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Alex M is the New-Age Pop amalgamating Artist performing under the Cognomen—DD Walker—who's latest single comes off the heels of his 2018 Surf-pop hit, "Malibu." With unprecedented affluence for all things musical, this NYC-based multi-instrumentalist has been known to borrows from the touchstones of 80s synth-wave and Contemporary R&B to create new sonic experiences that operate over our heartstrings with the gentle pluck of a clandestine artificer; sent forward in time to croon over our desktop speakers. His latest sonic escapade feels like much of the same. On "Like You," Walker renders up a sleek aerial drive-song that cruises into the most cherubic corners of his own an adroit Musical mind. We've all been there, riffling through our phones endless saved favorites, searching for the perfect song to act as the soundtrack to our top-down highway-cruising ventures. Luckily, the 80s inspired tubular sound that DD Walker achieves on "Like You" fits the bill, and is the perfect remedy for the predicament at hand. Our songster stands center as the focus in our daydreams, as he takes us on a road-trip through an emblematic mix, festooned with reverbs and cascading decays on every turn. He sings with a soft-carbonation off the tip of each syllable that leaves his lips, and as the ambient atmosphere between him and us expands and shrinks from chorus to verse, DD creates a sense of gravity-less buoyancy that seldom leaves our bodies through the entirety of the playback. The production here is simple but effective; colluding over a punchy backbeat that directs the measure for a muted bass-line and the kaleidoscopic nature of Walker's supportive electric guitars. It's an 80s pop-reminiscent journey that shoulders heavily in our memories, replaying as his three-part harmonies continue to embellish our after-thoughts for days to come. By the time his tenderly divulging top-line reaches our ears for the third time, there's no going back, and we're left asking one last question: what sonic influences will the New York notoriety channel into next? What inspired you to take on a less 'surf' approach, contrasting your last successful single from 2018? Why did you end up choosing to go more in line with 80s nostalgia here? I actually hope the surf vibe still comes through a bit in this new one! I still love the energy of ‘Malibu’ and something really special happens when we play that one live, so I wanted to carry a bit of that DNA over...some of the 80s stuff on that song I wanted to shift from the synth-sheen to something more shoegazey and direct along the lines of Cocteau Twins or My Bloody Valentine in terms of the guitar riff stuff. I think one thing I wanted to try was a bit more of an R&B angle for the hook. So much of what I listen to right now is more soulful (Labrinth, Gabriel Garzon-Montano, Lewis Del Mar) than the new wave that I felt compelled to express that a bit more for the new material. Can you tell us about some of the anecdotes behind "Like You," and the emotions and sentiments you needed to channel into throughout this track's recording process to get the perfect takes? This is the longest I’ve gone without seeing or playing live music at venues since I was 14. I was imagining what it would feel like to walk into a club again as a band is starting their set and the ‘Like You’ guitar line came to me. One of those few lines that I feel like I walked into rather than it feeling like I planned it out and wrote it. The demo was finished in an hour, and the lyrics came as a kind of a Myspace love note - over the top sentiment that’s between endearing and maybe embarrassing if anyone else that the person you’re writing it to reads it. I also wanted to get in some dark/creepiness in the lyrics - like ‘Every Breath You Take’ by The Police where the narrator is sort of overtaken by their feelings. Sort of an ‘emo mission statement’ without the emo sound palette. This was also the first song I was able to finish in quarantine. I and a lot of other artist friends I know have definitely gone through some bouts of writer's block given some external turmoil of 2020. This was the first song I felt I could escape into and could imagine listening to and soundtracking my life on a less dark timeline. How have you been fueling your creative institutions throughout your artistic process, and can you remember a method you exercised into effect for this particular song's benefit? Daily existential crises. Running an average of 8 miles a day. Instagram K-holes... Honestly, it’s a strange time to maintain a consistent creative flow. Sometimes it means waiting until sunset and having some visual stimulation, sometimes it means walking around my neighborhood and seeing an eye-catching phrase tagged on a building...some people write every day, and sometimes that’s true for me but usually the songs I really connect with of mine come to mind more like a Tourette’s tic or like the inverse of an intrusive thought. When can we expect to see a video-feature for some of the new music you've been releasing lately? So. Damn. Soon. What can we expect to see next from you? I’ll be releasing a bunch of new singles and some visuals to accompany them in the next few months and a few bigger announcements I can’t talk about just yet... instagram.com/ddwalkernyc #BUZZMUSIC

Greece-native Nazar has garnered an impressive perspective with the level of travel he's pursued over the years. Considering himself to be one with various cultures, Nazar aims to inspire a vast array of individuals with his impressionable sound. Channeling his inner understanding and experiences, Nazar uses his layered perspective in order to create music that inspires listeners, all while challenging their outlook on certain topics of life. Nazar has released his indie-driven single, "#DumpTrump". The narrative the track captures is exactly what you can expect it to be, and Nazar takes the opportunity to write an anthem on the current times. Voicing his frustrations with an incredibly calm and leveled tone, Nazar is able to establish a listening environment that is both playful and comical. The persistent trendy melody fits perfectly in-tune with the trend of "#DumpTrump", and listeners will come to realize that Nazar has strategically crafted the style of this particular single. Putting the absolute most wit and passion into the effort of the single, "#DumpTrump" is ultimately suffused with amusing collections of opinions that aim to stimulate listeners in one way or another. It's safe to say that Nazar left us intrigued by his unique and expressive level of creativity, which only further stimulates our curiosity with future single releases by him. Discover Nazar's track "#DumpTrump" here. Hello Nazar and welcome to BuzzMusic. "#DumpTrump" definitely appeared to have a clear vision in mind during its manifestation. Would you say that this particular single release from you was easier to approach than other singles in the past? This was an unusually straightforward song to write and record. After watching both the Democratic National Convention and the Republican National Convention, something Michelle Obama said in her speech really stuck with me: the idea that leaders matter and that the leader of the United States first and foremost needs to be somebody who is compassionate and who cares about the well-being of its people. It was so obvious that that description does not apply to Donald Trump. At that point, the words just came pouring out and I ended up writing this whole song, music, and lyrics, in about 15 minutes. I recorded it the same night I wrote it. It’s mostly straight-up acoustic guitar, bass, drums, and vocal, and most of it was recorded in one take. So the song has a pretty raw, lo-fi feel to it that I think is appropriate given the subject matter. I wanted it to have a bit of that unvarnished protest vibe to it that might make you think of old Bob Dylan or Creedence songs. Were there any reservations that you had whilst crafting your politically-driven single "#DumpTrump"? Do you see yourself releasing similar singles in the future? Deciding to release this was a tough decision. I’ve never been a particularly vocal person when it comes to politics. I've always been a pretty centrist in my views and have never fully subscribed to one side or another. But Donald Trump changed all that for me. This is a man who on a daily basis tries to turn Americans against each other, ignored coronavirus and let it kill 200,000 Americans, disrespects US military veterans, weakens any attempt to combat climate change, and who doesn’t believe that US law applies to him or his family. He is a completely un-American President. So if you think about it this election isn’t really about choosing a Democrat or a Republican, it is about choosing America or choosing Trump. So I felt I had no choice but to speak up this time and reiterate what many of us know is the right choice here: to dump Trump. Assuming Trump loses, I don’t foresee releasing any more politically-driven songs after this one, but you never know! What kind of impression and/or effect were you hoping to establish with "#DumpTrump"? So many people don’t have the time or interest to read or to watch the news anymore. They want information delivered in short digestible packages, ideally in audio or video format. And with how fast the news cycle is these days it's hard to remember everything that’s happened over the last 4 years and put it all in context. So instead of writing a lengthy article about why Trump needs to go (which most people wouldn’t have the time to read), I thought doing it as a song and music video might be more effective. Hopefully, the song does a good job of reminding people just how much worse off we are now than when Trump became President: we have a health pandemic that has killed hundreds of thousands because of his negligence, millions have lost jobs, as a result, the economy is in tatters, Russia and other adversaries are laughing at us, and meanwhile Trump is busy sending tweets, playing golf, trying to enrich his family and friends, and trying to lie his way out of any trouble he gets in to. I hope people are reminded of all of that when they listen to the song and are also reminded of the fact that the only way we can change this situation is to vote him out. Protesting and tweeting about him is fine, but they don’t matter if you don’t vote. What're your plans for the rest of 2020 as a music artist? Are you continuing the craft of music or possibly hosting any virtual live events? #DumpTrump wasn’t something I was planning on writing or releasing - it just happened as a kind of a one-off. I’m planning on releasing 1-2 more songs by the end of this year. They will likely have a very different vibe and feel. I tend to write music that is pretty diverse, from rock to EDM to hip hop and reggaeton, so hopefully, my next song will be something unexpected and a pleasant surprise for people! What has been keeping you inspired in 2020? 2020 has been a tough year, as we all know. But it has also had some silver linings. People have been able to spend more time with loved ones and family, less time on things like commuting to and from work, and in some ways, it has enabled us to all focus on what’s important and to be less distracted by “noise". Without many of the distractions we were all dealing within 2019, I’ve been inspired by how energized people now are about solving important issues in the world: issues like climate change, racial equality, and of course, Trump. Hopefully, that focus and energy persist going forward, and we don’t get caught back up in all of the silliness we got distracted by over the last few years. I’m optimistic about our future, and as long as we each try to do our part (for example by making sure you vote in this election!) I think we will all come out of 2020 stronger. instagram.com/nazar.1.music facebook.com/Nazar.1.Music #BUZZMUSIC

Seattle-based Ana Beaumont is the quintessential Singer-Songwriter for those moments where nominal sensation dissolves away into something more fleshy and vivid and manufactured from the depths of this intoner's pain. Her debut EP, 'Hirieth,' was released under the Indie-Pop songwriter tag, appropriate for her longing soprano-laden vocals, the moody piano's inflection, and the rustic textures throughout. Still, many of these sonics traverse the borders between Pop and Blue-eyed-soul. She hasn't cited and influences thus far, but when we listen, Adele and Angel Olsen come to mind as vividly rendered mirrorings in style, but with a more, "love is doom" cabaret aesthetic. With Ana Beaumont's "Hiraeth," all trepidations about her passion-driven relationship are on fleshy display. The buoyant opening lines of "Constant Summer," float atop infatuating blue lines that exude from Ana's deep-buzzing infatuations, "I am drowning in your honey, lost in the empty darkness of your eyes." She sings with lamenting anchored inflection as the piano chaperones her way further into bleak but captivating passions. It's a song you could lay in bed staring at the ceiling too, buzzing over the sensations she inflicts with her synergistic harmonies in the resounding mantra-like chorus. The narrative found on this record is consumed by love and disparity, and much of it continues that trajectory. "God Knows I'm A Liar" is a gear shift up from its predecessor's slow-burning room, and it musters forward with propulsion adorned by the bright tinged electric guitar and its dry and earthy drumset support. Here, Ana has come to terms that she is not okay with the way things transpired in her relationship, ruminating over her break-up as she sings, "yeah, I thought I was good, but I'm not well at all." There's a slow swaying provocation that entices us to get up from the bed and waltz-along in the dark before the songstress takes grip over the heartstring once again for the next track. The eponymously titled single that sits as the center to her masterpiece coils over a diminishing tonality from the instrumentals, as they evoke melancholy's most profound sensations. For a moment, we're not even centered in on her lyrics. Instead, all our attention is focused on the warbling and dynamic trend she produces when the melodious top-line leaves her lips—infiltrating the musical worlds inside our minds. Like the clandestine dances between the sun and the moon, Ana thought her relationship would survive past the metaphorical sunsets and sunrises of love. She sings with a long bending decay at her tail, festering slowly like a shadow floating behind the mixes cascading string-sample backdrops. When we arrive at the other end, it feels like the only way to go from emotional rock bottom is up, but on "The Ruins," we continue on a path that draws reminiscence to 2017's "Belladonna of Sadness" from Alexandra Savoir. It's a cinematic experience that pivots away from the bird-songs that open up this track. Here, Ana lays us down, huddles us under our beds' covers, and divulges the story behind her bullet wounded heart. As we transcend into the final vocal swells, it's like Ana has pulled away from the covers and opened up the shades to let the light shine for a fleeting moment of relief. Introspection reigns as our best healing process and Ana Beaumont has carved out a glowing home in it that she calls "Hiraeth." Sometimes her references seem laborious and hard-felt when she describes some of her own self-sabotage in earlier songs like "The Ruins," but the experience as a whole develops onto you with a gripping magnetism that slowly produces infatuation. She mirrors the sounds of Adele with her susurrate falsettos on "Moon," but there's more to Ana Beaumont's influence than soul vocals alone—she taps far deep into her deepest pools of depicting emotions and finds beauty in the form of her distinguishing vocal resonance. Each track stands as essentials on their own, but together as, 'Hiraeth,' Ana creates a dusk-glowing world that beams with the vivid storytelling and adhesive emotions she's scraped the depths of longing and loss. Can you give us the details behind this record's narrative? Was this a recent relationship that manifested its way onto this record, or a fragmented combination of many? The record was written after a tumultuous relationship I had found myself in for about two years that, unsurprisingly, ended on a sour note. Even though we tried our best to convince ourselves that there was a long-term future for our relationship, there was always that little voice of reason in the back of my head trying to get me to open my eyes and see the truth. The first song, “Constant Summer”, details my recognition that things weren’t truly as hopeful as they'd seemed and that we would likely never make it to the points in the relationship that we wanted to get to; that building a life together really wasn't in our future. Each song brings up a specific set of thoughts or emotions that tend to go through your mind in a relationship that you know is on its final stretch. There’s almost an allusion of going through the five stages of grief within a dying relationship, though that certainly wasn't intentional. When did you realize the cohesive order and flow of this record, and did you find any challenges in curating its song choice/order? The EP was originally six songs! But I woke up one morning and completely scrapped the first song as I felt that it didn't add anything to the narrative - it felt the most unlike me as an artist, and I didn't think it would be appropriate to have a song I didn't really connect with on the project. Doing this ultimately changed the layout for a majority of the EP, and that in itself was a bit of a frustrating task for me to get a hold of. But I eventually sat down with myself and tried to think of each song as a chapter in a story - what song would start the “story”, and which would end it? Which would make the most sense in the narrative? Out of all of the songs, “Constant Summer”, to me, had the best introductory lines and would really set the tone for the rest of the record. The only song that remained in its position was the final song, “Moon”, which was my sort of goodbye to the relationship, and the final song written. If you were to pick one song from this record that sits with you as being the most relatable and lesson-exuding, which would it be and why? It might be an interesting choice, but I’d go with “The Ruins”. It was the first song I wrote for the record, and I wrote it within a few hours after the relationship had ended while I was still stewing in that feeling of rage, confusion, and denial - standing on top of the ruins in a relationship and looking on at the destruction around you and wondering why the other person didn't fight hard enough to keep things together. I think it’s important to understand that, as a human being, it’s completely okay to feel that almost irrational, white-hot anger that comes after moments of heartbreak - so long as you don’t act on it. And that can be the hardest thing to do! Having that sort of control, and being able to say the things that I didn’t say at that moment and feel things that I’d typically feel uncomfortable from expressing really gave me a feeling of relief that I’m not sure I would’ve found as quickly without writing. Having a song like that, that kind of paints yourself out to be both the victim and the villain, in a sense, is important to me, and I hope that others can relate to those feelings as well. When it comes to your influences as an artist, who can you describe as being the most monumental in your musical inspirations, and why? I have a few artists in particular that come to mind, but the artist who has had such a massive impact on me is MARINA/Marina and The Diamonds. The first song I heard by her was “Numb” when I was a teenager, and I’d been hooked ever since. She’s inspired me so immensely - hearing that somebody taught themselves piano and produced their first songs on GarageBand is actually very inspiring to hear when you’re thirteen and have no knowledge of music in the technical sense! And a very vast majority of her songs are incredibly impactful to me not only as an artist but as an individual. Her music was there for me in times in which I felt I had nothing. Truly, she’s helped shape me to become who I am today, as fanatical as it sounds. I think it’s so important to have a selection of artists in which you can listen to their music and think, “Somebody understands the things I’ve been through, and the feelings I’ve felt.” It’s wonderful to have that kind of connection with an artist as a fan! If there was one thing you could say to your audience before they dive into the emotional world of "Herieta" for the first time, what would it be? If you have any negative emotions about someone specifically, allow yourself to feel them as you listen through 'Hiraeth.' It’s okay to let yourself go through the motions. twitter.com/AnaBeaumont #BUZZMUSIC

Logan Smith traverses the bordering stylistic lines between Progressive and Nostalgic and lands gracefully somewhere in-between. His creative intuition has led him to a musical discovery that implores his melodic finesse, and the profound sophistication he has gained notoriety for. But this isn't his most enamoring trait. Logan has affluence for painting a vivid narrative with every new track that he releases. He focuses on real-life experiences, and on his latest upcoming feature, "Baby You Might Kill Me," the alluring songster versifies about toxic relationships that last a little longer then they should. With a short and concise one minute tease, the vocally-infatuating and melodically driven, "Baby, You Might Kill Me," is painted over with a neon tinge that provokes wonder as Logan finds himself allured by the nostalgia dripping oldies projected over the enigmatic and glowing room he's in. When he walks to the center and grabs hold of the microphone, it feels like we're witnessing a clandestine prophecy that's just been fulfilled: where a powerful voice finds its means for expression. It's immediately apparent that something is buzzing inside him worth singing about, and as he takes his first breath, a salacious instrumental reinforcement explodes from beneath the dark black static. Logan sings reminiscent of a lover's longing canter, doused in introspection and passion, and rendered in a display that mirrors this song's alluring nature. We can't ascertain too much about where Logan Smith will transport us, specifically through this video feature, but certainly, it's a ride we're dying to take both visually and sonically. What is the primary sentiment you're trying to express through the buzzing expression you exude as you walk up to the microphone in the empyreal and phosphorescent room you're featured in for "Baby, You Might Kill Me"? This moment is interesting because there are 2 versions of this moment happening simultaneously. One is dark and full of these deep neon lights. The other more naturally lit. We cut between them quickly to force the viewer to question which reality is true. As for the expression on my face, it’s a moment of discovery with space and the microphone. I take it in and observe how foreign it feels to all of the sudden be in a place where it seems people intend to listen to you. But then I unplug the microphone to acknowledge the fact that even when given a platform, even when you scream at the top of your lungs, sometimes people still can’t hear you. How did you come up with the concept behind this Music Video, and did you draw some musical inspirations for the performance you illustrate on the Video? Conceptually, I turned to the music. What was it telling me? I tried to listen from a totally unbiased perspective as if I hadn’t written it and take in the overarching themes of the song. Once I discovered that I looked at the world around me and asked myself where I saw those same themes. Everything became clear to me then. Lyrically, the song is about the complex dynamics of a toxic relationship. However, this video focuses more on the current political climate that we have been facing as of late. Taking a look at the awful situations that are looming over our heads and staring us in the face. The video stands as a call to action, the fact that it’s a piece of art means the viewer gets to decide what that call to action really is. As for inspirations, I have a deep respect for producers Matty Healy and George Daniel of The 1975. I took note of their style a lot in the studio and also found that the way Matty moves his body on stage had worked its way into my own performance in the video. How does this track and it's accompanying Visuals fit into the narrative you'll be exercising on your upcoming Extended Play, "Feels Right"? Feels Right is the end of an era for me as an artist. This song sets the tone for the start of that chapter. It lives in the colorful neon world of the ’80s. It has the epic, anthemic feel of other songs on the record. But most of all, it marks the level of maturity I have reached in my sound and my artistry as a whole. This EP is a new level for me and this track and video sets that precedent for anyone who has followed my music up to this point. What's stuck with you as the most impactful learning experience for you artistically or emotionally this year, and how have you incorporated that lesson into the new music you've been releasing? Reclaiming my time. I gained a lot of self-respect in the last year. I used to be quite the people-pleaser. And I suppose in many ways, I still am. I like to see people happy. But I’ve learned that experiencing joy is a choice. And you make that choice by knowing that it’s okay to choose yourself sometimes. Especially when it’s for the betterment of your own mental health. That self-respect found it’s way into my writing process. I was no longer apologizing for things when I got bad reviews, I wasn’t jumping at the opportunity to change/cut something because it wasn’t popular, and I wasn’t writing for anyone else but myself. And that made a world of difference in the final product. I hope all of the hard work we all put in is audible on this record. What has been keeping you inspired in 2020? Seeing the world's resolve in the face of adversity. I said in an interview in 2018 that “tension promotes progress.” I still believe that today and I have seen so much tension in the battle that is 2020. But I have also seen so much light, positivity, and unity come out of it all. People are coming together to seek change for a better tomorrow despite all of the madness. In a year that tried to keep everyone apart and locked at home, we still found a way to come together. I’ll carry that with me for the rest of my life. instagram.com/logansmithofficial logansmithmusic.com #BUZZMUSIC

ARDI is a sonic storyteller whose muse is a fusion between heavy, hard-hitting grooves, and edgy vocals that are similar to Ozzy Osbourne. Keeping it true to what rock is capable of and created for, ARDI is sure to knock off your socks with each of his releases. Since beginning as a drummer at the age of 18 and then learning singing, guitar, and bass, ARDI has performed alongside California icons that include Goat Rhythm, Rubberneck Lions, Siren, Space Panther, and many more. Recently, ARDI released his gut-punching release “MIND MAZE” and it has us at the edge of our seats from start to end. “MIND MAZE” opens up with an intense riff before completely exploding with energy in the verse. The combination of the heavy guitars, dynamite-like drums, and then ARDI’s epic vocals take us back to Woodstock '69 and we do not want it to stop. ARDI tells us about being fueled by energy and freeing your mind to conquer your dreams within “MIND MAZE”. This positive energy when paired with the electrifying track makes for an inspiring tune that we cannot get enough of. “MIND MAZE” is a brilliantly exciting tune to listen to and we cannot wait to hear what else is coming from this heavy rocker. You can listen to “MIND MAZE” here. Hey there ARDI! Your latest release “MIND MAZE” is FULL of high energy and power, how did you achieve this emotion? Was this something you wanted to strive for during the songwriting? Thanks, I’m glad the energy translated! I’ve always been a fan of the riff first. A great riff through an amp turned up as loud as possible is pretty much what I go for as far as guitar. I apply this principle to every instrument. With vocals, I do my best to hit each note as hard as I can without blowing out my voice! YES! Ideally, my music strikes you with a heavy, energetic power while also wrapping you up in a warm and fuzzy rock n’ roll hug. It’s hard to explain, but I really want the listener to feel my music first, and hear it second. Speaking of songwriting, knowing you know how to play the go-to instruments for a rock group, what does your typical writing process look like? Do you find yourself starting with one element and growing from there? Around 80% of the time the process begins with me noodling around on the guitar and stumbling on the beginnings of a riff. If I create some sounds I like, I’ll start to develop that. Sometimes you get a good feeling about a riff and you just know it’s going to turn into more. There have also been times where I’ve started a song with a drum groove, which inspires a riff, and so on. My process definitely varies at times. If I get stuck in the process of structuring a song, I’ll do scratch vocals to help me figure out the melody. That will give me inspiration and direction to spawn the rest of the song. Having played in a lot of bands with varying formations, I’ve been lucky to work on songwriting skills in many different ways. I’ve really been able to get to know my strengths and weaknesses and figure out my process. At this point, anytime I pick up an instrument I’m prepared to work on my memory skills in case I stumble into a sound I love. It also helps to have my phone handy in case I want to record it and put it in the vault for later use. You really never know when you’ll pull something out of the air with music! We are absolutely loving the heavy tones in this, what was the whole recording and production process like for “MIND MAZE”? Thank you very much! It’s definitely been a process. This (four-song) E.P. has been ruminating in my head for the last three or four years, so it feels really good to finally have them be fully formed songs. I recorded guitars first, in my room/studio when I was living in Ojai, CA. It’s been a bit of a labor of love, and with a full-time job, it wasn’t until a few months later that I was able to get all my recording stuff down to my other bands (Goat Rhythm) rehearsal space (shared with our buddies from Gygax) to at last record drums. After three consecutive twelve-hour days (it took about five hours of running back and forth from the main room to the “control room” to get the levels on the drums right and a decent tone established) I had drum tracks done. I was on a good roll, so the next week I set my gear up back at my house again and recorded bass. A few weeks after that, amidst the global pandemic, I moved in with my sexy and supportive girlfriend and recorded vocals (she genuinely loved listening to that, so she says). Then I was able to get the mixing done for all the songs on the E.P. In the end, it took three rooms and a lot of gear moving around to get it recorded, but it was definitely worth it and a cool confidence-boosting experience! Since playing with icons within Southern California, how do you feel you have grown as an artist and musician since then? Do you see yourself going in other directions for future releases? I’ve definitely been lucky to have all the musical experiences I’ve had, they’ve really shaped me as an artist and taught me more about my own personal style and skill. Skill-wise, my guitar technique has tightened up and improved a lot. I’ve always considered myself a drummer since that was my first love, all other instruments were fun chores I had to do to create what I wanted to create. Playing bass in some bands really solidified that maybe I’m not just a drummer, which helped me to realize how much I truly love playing all of these instruments. My mixing/recording skills have gotten a lot better as well, this project forced me to learn so much more about EQ and how to get each instrument to sit well within the mix. Being in bands and working with others is an amazing experience for a lot of reasons, but one takeaway is learning to understand how to service songs that others presented. It takes a certain ear to really be able to understand what direction and vision they have for that song, and how to add your part within their vision without overpowering it. It’s a fine balance of adding your flair, but also servicing the song to keep it in line with the original creator. It’s been cool to play in bands of so many styles and genres of music, it’s helped me to expand so much. His a solo project that has been an awesome practice in learning how to trust my gut instincts, as I’m fully in control. It’s helped me to gain a lot of confidence in my craft. I’ll always be creating, whether it’s in a band or by myself. I love playing different genres and exploring the world of music, but as far as my solo stuff goes, that will always be in the heavy, seventies, hard rock-influenced lane. That’s just where my heart is. What else can we expect for 2020? Over the next few months, I am going to release each song as a single on various streaming platforms, along with music videos. Once all four songs are released, I’ll have CD’s of the whole E.P. made. I’ve created artwork for each song, so I’m planning on getting shirts and stickers made of each design. Profits from the CD’s/shirts will go towards pressing the E.P. on vinyl unless I decide to work on a licensing deal with a label. I have four more songs in the works, so I’ll be developing those for the full length. This has always been the music in the back of my mind, so finally having it be a tangible thing I can bring to people’s ears was a huge goal of mine that I am so happy to have reached. instagram.com/ardiofficialmusic #BUZZMUSIC

As a member of the Legendary Grammy Award, Certified Production Team, and the 1990’s R&B music group Full Force, Paul Anthony has become quite a decorated artist over the years. He has been the recipient of multiple Gold, Platinum, and Diamond record plaques from Broadcast Music Incorporated Awards due to his work with a long list of successful artists. To name a few, Paul Anthony has collaborated with Rihanna, Patti Labelle, Nicki Minaj, N*Sync, and Faith Evans. As if his musical success wasn’t enough, he is also an actor who has appeared in a handful of urban classic films. Paul is best known for incorporating bodybuilding into videos, films, and television, and introducing it to the Urban and Pop music industry. With his new song “The Love of a Hero,” Paul Anthony continues to impress his fans. The song has ruminants of a 90’s R&B style artist, staying true to the works of his former music group Full Force. It has a relaxed and laid back beat that includes the soulful tapping of a high hat and a hand clap every 4 beats. His voice is silky and alluring as he shows his ability to effortlessly switch octaves and hit a wide range of notes. Anthony also includes a rapping verse to display his musical versatility. With motivational lyrics and a tune that will have your head bopping throughout, Paul Anthony has brought R&B fans a new gem with “The Love of a Hero.” Listen to “The Love of a Hero” here. Hello Paul, thank you for joining us at BuzzMusic. Can you describe the creative process of “The Love of a Hero?" "The Love Of A Hero" was first written by one of my Songwriters, Clinton Hill. He allowed me to change the lyrics so it would be dedicated to my 10 for 10 Bone Marrow Donor Champion, my Brother Lou. You have worked with countless successful artists both in the music and acting industry. Can you tell us what you learned from these experiences and if any of these artists have inspired your music style? Yes, which is so rewarding. I usually take just a little something from almost every artist I've worked with, that permitted me inside of their musical sphere. That varies from Britney to Bob Dylan to Ri-Ri (Rihanna) to James Brown to Nicky (Minaj) to Lil' Kim and so much more. What is the meaning behind the lyrics of “The Love of a Hero?” There's a Hero in all of us. My 'Instructions' are to invite, engage, and erupt that hero to come forth to touch, change and save a life. On top of your career as an artist, you are quite the humanitarian. Can you tell us about The Paul Anthony Foundation, what it represents, and how you came up with the Foundation? The PAF was started to spread the word of the importance of getting yourself to check it out in regard to health. Heading off physical challenges before they grow into something greater. "PROACTIVATION X INTERGRATION = ERADICATION" What has been keeping you inspired throughout 2020? Just feeding purpose by being impactful. Sharing love-electric energy to help others shine from within. Last but not least, teaching others how to stay COVID-free and God-sexy! Paul is currently under new representation with Publicist Sherry Lee of GTK PR Talent Agency, LLC and Manager: Diana Carter of Aryka's & Ybot's Mgmt. Paul aims to touch Millions with his music, acting, his brand, and his purpose. instagram.com/therealpaulanthony imdb.com/name #BUZZMUSIC

With their debut record 'SELF TALK' premiering this fall, the indie duo performing as PAVILION are no amateurs to the concept of spotlights. Being featured on BBC and Spotify's top-rated Indie playlists since their conception in early 2019, their bonds as friends was the milestone for which their moniker and aspiring creative intuitions were born. What's most notable about Benji Lamb and Stu Berry is how they succeed in manifesting their creative energies through addictive hooks, genuine lyricism, and thematic orchestrations that are always staying pure to their ethos: honesty and authenticity. This year, with an enthusiasm that appears fervent in nature, the indie-rock and pop amalgamating duo, coming to us from Brighton, have conveyed their next chapter in sonically adhesive offerings with "IN CONTROL," a further development in their sound as they look out across the highest vantage point of this eclectic cut from their upcoming Extended Play. Benji Lamb describes "IN CONTROL" as "hard-won happiness about desperation and craving to feel something wonderful." Inspired by the complexities of living in a metropolis and all the stadium-sized ambition attached, this track pops free like the cork of a champagne bottle. It's a contemporary mix that swells and erupts through the persistent chug of scintillating electric guitars, a resounding low-end, and a topline that performs like the beginning of an anthemic indie-rock epic poem. With the utilization of a more subterranean vocal performance, it sets the tone as if we're at an underground poetry club where Lamb himself recants the lyrics of his sonnet amongst the bells and whistles of the orchestrated rock band behind him. The drums cascade with cymbals thrashing from edge to edge, and the feeling of our rallying spirits is undisputable once we reach the definitively galvanizing chorus. Here, the track finds its base amongst the dynamic and driving energy of Lamb's expressive topline, as it settles between sonnet-like stanzas and an uprising chorus that projects as if he's howling to the moon; loud with an impassioned spirit and relentless rawness. With "IN CONTROL," the UK-based duo solidifies their ethos in stone and sets ahead an energetic cut from their upcoming Extended Play that's sure to find a spot on our favorite playlist this November. Hello Pavilion and thank you for joining us at BuzzMusic. What has been the most impactful lesson you've discovered in your artistic process throughout the recording and the eventual release of IN CONTROL? IN CONTROL is our most personal release yet, it was a very cathartic writing process, channeling my own social anxiety & yearning to grow/evolve in a positive way. I learned to open up in the studio & wear my heart on my sleeve in the vocal booth. PAVILION is lucky to have a great relationship with our producer Julian Tardo, I think that connection has become increasingly important. If you were to condense this song's experience or message in three different emotions, which would you choose and why? Anxiety, Self Growth & Honesty. When creating music so personal, it only really makes sense, to be honest, you have to stand by what you've produced. Anxiety definitely shaped & drove the creative process for IN CONTROL. Ultimately the desire to be 'in control' is futile, with the more anthemic choruses opening up with a yearning to 'grow' - to overcome the negative cycles we fall into / our own personal demons. How would you describe your mindset going into the "SELF TALK" EP, and have there been any meaningful of impactful artistic breakthroughs concerning your sound and style? 'SELF TALK' has been quite an experimental period for us, as our debut EP, we wanted to showcase the evolution of our sound. IN CONTROL is where we ''arrived'' in terms of a more finalized sound. However in UNSETTLED, we went darker & heavier, INFINITE more big & anthemic VS HAUNTED, an indie-pop number. Despite that variety, we've pulled the EP together into a cohesive body of work. What can we expect from the upcoming EP set to drop this November, and are you planning on delivering any other sneak speaks from this record in the next few weeks? EP set for release 11th November - we're supporting the acclaimed Lottery Winners at Prince Albert on 13th. & we'll be featuring previously unreleased music on the EP. What has been keeping you inspired throughout 2020? Without live shows, just have to stay motivated, been continually releasing music, previous single INFINITE landed on ''Spotify's Hot New Bands'', which was a much-needed boost at a strange time with Corona/Lock Down, etc.. instagram.com/pavilionband #BUZZMUSIC

New York-based multi-instrumentalist, singer/songwriter, and producer Lew Mckenzie releases a soulful and groovy R&B hit with, "Retwizt (feat. EREMETA)." Lew Mckenzie has seen many successful gigs amongst his musical journey, lending his talents wherever they're needed. Being a passionate performer and technical session musician-led Mckenzie to pursue a solo career of his own. His debut single "Retwizt (feat. EREMETA)" takes the audience on a sweet and soulful ride through the vast production skills of Lew Mckenzie and EREMETA's charming and melodic vocals. With whole-sounding production backed up by live band instrumentals, the track gives this lively aspect that fuels the listener's energy. Lew Mckenzie opens "Retwizt (feat. EREMETA)" with an R&B instrumental breakdown through the soulful electric guitar, warm brass, a steady bass line, and jazzy background keys. Once EREMETA's vocals kick in, he sets this sultry and alluring vibe to the track that naturally pulls us in wanting more. Singing lyrics of wanting to get to know someone and enjoying the present moment, Lew Mckenzie and EREMETA have infused this track with the utmost passion and desire. The overall production brings nostalgic elements through funky synth use that reminds us of a modern-day Thundercat. Lew Mckenzie shifted his incredibly heartfelt emotions into a soulful and jazzy swing with "Retwizt (feat. EREMETA)." With the help of EREMETA's vibrant vocals, the track perfectly fulfills our desire for nostalgic R&B. Hello Lew and welcome to BuzzMusic. Why did you choose to release "Retwizt (feat. EREMETA)" as your debut single, seeing as it's been locked away since 2016? Retwizt was originally recorded back in 2016, but it’s remained in the vault for years thanks in part to my debilitating creative paralysis and my inability to simply let go. A lot of people asked me, “Why now?” 2020 has been an extremely unprecedented year. We are presently in the midst of a global pandemic and massive racial uprising throughout the country. I witnessed black men, women and children marching together in solidarity against police brutality and years of systemic oppression. Before anything else, I am a black man. It’s been an extremely difficult time throughout our country, but I am still very proud to wear this skin that I am in. I was fortunate enough to be nurtured in an environment that celebrated black accomplishments, contributions and our culture. Black music and the artists who create it are my bedrock. I recognize my responsibility as an artist and I understand that my impact extends beyond just one song. I have the lasting ability to inspire and change our world. All that we accomplish today will bear fruit for future generations to enjoy. I am so thankful for the players that contributed to the conception and realization of this record and to every recording studio and engineer that expertly provided a hand during this laborious delivery into our upside-down world. Could you take us back to your creative process during "Retwizt (feat. EREMETA)," how did you and EREMETA split the process? What was your collaboration like? The music for Retwizt was conceptualized many years before its actual release. The melody came to me first, but I didn’t know where I wanted to take the song lyrically. I knew I wanted it to contain elements of funk, R&B, and rock music. It wasn’t until I began to workshop the song during jam sessions and I became captivated by an unbelievably gorgeous afro that entered the studio. The lyrics began to take form and flow through my being as I became more and more enamored with the woman’s hair. I constantly tweak and make adjustments so I didn’t finalize the lyrics up until I day I went into the studio to record vocals. EREMETA was a 13 piece band that I founded and was working closely with at the time. We were a group of friends that consisted of talented men and women from various parts of New York City. Some attended school together and others met along the way through the live scene in the city. We had a deep admiration for classic music and wanted to pay our respects the best way we knew how; through music. We found great success playing a number of sold-out tribute performances for both Stevie Wonder and Michael Jackson at the renowned B.B. King Blues Club in the heart of New York City's Times Square. It was an enjoyable experience for all involved, but we wanted to finally showcase our ability as songwriters and create and share our own original music. My good friend and fellow bandmate, Ron Smith, arranged the horns which really reinvigorated the music and gave it new life. We would rehearse somewhere in the city for several hours a day, sometimes very late in the morning. I wasn’t always the easiest to work with but I only simply wanted to make sure that we were at our best. Through it all, there were a lot of jokes and even more laughs. I will always remember that time together fondly. During your recording process for "Retwizt (feat. EREMETA)," did you have any session musicians record sections of the track, or was all the instrumentation done through the production? We recorded the music for Retwizt at Flux Studios in a span of two days. We didn’t have to hire any session musicians for the recording because we rehearsed our parts and played the song live numerous times prior to entering the studio. We wanted to record all of the music live as a band just like some of our favorite musicians had done before us. The first day was dedicated to the rhythm section so we tracked drums, bass, guitar, and all keyboard parts. When I am working on a song in the studio I like to be the last to lay down my piano, keyboard, or synth parts last because I am constantly listening to the track as a producer rather than a musician. As a musician, we tend to get excited and overplay and not leave enough room for other pivotal moments in the music to breathe. On the second day, our horn section recorded their parts and I continued to tweak and overdub certain parts of the song adding additional synth leads, claps, and cheers. This was my first time tracking such a large scale work so I exhausted every single idea I had and left nothing on the drawing board. I was seeking perfection, which I soon learned is almost improbable. Soon thereafter, for whatever reason, the band unfortunately disbanded and new opportunities had us all in separate directions. I was devastated and didn’t know what to do with the music. I would visit it again throughout the years, but I never felt compelled to finalize and release it up until early 2020. What made you want to explore a solo music career after being in bands and serving as a session musician? What pushed you to take this step? Due to COVID-19, my music career came to a complete stand-still. I was fortunate to still be working, but there were no opportunities for me to create and perform music so I was beginning to struggle both professionally and personally. I’m not the best presence on social media, so I find it hard to create compelling content for my followers. Prior to the pandemic, I was already worn out from moving from band to band and working for other artists while failing to nurture some of my own ideas that were beginning to fester and grow stale. I knew I had the talent and ability to do so, but something was still limiting me from taking that necessary leap for myself. I was forced to think outside of the box for my own self-preservation. Through much self-reflection, I decided that I wanted to create an extension of my person, that could serve as my creative catalyst. There’s a line that I was drawn to in the Elton John, biopic Rocketman, that said, “Sometimes you have to kill the person you were born to be, to be the person you wanna be.” Lew Mckenzie was born the day I visited Little Cheddar Studios, a boutique production facility in Brooklyn, and recorded the vocals for Retwizt. After a few final mixes and master, Retwizt was finally released on June 18th, 2020. I am very proud of the song but I am happy that it is finally behind me. It leaves room for the new and exciting music in my life that I am desperate to share. I guess what was stopping me before now, was the fear of failing. However, the horrors experienced in this year alone have shown me that there’s no time to wait. There’s a balance between taking your time, but also not wasting your time. Instead of questioning what may or may not be for me, I will continue to do my work. I am now recording consistently, working on my EP and my next single is expected to be released in early October. I am also engaging more and releasing more content to help promote both my work and my fellow collaborators. instagram.com/musickallew facebook.com/musickallew #BUZZMUSIC

Christopher Ambrose knows talent when he sees it. Standing as notoriety in the Independent recording scene since his creative inception in 2005, the New York-bred producer has a Musical dossier that's festooned with notoriety Pop and Electro Artists like Honey Davenport, Jayse Vegas, and even Robert Garcia. His newest original, "No Way," arrives hot off the heels of his 2020's Debut Record's success. This time, with the enchanting Brooklyn-based songstress R0ZEGLD as his latest empyreal harper and collaborator. R0ZEGLD stands front and center on "No Way," with an unmistakable bubbly vocalized presence. With a pearlescent echo and the shimmery reflections of reverbs cascading down, right and left throughout the mix, it's easy to imagine being transported into the same Lambent room that Christopher and R0ZEGLD operate over this track with. The musical atmosphere is uncluttered and smoothly glides over a resting heartbeat's tempo, garnished with prismatic synth melodies, unwilted, crispy percussive elements, and the wholesome low-end we could expect from any masterfully produced Pop track. As we traverse the supple panoramas of shimmering decays, we're enamored by pearlescent synths and saturated pads. R0ZEGLDs carbonated Top-lines; it's easy to get lost in the cherubic world they've created to combine their creative capacities unitedly over this well-rounded mix. "No way," plays like the New-age Pop jam of the year, urging us to snap out of any lethargic mind-frame we're stuck in, and lifts us into a buoyant gravity-less joyride through a scintillating anecdote about love. How did you go about making the atmospheres of this mix so buoyant and spacey? CHRISTOPHER: Honestly, the way this record came about was way different from when it started. But my goal was always to make it an anthem-like song. I wanted you to feel like you were in the room with us singing when you were listening to it. So playing with the reverb on the vocals and some of the instruments kind of helped make that happen. So, yes, it definitely feels like a ‘feel good’ record and that was also the goal. R0ZEGLD: That was all Christopher! Did that creative decision help your conceptualization of the sentiments you wanted to evoke in your audience when they listened to "No Way"? CHRISTOPHER: Absolutely. I feel like this record now feels like what my original goal was set out for, being that it sounded so different from when I started it to what it is now. It also has a great message, which was that I wanted people to kind of take themselves outside of themselves and look at the people around them and help them realize that everybody in your life is there for a reason. Whether that’s good or bad, it is that way because it was your choice. That through whatever decisions you make going forward, you know that you will always be there for the ones that have been there for you as well. R0ZEGLD: That track in the sound definitely influenced the delivery of the vocals and the lyrics I added to the track.  It just hits in all the right places emotionally. What was your favorite part about working with each other on “No Way,” and why did do you think this track was the perfect fit for you guys to perform over? CHRISTOPHER: Honestly, I’ve never collaborated with a female on a record. I really was waiting for it to happen but it never happened. I’ve also been waiting for the right artist. I wanted someone I felt was as powerful as an artist and someone who knew who they were. And that I believe fits the definition of R0zeGld. And it just so happens that she and I have worked together before on her own projects and that was a really good bonding element for us. So when this record was being developed, I really wanted that message to hit harder. And then it all came together so effortlessly. R0ZEGLD: I always love working with Christopher. He is definitely on the rise and so talented! He is also humble and focused and just so much fun! He told me he heard my voice on the track when he first sent me the demo, and so did I. Right away I wanted to sing it! I also think we both have a sincerity about our music that fits well together. We really want to communicate emotionally to the audience. When you think about your creative influences and the places that helped develop your sound as an Artist and Producer, does New York stand as vital in that artistic growth? CHRISTOPHER: I love my hometown of New York but I feel like I’ve grown as an artist because of who I’ve met in my life, whether they were out of state or from here, and also the artists/songwriters/producers that I’ve looked up to when I was developing my sound. Songwriters like Max Martin and Pharrell, the ones who’ve created such amazing pop records and producers behind massive hits, like BloodPop and Rock Mafia, they really influenced my sound as well. I like to look beyond the artist most of the time, but there are artists like Selena Gomez and Billie Eilish I appreciate it because of their vocal representation. Their ease on a record is like eating chocolate, it’s effortlessly beautiful. R0ZEGLD: Definitely! How could it not? The energy here is so intense. I will always be a Cali girl, but NYC pushes me to grow in ways I don’t think anywhere else would. What would you say to your audience as the Prologue before diving into the Musical experience behind “No Way”? CHRISTOPHER: This is a record for you and for him and for her and for them and for us. R0ZEGLD: Get ready to call your best friend from high school you haven’t talked to in way too long! instagram.com/christopherambr facebook.com/christopherambr #BUZZMUSIC

The way that Sarah Tromley arranges her vocal outflow is incredibly smooth, offering moments of tranquillity and serene comfort. Her nature as an artist has always been gentle and affable, as she often glides through luscious ballads with utmost poise and affection. Another aspect of her artistry that doesn't go unnoticed is her ability to have real depth, exploring versatile themes that many can understand. Bringing nostalgic narratives to the table, all while maintaining a sensual and home-like feel, Sarah Tromley works to inspire many with their own thoughts and feelings, often diving deep into her own in order to do so. Blissful guitar melodies open the soundscape of Sarah Tromley's latest single, "Burnside." The track comes with a music video, where the light-hearted indie-pop style effortlessly radiates. "Burnside" has poignant lyricism, supporting the concept of love and heartbreak. Sarah Tromley ventures through her vulnerable truths regarding love in "Burnside," and the song ultimately offers listeners to know her in a more elaborate way. The slight electronic presence adds a cooling element to the single, which only further contributes to the loosened and laidback feel. "Burnside" brought many of Sarah Tromley's outlooks to life, and her soft-spoken vocals are all listeners will be fixated on through the majority of the track. Thank you for being with us to chat about your latest release "Burnside." "Burnside" had a very soft and amiable presence to it. What was the hope you had after creating this single regarding the emotional state you wanted to leave your listeners in? I wanted to let people know that it’s okay to lean into their vulnerability. That being an outsider can feel lonely, but in fact, it’s not so bad to be different. I escaped to my roots and the things that keep me grounded around all the noise of LA. And I just want people to give themselves permission to go back home. As an artist who has such a distinguishable sound, especially when it's regarding the smoothness of your vocals, how would you describe the way you manifested this vocal style? Was it crafted over time or was it an element to your sound that came naturally to you? First of all, I LOVE MANIFESTING things......My sound is organic and came from a combination of my musical influences who are old school but also new vibes. I grew up on the classics but also knew that you don’t have to belt it out to touch people's sensibilities. Carly Simon, James Taylor, Adele, John Mayer really got me through my parent’s divorce. I knew that I wanted my voice to flow like a calm river even through that raging storm. Is there any aspect to the sound of "Burnside" that caught you by surprise once the track was successfully completed? I knew that it was personal, but it also grew legs and I knew instantly that this could be an EDM cross over the track as well as a “cruising down PCH” vibe. I also didn’t realize how much I created a mirrored world from my growing up on Burnside to my new unfamiliar world in LA. “Burnside” was a therapy piece and I talked to my heart while writing this track and the music just became a love letter to that younger me that I longed for... Do you always see yourself creating music? Are you inclined to continue to create music similar to "Burnside", or can listeners expect a switch-up from you anytime soon regarding the essence of your sound? I'm glad you asked that question because music is another artery to my heart. I live and breathe it because it allows me to bear my soul without judgment. I hope it becomes a launchpad to more opportunities on-screen and even behind the scenes. I want to empower other young women to seize the moment. My new EP which will be released in October will be a different vibe and a sound that is elevated and tackles some deep-seated memories. Just wait, you are going to be pleasantly surprised. I'm a chameleon and if you don't evolve in this industry, then you die. Being irrelevant is not a goal, I have so much to say and want those words to be sung long after I'm gone. What has been keeping you inspired in 2020? Staycations have kept me really inspired. Changing my scenery is a part of my process. Like a fragrance can remind of a moment. A simple walk among the palm trees or looking at the waves crash onto the shores sparks this creative energy within me. We've all been forced to be resilient and adaptable during this time. As an artist, it’s so cool to test my boundaries and conquer new feelings, because after all, we write what we know (and I know that this year has been a horror movie with some weird rom-com moments... LOL). instagram.com/sarahtrom #BUZZMUSIC