MAGIC GIANT: INTERVIEW

March 21, 2018

INTRO BY KAT VISTI

INTERVIEW BY ANDREW PINTADO

Los Angeles trio Magic Giant have a very interesting story -- they describe their coming together as "fate." The trio consists of Austin Bisnow (lead vocalist), Zambricki Li (banjo, violin, and harmonica), and Zang (acoustic guitar and Cello). In the spring of 2016 the trio bought a shuttle bus and converted it into a solar-powered recording studio, which is where they recorded their debut album "In The Wind", creatively named since they recorded most of their album outside in the wind while traveling across the country for music festivals. After independently releasing their single entitled "Set on Fire" it charted at #4 on Spotify's US viral 50, it climbed into the top 25 on Billboard's US alternative chart, and it earned Magic Giant praise from Rolling Stone as one of ten artists to watch. We sat down the Magic Giant to chat about touring, festivals, and music!

How did you guys come up with the name for the band?

Zambricki: "Austin was watching a TED Talk by the visual artist Peter Tunney, and he was going through his whole life story and he said that as a kid he did magic. Then he talks about his mentor Jonas Salk who created the cure for Polio and all the things he did and painted this picture of him as this GIANT! And he showed a photo of the dude and he was just a normal dude wearing a suit. So, it was a compression of this entire TED Talk between him doing the magic and his mentor."

Austin: "And the fact that you don’t have to be big to be a giant."

What do you guys enjoy most about touring?

Zang: "I think what I like and it’s kind of strange, but the fact that we’re all together for so long, it actually makes us more productive. We can talk more, hang out more and do more music stuff. Whereas when we’re home and not touring it’s kind of like Zambricki is mowing his lawn or I’m doing the dishes and we don’t get to talk and we’re not really as involved. But being on tour we’re here and you can’t run away from it."

What’s your favorite city to perform in?

Zang: "OOOOO."

Zambricki: "We can’t say that man, that’s mean."

Austin: "A lot of cities have gone off this tour, like Chicago was nuts and then cities you wouldn’t necessarily expect. The underdogs you know. Spokane, Ann Arbor…"

Zang: "Yeah crazy towns!"

Austin: "…Fort Collins"

Zang: "Grass Valley! Random places go off."

Austin: "This East Coast region is definitely great!"

Zambricki: "I’d say my favorite grouping is like Boston, New York, Philly, D.C."

I’m assuming you have something similar on the West Coast?

Zambricki: "West Coast is more spread out."

Zang: "But still there’s LA, San Francisco, Seattle."

If you weren’t a part of Magic Giant or famous making music what do you think you’d be doing?

Zang: "Before this I was a software engineer."

Zambricki: "So, you’d go back to that?"

Zang: "I don’t think I’d go back, that could’ve been my life, but I think I’d just be a dancer. Then after that and all is said and done I want to do directing and direct movie and films."

Do you direct the music videos?

Zang: "We co-direct."

Zambricki: "We’ve been able to work with a lot of friends in Los Angeles, that kind of either work in it or want to work in it so a lot of times we’ll come up with an idea and they’ll kind of help us bring it to fruition."

For people who don’t know who Magic Giant is what would you tell them? How would you describe yourselves?

Austin: "Just a group of guys. The three amigos!"

Zambricki: "Our moms are friends. Just think about that sit on that, let it marinate."

What are some cool things you guys have done recently? I see you guys have been hanging out at Google, Vevo. A year ago, when I met you weren’t doing so much of that.

Zambricki: "We were doing it we just weren’t putting it on stories or anything. I feel like every time we come to NY we go in and it’ll be like a little luncheon."

Zang: "Yeah NY is special because all these huge companies have headquarters here. So we’ve done the Spotify luncheons, the Google luncheons, we’ve done Vevo and a ton. Last time we were here we did a Paste session with Paste Magazine."

Zambricki: "It’s great we love playing acoustic, people are on their break and we go in and play acoustic and turn it into a mini festival for 20 minutes and then everybody goes back to work."

Speaking of festivals, I see you guys made it to Coachella this year. That’s pretty big, how do you guys feel about that?

Zang: "It feels big! Growing up on the West Coast Coachella was always such a huge thing every year. All the kids would go."

I saw that, and I was like holy shoot! Finally!

Zang: "Yeah right? So, to finally be there it’s like WOOO! It feels exciting, I’m stoked!"

I know you didn’t want to answer what your favorite city is but what about favorite festival?

Zang: "One of them for me, there are a couple, I love Firefly in Delaware. That was an amazing festival. But probably my favorite so far was Electric Forest, in Michigan. It’s beautiful the way they set it up and how it’s designed and it’s in the middle of this deep dense forest. It’s such a different experience, it's not like other festivals where it’s like here’s a stage here’s a band. It’s in the woods! It’s more magical than it looks."

How do you guys stay so positive all the time? I know when it comes to social media people normally only post the good things, but it seems like you guys are always on a positive high! How do you guys always do it?

Austin: "I don’t think we do. And I do think that with social media people do focus on the positive. And not just with social media but just in general people want to share the positive people don’t get vulnerable with other people."

Zambricki: "It’s interesting though. There’s a tendency for people to put the bright stuff online. We had our bus break down at the beginning of this tour and it was interesting because at first we didn’t post about it and we were living out of a U-Haul for a hot minute and didn’t want to show people that. But then we’re like hey you might as well see the U-Haul and people like to see that too. People just want to see what’s real. There’s a point where tragedy becomes hilarious."

Zang: "Being sad aint gonna fix it so you might as well laugh at it."

Austin: "Yeah that’s huge, that could be the biggest thing. Just make the best of it."

What are some things you guys like to do on your downtime?

Zang: "For me specifically I’ll go salsa dancing at some random places. I might go dancing tonight after the show. I’ll go dancing usually in Europe because they’ve got really good dancing out there, so that’s what I’d do on my break time."

[To Austin:] I see you like to be around nature a lot.

Austin: "I feel like that puts my mind at ease, seeing trees, breathing fresh air and being in water too."

Zambricki: "Playing guitar, even being at my home studio or I have a garden area, so I’ll get into the gardening for a hot minute. Then we’ll go on tour and come back, and everything will have died. But just playing music in a non-show way is really cool. I love just playing music for the sake of the music. It doesn’t go anywhere or end up in anything."

What do you guys want your audience to take away from your music and your shows? What do you hope they take away from it?

Zang: "A lot of times when someone tells us that they got a smile after the show that they can’t get rid of and it just kind of lasts for days or a week or even a couple of hours. But I really love that. No matter how your day was or what happens, there’s certain things you can do in life. Like if you go sky diving your mind is clear and free of everything and your just in bliss for those moments. And I feel like our show has a similar thing where once you come in everything else is just gone out of your mind and you’re just there and you can feel it and be there and be happy. And once you leave you take that, live on that or it just might get you through the next hour or the next year. But I love that you can give that little drop of freedom."

Austin: "Someone told us about the show in Toronto that they had been having a bad week and woke up the next morning after our show and were so inspired and energized and that’s really cool."

Lastly can we expect anything new from you guys? What’s to come in the future?

Zambricki: "We’re going to do some more videos for this album. We’re going to do a video for ‘Hideaway’, ‘Celebrate the Reckless’."

Zang: "We actually recorded an acoustic album. Five songs from this album we might drop around the spring."

Zambricki: "We’ll probably end up doing another tour in the spring because when you drop a new album you gotta do a tour. We’ll be going to new places."

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MODERN ME: INTERVIEW

March 20, 2018

INTRO BY KAT VISTI

INTERVIEW BY CAMI LIBERTY

A fresh new twist on indie rock music is what you'll get when you listen to San Diego band Modern Me. The band consists of members Adam Lamah, Phoenyx Jones, Adam O'Nan, Michael Paez, and Shawn Kreitz. The band morphs together different elements from The Killers, Young The Giant , and Joywave. Their music relates to current issues that millennials face in love, family life, and finding themselves through the spiritual and cultural complexities of life. A year after their breakthrough single "Waters", Modern Me is back with a brand new single entitled "Dead to Me." In a recent interview with the bands we sat down to learn more about the single and their music.

In January you released your new single Dead to Me. After the success of releasing your single Waters in 2016, were you more nervous or excited to release Dead to Me?

ALL: "We [were] so very excited! This track has been brewing for about 8 months now and so much planning and thought has gone into the release. We are pushing our baby into the wild, so yes we [were] a bit anxious."

Can you tell us a little about the inspiration / process behind creating Dead to Me?

ADAM: “The song was initially about a girl that I had met on Huntington beach. It somehow morphed and became about the majority of my past relationships. Questioning if the time I spent with these women was just a waste of time, if my heart ended up taking more of a blow than the memories were actually worth.”

Do you find that you have the same process when creating music or does it change often?

ALL: "Adam Lamah usually has about 100 voice memos on his phone that we end up dissecting and really diving into. The melodies change a bit when we are all in the room together but it’s really quite funny to see how these songs start and how they end up."

You also released a video for Dead to Me. Can you tell us a little about the story behind the video?

ADAM: “I’ve imagined disrupting the date of an ex-girlfriend and I thought let’s try to capture that and see what happens. Initially for this video we wanted to shoot gorilla style. Setting up all of our instruments in the front yards of band members past relationships, without any forewarning and playing Dead To Me until they walked out and said something so we could capture genuine responses. We thought we’d just play it safe and sit in beamers and rot in motel rooms together instead.”

How would you describe your music style in three words?

ALL: "Super. Hot. Fire."

If you could collaborate with anybody, who would it be and why?

ALL: "Rostam Batmanglij. He is a musical genius who has created some solid gold. He definitely would challenge us as musicians."

Is there anything else that we can expect from you in the near future?

ALL: "We have some more songs on their way out of the womb."

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'NOBODY LIKE YOU' / VAINES: SINGLE REVIEW

March 18, 2018

BY SERA SNYDER

New to the scene dark pop artist hailing from LA, Vaines, has just released his debut single “Nobody Like You” which has already made Apple Music’s ‘Best of the Week’ playlist for the week of February 26th, 2018. The song starts out with an effortless and flowing verse backed by a layered beat as Vaines describes the lonely feeling of walking home alone in the dark while thinking about his complicated relationship with someone. The lyrics draw the listener in with their relatability, while the darker timbre of the beat evokes emotion. This emotion of pain and distrust in a relationship is reinforced on the chorus as the vocals gain a much more commanding presence, allowing the listener to truly understand and become in touch with the artist’s feelings. The second verse follows the same melodic pattern as the first, again Vaines describes the feeling of being led on, and given mixed signals, and how that has taken a mental toll on him. Transitioning from the second chorus into the bridge the instrumentation has now gone from a polyrhythmic, dense beat, to just a single electric guitar riff which builds on the listener’s emotions perfectly. As the beat is reintroduced, the vocals take on a different pattern for the bridge. The final set of lyrics summarize how this complex, and tangled relationship has left his brain spinning, and heart filled with venom, a feeling that many people go through all too often, giving listeners something that they can feel personally connected to. The lyrics to the bridge are then repeated a second time as the song closes out to the sound of the single guitar riff with added chimes that leaves an eerie feeling that will linger in the listeners mind’s making them want to hit replay, and experience the feeling all over again.

i hate walking in the dark when i'm walking home there ain't a better place for me to feel alone used up, i don't move much you been clouding up my vision, you been blowing smoke i let you closer than you should've gone my mistake, i guess i should've known now i'm supposed to flex like a price check but you're like the devil, you gonna throw me to the flames, oh nothing really matters anyway and i don't want to play these fucking games no more been running round in circles every day and you been on and off for a while now i'm not about to drop everything yeah if i don't mean anything then I'm already gone so turn the lights out, out i don't need nobody like you i'm alone and i'm doomed i don't need nobody like you and i'm so sick from breathing in fumes i don't need nobody like i'm drinking out here in the valley staring at my phone there ain't a better place for me to feel alone three o' clock and i'm awake and glossy-eyed you got me feeling so hot and cold baby i'm tryna hit you but you mixing signals i'm mixing my liquor it's drowing my head cuz with every letter you send, i'm going insane you got me feeling like i won't ever see the end, oh nothing really matters anyway you got me wrapped around your finger like a diamond ring been running round in circles every day and you been on and off for a while now i'm not about to drop everything yeah if i don't mean anything then i'm already gone so turn the lights out, out i don't need nobody like you i'm alone and I'm doomed i don't need nobody like you and I'm so sick from breathing in fumes i don't need nobody like my brain: spinning seven, eight shots deep my heart: pumping venom through my body wanna sleep but my eyes: bloodshot who, who's this girl in my bed? It's not you

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'ROBOTS AND WRANGLERS' / HALO CIRCUS: ALBUM REVIEW

March 16, 2018

BY EMMA SCHOORS

The new Halo Circus album “Robots and Wranglers”, featuring star singer Allison Iraheta, is explosive from start to finish. The sophomore album is jam-packed with faster, slower, sophisticated and fun songs, sure to leave listeners following along the ride.

The slower songs, such as “Commander”, are a perfect break of energy in the album, keeping the softer side edgy and electronic. “Contact” is an immersive song filled with powerful vocals and narrative songwriting, sure to intensify the listening experience for all. Lead single “Narcissist” is a fun track filled with head-on lyrics and straight to the point hooks, just enough to fill the need for a powerful, confidence-boosted song for this year. Songs like “Y Para Que” and “Pledge Of Allegiance” dive into the deep end of experimental electronic pop, while “Off the World”, “Got it Made” and “Oh Money!” tell stories of pride, anger, love, naivety and wrath. The album, overall, is a genuinely fun listening experience all the way through, leaving little to no room for interpretation of that matter. Find Halo Circus’ new album on all music platforms and on their socials below!

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ZACK ZALON: INTERVIEW

March 15, 2018

BY KAT H. WENTZELL

Zack Zalon is the mastermind behind the world’s first “Rock Novel,” produced and performed by what he calls his “brand,” the new rock sensation Into the Great Divide. The self-titled record has already received great applause from many outlets since its release on January 26 of this year; the popular music site Metal Injection even named it “one of the progressive metal albums to beat in 2018.” The record is one hundred percent instrumental, and was produced with the help of Dream Theater’s Mike Mangini and esteemed recording engineer Richard Chycki. The record is surely an adventure, a story told with sound, and the message behind it is even more inspiring.

In Maestro: I [of the album’s booklet], you mentioned that music had to take a backseat for a while. What kind of work were you doing?

Zalon: "I’ve been developing high-profile digital services for my entire career. I started out working for Virgin, leading the charge to build digital products for their entertainment division, and then I started my own company 11 years ago. I love what I do, I feel incredibly lucky to have been able to work with the companies that have hired me, but in some ways it’s not that different from composing music: the best music is the music that’s thoughtfully considered, that tells a story, and that drives engagement and connection. Same with digital products – you need a hook, something that people can truly connect to, and then you can have a very successful service."

Many people have misconceptions about the term “progressive rock.” In your own words, what exactly is “progressive rock,” and how does it differ from other types of rock music?

Zalon: "I see it as rock that pushes boundaries… any boundaries. Some progressive artists work to master unique timing or key signatures, some try new song structures, some focus on pure prodigious playing. They’re all progressive in one way or another. For me, it’s about telling a story inside of a song; that’s what I’ve personally been working to achieve."

How did ITGD become an official band?

Zalon: "I wouldn’t actually call Into The Great Divide a band, I’d call it a brand. ITGD stands for something – it’s a platform for storytelling with progressive instrumental music. There are numerous people who have been involved in helping to bring our ideas to life, but I wouldn’t necessarily call them part of a band. I’d more refer to them as champions of the message, and people who I hope to be able to collaborate with on a long-term basis."

Who/what were some influences for the record? How did you come up with the idea of the “rock novel?”

Zalon: "Well, I guess in a way it was a byproduct of necessity. I wanted to tell a story with instrumental music, to bring some ‘context’ into each track so listeners could understand the meaning behind them, but I didn’t know how to do that. I didn’t know where to start, and then it struck me that if I wove some narrative elements between each song, setting them up for the listener before the track started, it might help make some sense of the whole thing to people. It wasn’t until I was well underway that I realized that this was a Rock Novel, and that, to my knowledge, hadn’t ever been done before."

What is the significance of creating a record with only instrumentals? What do you hope listeners get out of the experience?

Zalon: "I hope it drives people to listen a little deeper. There’s a lot of significance in the tracks, with different instruments playing different roles, and different sections of the tracks working to weave the story together. There is a lot more deliberate planning than may seem obvious on the surface; my goal was to compose the music to let people really dive in and feel the story unfolding along with the narration itself."

What was it like working with Richard Chycki and Mike Mangini? How did working with them shape the album?

Zalon: "It was an amazing experience. It started with Rich – right from the beginning he was a mentor and supporter, and drove me to create something where each and every detail mattered. He has such incredible and varied experience, and it was invaluable for me to have him pushing me along the way and providing me with guidance throughout the process. Once the tracks were mostly done, Rich reached out to Mike directly – they’re friends from working on Dream Theater together – and that’s how we ended up with the drums we have. And as to Mike specifically, he is the baddest drummer I’ve ever seen play; the guy is a monster. But he’s also a consummate professional, [and he’s] so prepared. He came in to the studio with so many spectacular ideas for how to elevate the album, and my personal belief is that he brought it to a much higher level, and in the process, demonstrated that he is far and away the best progressive rock drummer in the world today."

What was the writing/recording process like for the album? How did you come up with each instrumental part to have them all become one cohesive unit?

Zalon: "It was very deliberate, very planned. I worked with my business partner to lay out the story before any music was actually composed, and then I brought in a voice actor to give life to the narrative. I used those voice introductions to inspire me as I composed each track. The recording process itself was pretty intense; I played all of the instruments, so it was really time-consuming to lay down each section and to weave it all together so it would sound natural. Our goal was to create the feeling of a full band playing in the studio, with energy and drive, and so it took a lot of work to build out the tracks without losing that vibe, that energy."

In A Final Word: VI [in the album’s booklet], it says “once you fall Into The Great Divide, you – and the world around you – may very well never be the same ever again." What does this mean?

Zalon: "It’s a little hokey, but it’s a play on the idea that The Hero’s Journey – which is the narrative structure of the album – changes people at a fundamental level. Here’s the storyline: our hero chooses to undertake a journey of epic proportion. He/she takes the first steps, and walks a path fraught with trials and tribulations. Eventually, our hero is ready for the big battle, the test that will take them to their stated destination, and so they step into the ring. But, unbelievably, they are DEFEATED! The hero actually loses. This is a huge blow, a devastating outcome. However, by losing, our hero realizes that they are not infallible, that they require new strengths to accomplish their goals. So [then] they reach deep, they use the lessons of their defeat to build up the courage to try again to reach for the brass ring, and this time they emerge victorious; they achieve their dream. Now, nobody who experiences that kind of journey ends up the same person as when they started. They are changed by the experience, born anew so to speak. And so that’s what we meant by that line, that you’ll never be the same again. Think about people throughout history who have lived the storyline I just described: people like Nelson Mandela, who labored in prison for 27 years before leading his country from apartheid to freedom. Or think of Muhammed Ali, who was defeated by the system for his anti-war beliefs before digging deep and emerging a champion from his rumble with George Foreman. There are countless stories that follow this narrative, but the one common theme is that the heroes in these stories are radically changed by the experience of going through it."

What is in store for ITGD? What are some important dates/events coming up that people should know about?

Zalon: "We’re working on new ways of connecting with people, new ways to tell stories with the music. I don’t have dates to share, but I can say that there are some really cool things that we’re planning, and that I’m really looking forward to talking about later in the year."