, gripping basslines, and airy drum fills. Noxigen and Katherine Hb's vocals bring a lively back and forth while pushing the track with boundless energy. "Discotown (feat. Noxigen & Katherine Hb)" opens straight out of the 80s with funky electric guitar swings, tightly-wound drum patterns, and Popcorn Kid's energetic keys. Once Noxigen and Katherine Hb begin singing to each other back and forth, the atmosphere heightens into this exhilarating space where dancing becomes inevitable. What keeps our toes tapping is Popcorn Kid's wicked instrumentation within this track; everything from the whopping synth to Noxigen's surreal electric guitar delivery puts this track on the map as one of the more stimulating pieces we've heard this year. Perfectly encapsulating his city's groovy nightlife and overall atmosphere, we can't get enough of the song's naturally engaging instrumentation that pulls us in closer. Popcorn Kid has outdone himself with his lively hit single "Discotown (feat. Noxigen & Katherine Hb)," while Noxigen and Katherine Hb provide refreshing vocals and surreal electric guitar all to push the song's inviting and intoxicating atmosphere. Listen to Discotown (feat. Noxigen & Katherine Hb)" here. What a groove you've released with your lively single, "Discotown (feat. Noxigen & Katherine Hb)." Could you tell us about the song's inspiration, was it derived from Bangalore's nightlife and energy? Thank you, I’m glad that you felt the groove I was trying to portray. The inspiration for this song is my exposure to a lot of vintage classics such as ABBA, Earth Fire-Wind, Michael Jackson,etc., to name a few. My vision for ‘Discotown’ is for it to be a symbol and a musical landmark for Bangalore's nightlife and music scene. We've heard that your single "Discotown (feat. Noxigen & Katherine Hb)" was originally the intro track for your album "Paradise." What made you want to re-work the track and add Katherine Hb's vocals for a new release? Usually, music lovers tend to listen to songs with vocals/lyrics since they are able to resonate with the words on a personal level. Hence, I felt Discotown, being an instrumental would be a great song to have vocals since it musically represents a golden era of music. Adding to the existing aura of the song, Katherine’s vocals were icing on top. When re-working "Discotown (feat. Noxigen & Katherine Hb)," did you keep the instrumentation the same, or did you add any sonic additions to spice up the renewed release? I was content with the instrumentation of the song. So I retained most of the instruments to sustain the original vibe of the song. The mix and master however are a bit different. Living in India, we've noticed that you have many international fans and monthly listeners. How do you manage to keep your city's listeners entertained, as well as international listeners? The kind of music I make is not yet popular in my country. So I intend to spread this genre to my local communities through my music alongside making it catchy enough for my international listeners to vibe to. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music, this year? I can totally relate to the hardships that the people are facing during these wretched times. This motivates and inspires me to make new music which helps overcome any negative feelings and becomes a sweet escape. IT would be awesome if it can achieve the same for others as well. Instagram #BUZZMUSIC

Chicago, Illinois, has birthed yet another sweet-talking, truth-telling rapper called Tezzy. Having lived in various areas of the city, the young artist has already had a lifetime of experience conquering adversity. Inspired by the likes of Tupac and J. Cole for their ability to share their authentic emotions through their verses, Tezzy prides himself on his ability to tell a story with his music. He has just come out with a soul-shaking album labeled 'Accept My Apology' that will make even the hardest of hearts turn soft. 'Accept My Apology' consists of twelve songs that include an “Intro” and an “Outro” that lack instrumentals. Both of these could be perceived to have deeper messages than appears. The “Intro” begins with a crowd of “boos” before Tezzy pops off with a freestyle to introduce himself to his fans. This gives the impression that he will continue on his path no matter what other people say or think. The “Outro” is very short and to the point; it’s a conversation between two close friends. He repeats “that’s my boy,” closing off the album with a representation of support. The next ten songs share a common theme; each track is layered over a remastered recording of an existing song. These songs range from old-school R&B to contemporary Pop, and effectively put a spotlight on the story Tezzy is telling with each track. “Back Down Memory Lane” is layered over Jazz club styled female vocals that continue throughout the song. The presence of a soulful serenade allows emphasis to be placed on Tezzy’s high energy trap production. Tezzy combines more of a contemporary melody with “Place to Hide.” Making use of Tom Walker’s “Leave a Light On,” he brings attention to mental health issues. Using Walker’s line “lately you’ve been searching for a darker place to hide,” Tezzy shares his own tragic experience of losing a loved one to substance abuse and suicide. The collaboration with “Leave a Light On” and Tezzy’s own intense verses is enough to erect the hairs on the back of your neck. “Place to Hide” stands out in the album for its gut-wrenching message. “Carry On” and “Gonna Be Alright” stay true to the old-fashioned backtrack melodies. It is at this point in the album “Accept My Apology” that Tezzy truly gets into his past. He raps about shootings, people looking down on him, and overall challenges that he has faced throughout his life. Both of these tracks inspire the motivation necessary to “Carry On” and pursue your dreams without letting anyone or anything get in the way. Tezzy takes another turn down a more romantic path with his next few songs “Oh Girl” and “Nice & Slow.” He utilizes his own remastered version of “Oh Girl” by the Chi-Lites to rap about one girl standing out from the rest of the crowd. Tezzy’s use of the phrase “I never thought about love before I knew you existed” is enough to make anyone’s heart melt instantly. “Nice & Slow” is more of a sensual track that focuses on the beauty of a women’s physical features. Keeping his fans on their toes, Tezzy switches things up yet again with “Not Another Love Song” and “Outta My Head.” These tracks take us straight to Tezzy’s deeper feelings. Many of his verses are dedicated to the turmoil he and his loved ones have experienced while living in the hood. Refusing to let his past hold him back, Tezzy sheds a light on his forward-thinking mindset, and his willingness to work hard in order to shape his own future. Tezzy saves the majority of the heat for his final two musical tracks “Dying to Live” and “Ocean Eyes.” As an ode to one of his main inspirations, he remasters Notorious BIG and Tupac’s song “Runnin’ Dying to Live.” In this track, Tezzy exposes himself by admitting that he can come across as insensitive. To follow up, he reminds us “I do be trying, but my people they do be dying, put yourself in my shoes.” His message within “Dying to Live” is a Segway into the lyricism behind “Ocean Eyes.” Tezzy’s pairing a heavy trap beat to Billie Eilish’s “Ocean Eyes” will have you shook. It will take you back to how natural a hard-hitting beat fits with the soothing vocal serenade. His poetic lyrics describe Tezzy’s lifelong journey in finding his purpose. With its recurring theme of heat filled Hip-Hop layered over preexisting songs, 'Accept My Apology' flows seamlessly between each of its tracks. Tezzy’s choice in song showcases his musical versatility between various genres and appeals to music lovers of every kind. Listen to Tezzy's 'Accept My Apology' here. What was your inspiration when you were coming up with this album? What types of genres inspired you while writing? My inspiration came from the flood of music that came when Corona hit. There were so many artists who during quarantine dropped track after track and even projects. It kind of made me think like “why aren’t you joining” it wasn’t like the music wasn’t ready it’s just I spend so much time chasing perfection I sike myself out of actually dropping the music.  It was old school and pop that inspired me while writing. Mainly those songs that told stories and made people feel emotions while listening. The songs you used for the intros and chorus’ of most of your tracks on your albums varied from genre to genre. It was one of the most appealing aspects of your album as it highlighted the story you were telling! How did you choose these specific songs? I am a huge fan of music; I sit down and study music religiously. So, choosing songs was not much of a task. I had specific songs in mind and not only that I knew exactly what parts I wanted in my music, it became only a matter of crafting the actual beat. What is the meaning behind the naming of your album as 'Accept My Apology?' The 'Accept My Apology' title stems from me not dropping an album in 2 years. If I could compare it to anything, this would be my version of Lil Wayne’s “Sorry 4 The Wait”. It’s an actual apology to those who listen to my music and had been waiting patiently. It’s also a promise to never take that long again dropping an album. Is there a main message that you are trying to get across through each track of 'Accept My Apology?' I wouldn’t necessarily say it’s a message, but it’s definitely a story I’m trying to tell, my story. I just want to let people into my life and who I am a little bit at a time. Also, I want to make songs people can relate to and reflect on. I want to make music that gives people movie emotions, but in a short time frame of course. You know how if a movie is good enough, by the end of it you’re emotionally attached to characters so if the director and writers want you to be sad you feel sad if they want you to be happy you feel happy. That’s how I want my music to be, When I’m sad I want people to feel it the same as with other emotions I put in my songs. What has been keeping you inspired in 2020? The thing that has been keeping me inspired in 2020 is growth. People noticing my growth and telling me they notice my growth. As an artist, I never want to stagnate and not grow, so for people to tell me that they hear my progression song to song is definitely inspiring. instagram.com/tezzytoomuch #BUZZMUSIC

Hailing from Arkansas, the Progressive-Folk band Haliday releases their debut EP, 'Self-Titled.' While writing most of the EP's songs on a camping excursion in Arkansas, John Davis and Hunter Passmore have ingrained nature's organic beauty into their daydreamy sound. Regarding their debut EP 'Self-Titled,' we can feel vast heart and passion within these Alternative-inspired tracks. Opening the EP with the intro track "Intro," this 50-second instrumental brings us into the middle of the bar surrounded by crowds of people clinking drinks and getting down to some live tunes. With ambient acoustic guitar raining down from above, there's a faint yet noticeable kick and sub-bass that makes itself at home in the heart of this instrumental—giving us a glimpse of what to expect from the rest of Haliday's EP. Softly opening their next track "Near the Pines" with warm acoustic guitar, the song brings us into a reflective state that has us question routine. Once John Davis' pure vocal stylings enter the song, we can't help but get deeper into the song's concept where we're stripped of everything we have only to go through the motions of our day-to-day cycle. Hunter Passmore brings such grace to the song with his soft banjo plucking accompanied by John Davis' soulful acoustic guitar. The song reminds us of longing for our past days of freedom while staying somewhat optimistic for the future. Deepening the atmosphere within their next piece "Long Roads Ahead," Haliday serves the bittersweet atmosphere to healing and how we must go on with our journey. What catches our ears within this track is the mild Hip-Hop beat that brings energy and life to the track. Not to mention the melodic acoustic guitar picking, the instrumentals are incredibly diverse and dynamic while continuing to pull us in deeper and reflect on the song's theme. As Davis continues to sing of moving up and moving on, we love the raw passion and strength that Haliday has infused into their EP. Onto the next track, "Walls" gives this instant dark and mysterious sound from the jump. With an intense addition of trap drums heating the track, we can't get enough of this song's unique and heavy instrumentals. The main acoustic guitar brings the trackback to Arkansas' forests, yet spicing it up with brilliant surrounding production while Davis makes a minimal vocal appearance. This track stands out as a unique and heavy instrumental, yet Haliday adds incredible depth through minimal vocals and a unique blend of genres. With the next track "Bold," Haliday brings a bold instrumental and vocal performance into this mighty tune. What we've noticed so far is that Haliday's EP has progressively increased the use of trap drums and bass in each song, and this one has to be the strong point. The gripping drum patterns take us into a modern-day atmosphere while adding incredible range through Folk and Country-Esque acoustic guitar melodies. As John Davis again adds minimal vocals to the track, Haliday allows listeners to bask in the magnetic atmosphere that the instrumentals uniquely deliver. Reaching the outro of the EP with the last track "Ran Away," Hunter Passmore opens the track with bright and cheerful acoustic guitar patterns that glimmer through our speakers. John Davis' unique vocal performance enters the track in this deep and serious tone, completely resembling timeless Folk/Country tunes. He sings this disheartening message of attempting to look away and run from the pain, yet realizing that there's no escape from mental turmoil than to face adversity head-on. A perfect track to close their EP with, as it allows listeners to deeply reflect on inner-issues that need some attention. Haliday has placed a diverse blend of sounds and genre approaches into their dynamic and introspective EP "Self-Titled," and we can't help but lose ourselves in the duo's dreamy instrumentals and conceptual lyricism. Discover Haliday's Self Titled EP here. We can't get enough of the dreamy sound you've delivered on your debut EP, "Self-Titled." Could you take us through the project's overall concept, and what you wanted listeners to take away? We honestly just wanted to make music that we like.  Our songwriting process is more of just a feeling at a given moment. What was your creative process like for "Self-Titled" when creating an excursion in Arkansas? How did your surroundings influence your songs? The surroundings drastically influenced our songs for the EP.  How could it not?  It was a lot of fun though.  There were a few nights that were rough but other than that we had a great time.  We'll probably do the same thing for the album but in Arizona. Within a few songs on your EP 'Self-Titled,' we're able to hear a unique addition of Hip-Hop drum patterns. What inspired this sonic route for the EP, and do you plan on sticking with this sound in the future? Haha yeah so that's funny you guys brought that up.  Prior to coming together to form the duo Haliday, Hunter made beats for hip hop artists.  When we started experimenting in the studio with 808's along with acoustic guitar, mandolin, and banjo it just sounded good so we ran with it.  We'll probably do something similar with the album, but we will always have songs that are just acoustic. Seeing as your group is still somewhat fresh to the music industry, how would you describe Haliday to someone who's never listened? It would be hard to describe Haliday to someone who has never heard our songs.  We're a progressive folk duo that uses 808's and drums in our music, but only when the vibe calls for it. What has been keeping you inspired in 2020? While in quarantine we focused on creating a new sound.  We had more time to play guitar and focus on writing songs. Making music is keeping us inspired right now.  Drawing inspiration from nature is also a major part of our creative process. Instagram Facebook #BUZZMUSIC

The release of Policy’s debut full-length album has given the multi-instrumentalist a chance to show what he’s made of. Also a talented DJ, producer, composer, and engineer, Policy has what it takes to construct a striking album that will take you by surprise. Policy features multiple international female vocalists in his new LP, and their diverse vocal techniques are what make the album 'Echo Chambers' so unique. “Reality” featuring Tina Shest is one of the songs off of the new album “Echo Chambers”, and this one takes you on an electronic journey of questioning and hope. Tina Shest’s angelic vocals slide over the lyrics as she ponders looking for something more in life. It is easy to get lost in her words with the smooth tone and delicate nature she gives to her verses. An intriguing contrast of soft, classic violin instrumentation and a piercing beat adds a touch of mysteriousness to the song, a new spin on a typical EDM sound. “Reality” won Best Dance/Electronic Song for the Akademia Music Awards in 2020, among nominations for others. This peek into the “Echo Chambers” album showcases Policy’s talent for all things music, and he will no doubt continue to stay fresh and motivated moving into 2021. Listen to “Reality” by Policy here. It's evident you are very involved in the making and production of your songs. What was the production process like for “Reality,” and how did you know Tina Shest was the right person to collaborate with? All the tracks on Echo Chambers pretty much followed the same writing/production process, but "Reality" certainly did take a very unique and special journey. I initially started all the bed tracks in my home studio. Here I will get most of the musical compositions tracked. "Reality" was actually the first track I started working on and ultimately the last one that got finished right before we sent them off to Nashville, TN, for mastering. Next, I will send tracks over to our main studio, Advanced Audio Design Studios, and add any additional instrumentation, record vocals and execute the final mixes with my Uncle and Co-Producer Michael Zaremba. Tina was in the studio doing a session on another track and I was their co-engineering. I was searching for someone to collaborate with and I just asked her if she would be interested, sent her the beds and within a couple of weeks, we called her into the studio for vocal tracking. "Reality" is special because I wanted to do a 4 on the floor dance-able track that was also in an odd time signature. The beat is a steady 4, but the keys, bass, and percussion are in a 7/8 odd time signature. That is part of what makes "Reality" so special. Like most of the artist collaborations on the record, I did not know what she had written until she was in the vocal booth and we were ready to press the record button. Then, she just blew us away. Tina also performed the violin part. Only after the recording session was done, did I know she was the right person to collaborate with on this track! How would you describe “Reality” in comparison with the rest of your album 'Echo Chambers?' I think "Reality" melts very well with the rest of Echo Chambers. This album is a concatenation of many of my influences and musical interests but is also considered crossing-genres. I wanted to have many different artist collaborations where these artists could spotlight their own creativity. I wanted to feature instrumentals as well. I believe you can invoke emotion with the music alone as I learned listening to "A Warm Place" by Trent Reznor. I also have a remix of a track I previously did the drumming on. I knew that "Reality" was special before it was released as a single. It was relevant during crowd-reviews, back end business conversations, media responses, and radio going for adds. It ended up being the album closer and it certainly is the perfect encore. What tone were you eliciting with the lyrics for “Reality?" What is your take-home message for listeners? So, to be clear, Tina executed the top-line. She wrote the lyrics, vocal melody and performed the recording. I wrote all the music. I thought it would be best to reach out to her and this is what she replied with: "The tone is strictly straightforward, don’t let someone take away your identity in the name of love. If they truly love you, they will lift you up, not drag you under with them." -- Tina Shest I remember the session being very emotional and passionate. Tina is a very strong and detailed artist as we can hear in the recording. How long have you been creating music? What advice would you give to someone who is starting out in the music business? I've been creating music since I was very young. I came from a musical family. My Grandfather played 2nd trombone for Frankie Carl, my GrandMother was on Broadway. My Mother and Uncles were in a rock n roll showtime band that toured all over the US and Canada for 25 years called "The Cleveland Band." I hung with the road crew. The stage was my playground. I would set up the drums, clean the piano keys, duct tape the mic cords. I'm a drummer first, then moved on to guitar, bass, piano, and vocals. During the late 90's I became the house percussionist here in the Cleveland, OH club scene with all the EDM DJ's. I also still get behind the drum kit in a few projects as well as I'm the house session drummer for the studio. My advice to anyone starting out in the music business is to focus on the word "business". This is the era of the independent artist, but you have to be more than an artist. Be your own independent label. Understand not only your music but how to produce/engineer and mix. Learn the business and how to protect yourself. Learn how to market and promote. What good is releasing an album if no one hears it? I love doing all aspects of running an independent label. A keyword to understand is "Submissions".  The internet is such a great tool to use. Lastly is to believe. Understand you are not going to please everyone, but if you work hard and believe in what you are creating, you can evolve as an artist, no matter where you are in life. Music is the underlying denominator for me and has allowed me to be successful in other professions. Remember if you love what you do, you are truly free! This year has been incredibly hard for artists around the world. What has been your biggest source of inspiration while creating new music? I know and do realize it's been hard for other artists. I'm a huge believer in self-empowerment. My biggest source of inspiration comes from within. There is so much distortion going on these days. Where else can an artist find true inspiration but from within? I know I can find inspiration within myself, but what I try to focus on is to inspire others. I believe in servant leadership. I can see where I've already inspired others. The collaborations with other artists, the live performances are not about me, they are about the other. I like to speak for those who can't speak. Give others a platform to shine, create music, and feel joy, happiness, and sorrow. That is what Policy is about. Instagram Facebook #BUZZMUSIC

Producer Daniel Palomera Jr, known professionally as 3LU, always had a strong sense of musical intuition. From an early age, 3LU had been experimenting with multiple different sounds and instruments, often crafting pieces that are exclusive to his own mindset. Exposing himself to electronic music within high school years, 3LU knew that his fiery passion arose with flaming heat, and subsequently kickstarted his career from there. One of 3LU's most recent collections of music, titled 'From The Ashes', is a collection of four tracks that highlight the very progress he's had artistically across the years. 3LU starts off his EP with the track titled, "Intro". The contrasting harmony presented within their track conveniently and effortlessly depicts the title of the track. We extract various themes of death and rebirth within this instrumental track, and it holds a certain kind of embryonic embrace, staying true to its essence. The beginning of the track unravels darker piano melodies, which only transcend into a vast array of expressions. Setting listeners up in the most affirming way, 3LU continues his EP with "Never Let You Go", honing into a heavy electronic melody. "Never Let You Go" was definitely quite the transition after "Intro", and sparked a luminous entity within this artist's EP. "Never Let You Go" feels energetic and full of inspiration, ultimately following allowing the storyline listeners can easily guess it encapsulates. Tying in various Deep House synth collections, "Never Let You Go" is a sonic fusion of spacious tempos. This kind of melody and beat remains persistent in the following track, "I Still Believe", but with a subtle ambiance shift. Highlighting some of the darker elements to Deep House music, "I Still Believe" explores dynamically lively spirits, and challenges the very essence of 3LU's music. We end the EP with "From The Ashes", a track that brings us back towards the themes presented within "Intro". We're venturing along the narrative 3LU brings to light, ultimately sung by artist Eligy. "From The Ashes" denotes self-worth and the challenges that can arise from the realization of one's self-worth. Within this particular single is where 3LU challenges himself as an artist and displays a certain kind of production that's disparate from any of the songs on this EP. We're left mesmerized by the eclectic and versatile integration of melodies, and 3LU successfully proved his adaptability as a music artist. All in all, 3LU settled into his EP quite eloquently and showcased a various amount of his progression and style. Discover 3LU's EP here. Hello 3LU and thank you for joining us at BuzzMusic. There was definitely a clear transition between "Intro" and "Never Let You Go". How would you explain this strategy and what kind of ambiance were you hoping to contrast between the two? The Intro track was something that I wrote in my first year of university 6 years ago. I decided to use it as the Intro track because I think the ambiance perfectly captures the melancholic, rock bottom vibe that I wanted to start with. This EP is about me slowly realizing that I need to change and mature to become the person I want to be. The strategy was to illustrate that feeling then Never Let You Go is supposed to be the beginning of my journey. Out of the 4 tracks presented on "From The Ashes", which track felt most affecting to you in terms of your own motives? The last track was definitely the most meaningful to create and for so many reasons. I am in a significantly better headspace than I was 6 years ago and that was the perfect inspiration for writing it. The piece starts off as sort of a summary (being at war with my mind) then progresses into that exhilarating feeling of burning my old life and mindset to the ground and rising from the ashes completely reborn. This track is and always will be the most sentimental to me. What was the driving force that created the necessary influence and inspiration for "From The Ashes"? I think what started the idea for this project was me having this “come to Jesus” moment with one of my closest friends. We were talking about me and what I’ve done in my life and the people I’ve wronged. We also talked about how to fix all of it. This track is the embodiment of that conversation. The last two tracks on the EP featured artist Eligy. How would you describe the level of collaboration between you two for these tracks? Eligy is an absolute wonder to work with. We’ve been friends for a bit and when I told him I wanted to put him on the last track to make that transition just as seamless as the first two tracks, he didn’t even hesitate in getting started on the vocals. He’s the only other person that truly understands my signature sound and isn’t afraid to step out of the comfort of his own unique, incredible sound. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music this year? Something that’s carried me through my entire development as a producer is perseverance regardless of the outcome. I don’t have the financial luxuries a lot of other mid-tier/top tier artists have. This pandemic has put me out of work so I’ve had to make some sacrifices along with so many other people who have been negatively impacted. What’s allowed me to persevere is the support I get from my friends, family, and fans. Knowing that what I’m doing is working in their eyes has been the biggest inspiration. I’m nothing without every single one of them. Instagram Twitter #BUZZMUSIC

Philadelphia is the home of the newcomer, Burd Hauz. Haunting melodies and declarations pairing with a hypnotic auditory experience, like a fine wine, is what these titans of gloom rock are known for. “Good Grief,” is the title track and single off their 2019 EP, “Good Grief.” The EP itself features longtime friend and collaborator, Luna God, and major nods to her Lo-fi, Hip-hop origins. With this complete piece of work, you can expect unearthly elements that quiet your mind as you are summoned to bare it all. With the reflective wording of each word penned, "So many lights in this city I can’t even see the stars. Won’t you bless my pretty heart? We can't get enough from this," We are ready to indulge in everything Burd Hauz. “Good Grief,” opens with ominous instrumentation so unadorned, yet so loud. The panning of the elements, back and forth on our headphones, zone in our attention almost immediately. The haunting of melodies complements a mellow and free set of vocals. The distorted bass line presented creates the perfect dynamic peaking in and out of the track allowing each component in the song to have its own spotlight. With each strum of a somber guitar chord, the progression of this record allows you to transport to an eerily dark place in your mind that you stay entranced with. The lyrics you hear scripted, match the ambiance that you are immersed in. This allows your imagination to run wild on the exact sound voyage they have paved for you. All of the elements displayed are a recipe destined for success. We are so thrilled to have discovered the up and coming, Burd Hauz. We are looking forward to being engrossed in all they have to offer the music scene with an essence that soothes and connects with our soul. Congratulations on the release of “Good Grief.” We love the tone that you have set for your single and EP, “Good Grief.” What was the first song you created for this project and did you know it would be part of something bigger when it was created? So happy to hear that the project resonated with you! To this day I cannot listen to or perform “Swan Song” without becoming fairly emotional. I recognize that it probably doesn’t sound ideal, after I wrote it I became pretty fixated on the idea of being vulnerable all the time with my music. Luna God (who produced the project) was really stoked about the track once I sent it to him. We knew that we had tapped into something really unique with the addition of his electric guitar. And the audio engineer that I was working with at the time had been fairly indifferent about everything else we had worked on that year. So when he was bobbing his head along as I played the song for some friends, I thought to myself, “Ah, that’s it.” Was there a specific moment or experience that shaped your inspiration for “Good Grief?" I wrote “Good Grief” during a pretty transformative period. I had recently moved to California and was spending a lot of time exploring while nursing a recent heartbreak. So on one hand, I was leaning heavily into the newness that California was offering (palm trees, psychedelics, etc). But the other hand seemed to house this very dull and relentless ache. I moved to experience a new environment but still came home to the same empty feeling at the end of the night. And by the time I wrote the title track “Good Grief”, I was really sick of that emptiness. So I rolled up a joint, went into the garden, and allowed myself to get carried away by emotion again, just underneath palm trees this time. And that process of finally grieving felt really good. Hence, “Good Grief”. Out of the 6 songs on this piece of work, what is your favorite song from the project, and why? “Love Beams” is definitely my favorite song. Ugh, sonically, I don’t even have the words for it! The first time I played the instrumental I couldn’t help but start harmonizing.  And while writing I found myself wanting to complement the frequencies I heard with not just my voice, but also the feeling elicited. Do you know? That giddy, bubbly sensation we experience during the “just friends” phase. For me, it’s all of the potentials in the uncertainty! That specific excitement has always been intoxicating to me, and on “Love Beams” I finally captured some of those feels. With a wide range of ambiance and inspirations, what are some of your favorite places that you love to create? If we're just talking about the physicality of a "place", these days I have learned to love creating in my room. Over the Summer I had the walls painted a different color and that really changed a lot for me creatively. Going home to be in my room and sink into my feelings is what I really look forward to these days. Candles lit, jointly held high, sipping on some tea or coffee. Then I can truly fade into whatever mood I’m in that day. I love to create sounds from a very emotional place, and I do that best when cozy in my room. This year has been extremely difficult. What has been your biggest source of inspiration while creating new music, this year? Music is one of the few things that brings me solace these days! Crafting new sounds provides me with a bit of relief from our current reality. And every now and again someone will reach out and tell me just how relatable the songs on “Good Grief” are, and that it provided them with a channel to reckon with some of their own less than palatable emotions. That’s what I love about making music. It can be a means of connection and understanding. Instagram #BUZZMUSIC

Wistful, multi-genre R&B artist, Sebi, announces his long-awaited single, “Don’t Want to Fall in Love.” Originally from Urumqi, China, this Los Angeles based creative wears many hats in order to create a unique sound that encompasses elements of passion, longing, and desire, tugging our heartstrings through each song written and produced. Back with another single, he is determined to win us overusing his matchless roster of musical influences and distinct well-crafted abilities. “Don’t Want to Fall in Love,” commences with the deep, reverberated sound of an acoustic guitar strumming away. The instrumentation is greeted with the soft, yet, fervent vocals of Sebi. The heartfelt tone in his voice conveys a memo of not wanting to fall in love because he doesn’t want to hurt the person on the reciprocating end. The lyrics penned, “You don’t wanna fall in love, ‘cause you’ll always need me and I’ll never be enough, is it hard to see?” matches the sorrow he exudes in this record. The essence of all that is “Don’t Wanna Fall in Love,” is synchronized when the pure harmonies come in at the last chorus, creating another dimension to this ballad showcasing his vocal range as an artist. Sebi managed to tap into our nostalgia in such an effortless way and we won't complain one bit!  We are excited to see what is in store for this artist as we add this song next in our queue. Welcome to BuzzMusic, Sebi. Congratulations on the release of “Don’t Want to Fall in Love.” Could you please tell us what this ballad means to you? Hey, thank you BuzzMusic. This ballad means a lot because this is a song originally wrote by one of my friends N.I.K , he’s also the producer of the song and it was really good and it was something he was experiencing, so I really wanted to make it come to life. When creating a piece of work, do you create the instrumental components before adding vocals or vice versa? For this one, I believe we made the beat first and he wrote the lyrics. I usually make the beat first and write the song as well, I come up with the melody first and then I start writing lyrics. We would love to know, who is your ideal collaboration in your musical journey? I would love to collaborate with Michael Jackson, but I know that he’s not physically here, but I would love to do something like what Drake did with one of Michaels songs. Chris Brown, and Zayn.  How important is it for you to speak on personal experiences in your craft? How did you do this in "Don't Want to Fall in Love?" Speaking from personal experiences is a must for me because I like talking about real experiences that I go through in life, and I’m pretty sure a lot of people can relate to it, I love writing real stuff. And for don’t want to fall in love it’s from a real experience from my friend and I hope I did a good job delivering it. This year has been extremely difficult for the music industry. What has been your biggest source of inspiration while creating new music, this year? This year has been extremely difficult for musicians for sure, I’m pretty sure a lot of people lost their jobs and their funds for their music, and with no tours, A lot of musicians lost their income. I feel like the biggest is the source of inspiration while creating music this year was everything that has happened with Covid in the Black Lives Matter movement, and battling with hate, at the end I would say it mainly loves. Love and hope. Instagram Twitter #BUZZMUSIC

This Atlanta based group made up of Jason Kochis, Ryan Paul, and Kayvan Sarikhani has us rocking out to a high energy playlist developed on pop culture that includes tributes to Carrie Fisher, Stranger D&D Things, Scott Pilgram shenanigans, and G.I Joe. If that isn’t enough to make you want to check this ambitious and playful project for yourself, the diverse collection of tracks on the album, including “Jackie,” were expertly mixed by SAW, who has worked with artists such as, Paws, The Echo Machine and Moon Kids and mastered by Howie Weinberg who has collaborated with, Nirvana, The Smashing Pumpkins and Beastie Boys to name a few. Take all these ingredients and you have yourself a project destined for greatness. “Jackie,” opens with the driving of a bassy electric guitar chugging away until the uplifting drums by Paul enter this record giving a full forced introduction it deserves. Kochis’ energetic vocals make you feel like you know the "Jackie" he is singing about in the song and if you don’t, you need to know her. The power-pop vibes leave us feeling nostalgic and reminiscing on the early 2000’s while tapping our fingers and toes to the instrumentation. The bounce and pep in our step when listening to the first single off of their album leaves us wanting more. When the bridge comes in, you can hear the warm bass of Sarikhani come into the spotlight which leads into Kochis’ vocals with a distant telephone simulated effect that gives the song an out of the ordinary texture before heading into the hard-hitting outro. As an introduction song, this has us hooked all the way to the end of the album! “Jackie,” brings a type of spirited energy out in all of us, which is enough for us to have the project on repeat. Hello Hyperspace and welcome to BuzzMusic. Was the plan to always have “Jackie,” as your introduction song and first single off of the project? Jason: Not at all, it actually wasn’t even going to be on this album. I just had a catchy guitar melody I couldn’t get out of my head. I played it for Ryan and Kayvan and it took on a life of its own as they began to add drums and bass to it. During the recording process of our album “Emulator” with Sean McPherson at East Atlanta Recording Studio, Sean mentioned “Jackie” was the standout single on the record. That input planted a seed with us and we eventually agreed to kick off promoting the album with “Jackie”. Ryan: Surprisingly, out of all the songs on "Emulator," Jackie was last-in-line from a collaborative standpoint with the track taking a path of its own.  Just like Jason said, he kept playing this riff, and at the time I happened to be listening to a classic guilty pleasure of mine - All-American Rejects.  The toms at the beginning of 'Move Along' really inspired my intro in "Jackie."  Since forming the band, I can only think of one other instance when a song just congealed with everyone and that's "New Wave Girl" of our first album "And It's You." Kayvan: I suggested the idea of kicking the album off energetically with "Rogue One" and segueing into the moderate pace of "Jackie," but ultimately everyone liked the idea of introducing the album with a song that focused on what the heart of the band was and where everyone's headspace was at the time...that was "Jackie." As Jason said, Sean mentioned the song's quality as a single and it made sense. When choosing the creative content to write about, who in the band usually leads the creative flow process? Jason: Typically I’ll bring a fully formed idea to band practice, then the guys will add their parts to it as we all work on the arrangement. With the latest record though, a lot of the songs were written just by jamming and messing around. Songs like "Baby Baby" and "You Think You're Right" started out that way. Another example was when Ryan was inspired by Blur's song "Song 2" and came up with a really sweet drum beat. I took that beat and created a guitar rhythm to go with it. That collaboration ultimately became the song "Halle Berry". Kayvan completely wrote "Do Or Do Not" a Star Wars-themed song that fits perfectly into our nerdy aesthetic. Ryan: Lyrics wise, I leave that responsibility to Jason and Kayvan.  That's not to say I haven't added some inspiration to a few of our tracks.  For instance "Halle Berry" is centered on my obsession with the classic movie Swordfish.  Despite its 25% Rotten Tomatoes score, its music soundtrack redeemed some of the cheesier actings, and the cherry on top was Halle Berry's au natural cinematic debut. Kayvan: I'm "the new guy," so most of the songs were already in flight when I auditioned. Former bassist Todd showed examples from songs that we built upon, but ultimately I went off in my own direction. My focus was the song: let's have some bounce, a fill here, a run there, or maybe the song should end a certain way. For example, many songs end with a satisfying resolution, but I thought "Ramona" would be best if it didn't resolve the tension at the end. Or for example, the way "Angela" ended with some bite. In many ways, the closure of a song (and even albums) is just as important as the impact of its beginning. As for "Do Or Do Not," Jason's being too kind. I did have the melody and overall parts, but the final version was quite different. Some things were arranged differently and even after that, the song went in different directions. It's fair to say we all worked on it and contributed, and I believe it benefitted from everyone's input. That being said, songwriting is very important to me and I certainly look forward to contributing material in whatever way I can. I think the question we've all been waiting for is, who is “Jackie”? Ryan: I'm fairly certain, and by certain I mean largely guessing, that Jackie is… (Jason interrupts) Jason: I would rather keep that a mystery. Mostly because I want the listener to create their own narrative for the song. It might just be me, but when I find out what songs are really about, it changes the meaning and feeling for me. Usually in a negative way, so I would rather let someone enjoy the song as is. Hopefully, someone will come up with an urban myth for the song like Phil Collins' "In The Air Tonight". Kayvan: I like Jason's approach - it's interesting for others to have their own narrative. To me, "Jackie" is about unrequited love; she's the one you always longed to be with, but forever unfulfilled. How have you managed to stay motivated and inspired this year? Jason: We were still in the process of mixing and mastering "Emulator" when Covid-19 caused us to quarantine. I think being in quarantine actually kept me focused since so many events were canceled. I was able to finish the album artwork, designing and placing orders for CDs and new merch. I really wanted to release the album on May the 4th, but we ended up moving it back to May 21st. It worked out nicely because that’s also the day Star Wars The Empire Strikes Back was released 40 years ago. Since going into quarantine, we have been practicing virtually with an app called JamKazam. After working out some latency issues, we are now able to practice almost like we're in the same room together. We also got invited to perform virtually at DragonCon. Fingers crossed we get to perform there in person next year. Ryan: As Jason mentioned, all of us have been using JamKazam to practice remotely.  Initially, it was very frustrating.  Once all of us invested in decent audio interfaces, JamKazam started updating their software.  After a few revisions, our latency issues were a thing of the past.  While it doesn't completely replace that synergy when practicing in person, something is better than nothing! Kayvan: Quarantine has certainly presented challenges with regards to virtual practice, but it's worked out quite well. I do miss the energy and vibe of in-person playing, but c'est la vie. Performing virtually for DragonCon was nice and I'm hoping we have other opportunities to play. One positive aspect is there is more time for interviews, and we've looked into opportunities to be included in compilations. Jason already brought one new song to the table before Covid-19 happened, so we're continuing with that. I'm always writing and playing, so I've kicked around a few songs as well. Overall I think there's a lot of aspects band-wise that maybe we didn't have time for or hadn't considered previously, so quarantine has at least opened those doors for us. What can we expect to see next from Hyperspace? Jason: We have a gig set up in March 2021 to open for The Cybertronic Spree and MC Chris at The Masquerade in Atlanta. This show had been rescheduled from this past May. We’d also like to release a music video either for "Jackie" or "Baroness". We're going to keep the fire burning, so to speak; and possibly have a surprise release somewhere along the way. 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Canadian singer-songwriter Michelle Vezilj is an award-winning artist preparing to release a brand-new single. Still early in her career, Michelle has already performed a sold-out Troubadour in West Hollywood and opened for artist Frank Turner. Michelle Vezilj’s new single and music video for “Sad Girls Don’t Cry” encompasses the wild emotions of learning to find love within yourself rather than through a relationship. Michelle’s lyrics come from a place of raw honesty and pain, allowing you to focus on the complexities while enjoying the gentle melody. The song starts slow, with an acoustic feel as Michelle’s soft voice brings in her story of depression, turning to alcohol, and finding her way back out. Sporting incredible tone and control, she flows through the melody with ease and paints a story that leaves you breathless. Michelle sings “Told daddy life is hard, showed him my battle scars, he said I’m living the dream, at least I’m not on the street”, a striking picture of the emotions she was working through at the time. “Sad Girls Don’t Cry” is fervent and beautifully sorrowful, a song meant to process intense feelings. If you loved “Sad Girls Don’t Cry”, stay tuned for Michelle Vezilj’s newest projects in the works. Instagram #BUZZMUSIC