Buzz Number Music is the name of the film scoring collaboration of Kathryn Musilek and Andrew Gerhan. Known amongst peers as ‘melodic noise sculptors,’ the pair are passionate composers with a taste for large emotion and narrative, always with exciting texture and rhythm. The pair thrive working to supply directors and producers with sounds to communicate their directorial vision with clarity, excitement, and creativity.
Individually Andrew Gerhan and Kathryn Musilek have been making music for as long as they've known the alphabet, both have spent much of their lives performing, recording, and touring in bands. Since 2014 the pair has created music for film, TV and advertising campaigns working with and for directors. Their music has appeared in the series Search Party (TBS/HBO), and Fixer Upper (HGTV), as well as the films After Louie starring Alan Cumming (2017, directed by Vincent Gagliostro), and The Vanishing of Sidney Hall (2017, directed by Shawn Christiansen). One of the many films they've scored, Monarch Butterfly (2018, directed by Clyde Baldo) won Best Original Score in the 2018 Best Shorts Competition.
Kathryn and Andrew also work with music supervisors such as the Los Angeles-based Noise/Racket to create and deliver the sounds they cannot find elsewhere. The pair are signed to The Moon Recording Company, a commercial music house, and own the Brooklyn, NY Buzz Number Studio. Kathryn and Andrew are members of NYC-based feminist art-rock band, Nevāda Nevada.
Buzz Number Music has a recording studio in the heart of Brooklyn. The company is part music house, part studio, production, and mix room.
KATHRYN MUSILEK & ANDREW GERHAN
“The music that this duo creates is beautiful, soulful, and created with so much love and care. Kathryn and Andrew are incredibly creative, generous, and a joy to work with!!" - Kristin Hanggi (Rock of Ages, Lost and Found)
"Working with Kathryn and Andrew is magic. They are deeply intuitive artists and collaborators, with excellent ears and ability to interpret direction." - Nick Job (Mank, Billions, The Last Night, Refugee)
“Their professionalism, creativity and willingness to work with you on creating the perfect score is exactly what I look for when bringing someone on my project. If you’re looking for a team to elevate your film, look no further; their work speaks for itself.”
- Greg Accetta (Four for Four, Out to Lunch)
"Their scores elevate our films tenfold. It's not until their score is laid into the piece that I think, "That. That's the film.'"
- Katie Lawson (The Last Night, Refugee)
"They truly take your project to the next level and work with you step by step to ensure your film is the best it can be. I would recommend them to anyone!" - Shannon Hamm (The Last Night, Lost & Found)
DRAMATIC / COOL
ACTION / SUSPENSE
HEARTFELT / ORGANIC
Andrew Gerhan began his musical path at the age of 11 picking up the guitar and taking to it quickly and with palpable talent. After a studio apprenticeship in the early 2000's under the legendary Tim Mooney, he began has career as a producer and engineer. Andrew has recorded and mixed a long list of living legends including Kim Gordon, Jay Mascus, Spiritualized, Big Boi, St. Vincent, and more for Pitchfork TV, Beggars Group, and other current taste-making entities, and he now runs the Buzz Number Music studio out of Flatbush, Brooklyn making records for a variety of clients, and co-composing with Kathryn for these aforementioned moving images. He has performed and recorded with numerous bands as well including Adam Arcuragi, Our Lady of the Highway, Eric Burdon and the Animals, and has toured extensively throughout the U.S. and Europe.
Kathryn Musilek is a rare composer who also holds a Cinema degree. She has played piano for over 30 years, winning awards in her youth, and has performed and recorded in rock bands for 20, but because she is a film scholar as well, she truly understands how music functions within a film. Her compositions explore layered and multi-textured melodies that commit to support and embrace the filmmaker's vision and the emotion of every moment for which she composes. Her scores often employ classical instrumentation, but just-as-often add experimental, electronic or rock elements, sometimes blending and sometimes contrasting these varied and disparate sounds. A common thread through her work regardless of the instruments and sounds employed is the use of robust melodies and protuberant rhythms to make clear statements about the emotions driving a scene. Kathryn has composed music for documentary, drama, suspense, horror and comedy, as well as both short films and feature-length. She loves them all. No matter the genre or length she works to understand exactly what the filmmaker seeks to communicate, and she creates music that serves this goal unrelentingly.