Slow Magic: The Nicest Producer You’ll Never Get to Meet (Part 2)

Slow Magic

Austin – (Ed.: This is the second part of Best New Bands’ two-part interview.)  The artist known as Slow Magic has so far kept his name and personal life hidden beneath his neon zebra mask and tattered scarf. The costume has gotten a lot of attention in the last three years, while he’s worked almost non-stop between tours and two album releases—his latest, How to Disappear, came out on September 9. But his goal isn’t to be aloof, and to call it a matter of image is too simple. Luckily he’s been pretty vocal in interviews about the point to his secrecy. “I just think sometimes people make their face the most important part of their music.”

I got a chance to sit down with the producer before his show at Holy Mountain in Austin, and talk about electronic music, live performance, encounters with unsuspecting fans, as well as his new record.

WJ: Have you ever met someone and had them talk about your music without realizing they were talking to you?

SM: Yeah there have been a few occasions. My first real show was a little festival, and I started messing around and asking some people what they thought of the zebra masked guy. I got a few opinions, some good, some pretty okay reviews, and I realized that I could get honest opinions if I wanted to. I’ve met a few people at the merch table who asked when Slow Magic might come on. Obviously I meet a lot of people and I don’t want to be impersonal, but it’s fun to play with.

WJ: So, I guess I should ask some questions about your new record.

SM: (Laughs) yeah sure, if you want.

WJ: What was your favorite track?

SM: I’ve been enjoying starting the show with the first song on the album, “Still Life.” But it always changes. I’ve been sitting down and working on this album for two years, and I’ve heard these songs so many times that they’ve become something completely different to me. I couldn’t pick a favorite.

WJ: The one that grabbed me right away was “Waited 4 U.”

SM: Well, thanks.


WJ: When I work on long-term projects I usually find that by the end it becomes something so different from what I had in mind, that either I hate what it’s become, or hate what I was thinking when I started it. Do you get a similar feeling when you work with something for so long?

SM: I like to start with an idea I’m not really on board with, and try to work the details until I get something out of it. And I think that’s what takes me so long when I’m working on an album, because if something has potential I really want to work on it until I’ve found something there.

WJ: Do you ever feel like you lose track of something when you work with it for a long time? Like you can’t remember how it started?

SM: It changes over time, and the relationship with the project takes different forms. And now that I’m playing it all live it’s got a new life. It’s something that’s hard to explain. Now that people are listening to the record and taking it in, it’s got a new life. Instead of me just listening to it and kind of perfecting all the technical and audible elements, now it’s something people can listen to and interpret any way they want.

WJ: Is there anything that changed from the last record?

SM: The recording process was mostly the same, but my lifestyle was so different now that this is a full-time job. I think that comes through in the sound of the record.

WJ: What’s that like, making this a full-time job?

SM: It’s always busy. Every aspect I get involved with, including parts of the artwork. I work with a lot of people while I’m working on the music. It’s something I’m really excited to be able to do.

WJ: If you weren’t doing this project who would you most want to work with?

SM: Well, I have three answers. Sigur Rós, if they needed someone to be in the band, that just seems like a dream. Sufjan Stevens, he has a big band, maybe I could fit in there on the triangle or something. And then the third is the band Rhye. It’s just two guys, but maybe I could do some drumming. Or The Beach Boys.

WJ: Oh?

SM: Well, Brian Wilson, we’ll say Brian Wilson. It’s not the same.

WJ: Not a fan of Kokomo era Beach Boys?

SM: I don’t hate the song, I just wish they were all together and happy.

Click HERE for part one of Will Jukes’ interview, including answers to questions about the mask, what artist influenced him, and more.

Slow Magic’s North American tour continues through October 18. You can listen to the whole album HERE. Our review of Slow Magic’s Austin performance will also appear soon.

Will Jukes

Will Jukes

Will Jukes has lived in Texas his whole life. It doesn’t bother him as much as you’d think. A Houston native, he studied English at the University of Dallas before moving to Austin in search of the coveted “Grand Slam” of Texas residencies. He comes to music journalism from a broad reporting background and a deep love of music. The first songs he can remember hearing come from a mix tape his dad made in the early 90’s that included “Born to Run,”, “End of the Line,” by the Traveling Wilburys, the MTV Unplugged recording of Neil Young’s “Cowgirl in the Sand,”, and “The Highwayman,” by The Highwaymen. He has an enduring love for three of these songs. Over the years he has adored punk, post-punk, new wave, house, disco, 90’s alternative rock, 80’s anything, and Townes Van Zandt. He’s not sorry for liking New Order more than Joy Division.
Will Jukes