BLACK WANDS

In my opinion, good progressive is hard to find. There’s a delicate interplay between hard-hitting drops and moments of pause that forms the emotional energy of a song or a set. Balance exactly the right amount of layers on a fulcrum of driving rhythms, and you’ve got yourself a weapon on the floor. But to fill that floor, you can’t take yourself too seriously--you’ve got to stay relatable. Black Wands has done it. Embracing the darker, moodier side of dance music, he’s released on some of my favorite labels–FSOE, Elliptical Sun, Zerothree, and This Never Happened. And on September 15th, Black Wands takes the stage at Levitt Pavilion, where he’ll set the tone for a stacked lineup that includes Booka Shade, Solardo, and fellow Denver local Discognition, headed up by melodic heavyweight Nora En Pure. He’s got several releases in the immediate future, and he’s showing no sign of slowing down in the studio. When I embarked upon a mission to explore Denver’s electronic environments, Alex Maya--the man behind the moniker--was the first one I interviewed. We sat down for an hour in mid-August to chat. A few things have changed in the weeks between then and now, but there’s an overarching consistency in his practice that hints at a promising future. He puts it in his own words in this inaugural Read On.

I remember I encountered you for the first time at a Steam Thursday set. It felt like this great spur of the moment vibes at the Red Room. But I get that you’ve been supporting some bigger names, in arguably more high-pressure situations. So: do you prepare sets in advance, and curate them for the occasion?

I do, because I’m a producer first. If I’m opening, I try to throw in some of my own tracks. But if they don’t fit, I go with a vibe that fits the headliner. A night like Steam is fun, because I can play whatever I feel like, as opposed to a show where I have to be really cognizant of the mood.

You have a history as a songwriter and instrumentalist in the post-rock and metal worlds–I’ve seen Circa Survive and Thursday in T-shirts on your social media. So: was there a definite transition point between that perspective and moving into your melodic electronic sound?

Growing up, post-rock and post-hardcore is where I really got into music. I played guitar, was in my high school band, there were film soundtracks I loved. I wasn’t super into electronic music, but I came across this compilation album in the mid-2000s. It had Tiesto, and Chicane, all those artists. I fell in love with some of those songs, but I didn’t really understand how to put it all together. So my friends and I started making beats, and it just evolved. I realized that with the electronic stuff, I have control over way more instruments, and so the gears turned a little harder. That music is a good foundation, because when you think about it, a memorable song is the most important thing. And that’s what I try to create in electronic music. And when the EDM boom came in 2011-2013, when I started hearing Kaskade and Deadmau5, that’s when I really focused on it.

I’m gonna be honest, here. In my experience, the Tiesto, the Chicane, the ATB, even the Kaskade: that's classic big room. Theatrical drops that are big on the optimism, you know? Your stuff has a darker, more contemplative edge to it.

It’s definitely not “1-2-3, Jump!” kind of music. I mean, I fist-bump too, but it’s not mainstream. I don’t think my music appeals to a mainstream audience.

That’s actually one of my questions. I read an interview you did with Alex Berryhill at Westword. He points out that progressive hadn’t really made its way into the mainstream here in the US. But that was a few years ago. You’ve worked with Le Youth. TNH and Immersed are US-based. And you’ve had a run of supporting sets from people who come from all over Europe to play. To me, it seems like the melodic movement is picking up around here. So--why now?

I thought you might ask this question. I feel like it started during the pandemic. You had club music that was high energy, and darker techno stuff. DJs and producers were writing music for the clubs, because it was the main driving force behind electronic music at the time. When all that shut down, there was a sudden appetite for music that was appealing to a bigger audience. Not everyone is into a four on the floor drum. So, I feel like with the softer organic and melodic house, it’s more like listening music. I think that opened the door wide open. There’s a lot of labels and artists coming through in that space, because it can be the soundtrack to anything, really.

It does feel a little more introspective. The track that defined the pandemic for me was Silence, by Kidnap. It was haunting, and there was this sense of - “Damn–we’re really being quarantined.”

Definitely. I feel like that music always existed, but because people were just stuck at home, you know–not dancing–that music became more popular.

Circling back on influences, though – and being stuck at home– you mentioned film soundtracks are a big influence.

I’m a movie buff, I guess. I like the sci-fi aesthetic, District 9 is one of my favorite movies. I like a lot of horror stuff, too. Heredity is great, at least for my darker inspirations. This is a really good one–The Sound of Metal. It’s with Riz Ahmed. He plays a metal drummer that goes deaf. It’s a touching story, but my Can’t Tell EP that was released on Le Youth’s label? Every song was inspired by that movie.

Those influences from outside dance music are crucial. Otherwise, maybe you’re hearing the same thing, recycled over and over again.

I agree. I always say you’re kind of like a mesh of all your influences as an artist. No one’s just starting from scratch, you’re always pulling whatever inspires you into what you do, and making it your own.

So, you say yes to those influences. And opportunities, too. Like your involvement with Le Youth - how did that develop?

Really, with his label. He was putting out melodic house and techno similar to This Never Happened. I heard music out there that was cool, and I thought, “I have stuff that’s like this.” So, I basically just sent him music. That’s how it started.

He came to Denver last year, and that’s when I first met him in person, and I got to open for him. He reached out to me for the New Love remix, and yeah, that was cool. He’s an all about the moment type of guy, and I need to keep making those moments.

He’s coming through here this fall, can you tell me if you’re going to play support?

I can’t say. Like, honestly, it’s tough. Usually the reason why I say I can’t say something, is because I don’t know myself. You’re not always in the loop when your music is in the label’s hands. I had a fast start to the year, playing venues I’ve been going to since I moved to Denver ten years ago. The Yotto show, Sultan + Shepard. But I’m always working on music. It’s just a matter of when it’s going to come out, and who’s going to release it. I have a few tracks scheduled with a group in New York City called As You Are. Those tracks are dark. On the verge of progressive trance. A melodic techno kind of sound. And they’re tracks I’ve had for two years. So I’m a big believer in art just having its right time and place.

How do you organize time and place in your studio time, though? I was talking to someone who starts by humming melodies into voice notes on his phone. Another person always does the drum beat first.

It’s not always methodical. I used to think, “Oh, I have to be inspired to write music.” So, I wouldn’t be writing music, and I’d be doing something else. But I learned that creativity can be a habit. You have to make it a habit by doing it every day. Black Wands may be a newer moniker, but I’ve been writing music since I was a teenager. I feel like I’ve gotten to a point where I can just sit down and work. I don’t wait for inspiration anymore, I can just create freely and get into the flow.

So, how do you know when a track is finished?

You never really know! Everyone always says it’s never finished. You just have to let it go, basically. It’s kind of an innate feeling where you know if you add anything more, it’s gonna be too busy. You just have to flesh out the arrangement you already have, and call it.

Let’s cut to the issue at hand: this show at Levitt Pavilion. You were at Global, and at Supernatural, but this is one stage. And the capacity is fairly big. Opening for some thoroughly recognizable names, too. How are you feeling? Is it a big deal?

Yeah, it’s a big deal! I’m grateful that I got the call to play the show. I think it’s going to be a good mix of progressive house styles. Obviously Nora En Pure, she’s one of the acts leading the charge in house and melodic techno. And Booka Shade, they’re legendary. They’ve been doing it forever, it’s impressive how much music they’ve put out. Chad (Discognition) is a good friend of mine, and I get to kick us all off. It’s my first outdoor show, amphitheater style. I’ve been debating if I should do just an all-original set. I feel like it’s a good place, because it feels like a show that’s showcasing the artists, as opposed to a club show.

I get the sense that the upcoming show is a significant opportunity to expand the Black Wands fanbase face-to-face. For him, discipline in the studio and a wide range of creative influence have molded a producer on the edge of something profound. After the interview, Maya announced he will indeed establish the vibe for the night with a set of all-originals.

So, my advice? Arrive on time to meet him. See you there.

Black Wands on Spotify

Black Wands on Instagram

Tickets to Black Wands, Discognition, Solar, Booka Shade, and Nora en Pure - Levitt Pavilion, Friday 15 September