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INTERVIEW: Time King

Hi guys, welcome to VENTS! How have you been?

-Swell, how about you?

Can you talk to us more about your latest single “Main Street”?

Main Street is the first step down a new creative avenue (pun only somewhat intended) for the band that will unfold in multiple installments over the next year or two. The song itself is a standalone single, to be followed by the Frontierland EP – the first EP of the series. The 1955 Collection as a whole is a chance for us to explore a variety of musical/visual/conceptual aesthetics that are simultaneously independent and connected.

Did any event in particular inspire you to write this song?

People these days (particularly us “latter-Generation Y” folk) seem to be strangely fixated on the past and nostalgia (cue the 90’s Facebook throwbacks and all of the movie/TV remakes and reboots). Main Street is about that daydream; about how attractive, even addictive, nostalgia can be. It’s about the process of coming across something or someone that “makes you feel like a kid again”; first attempting to “shoo” those feelings away by dismissing them as a dream or a fantasy that is separate from real-life; but ultimately resolving to indulge in them – fully aware that your fantasy and reality are not separate, but the same, and that “magic” that you harken back to is very much an active foundation of who you are today. For us, all of these vibes and feelings are captured by Disney in its entirety, and therefore are physically embodied in a place like Disneyland – where that “kid” or “fantasy” in you comes out as soon as you walk through the gates to Magic Kingdom, no matter when in life you return to it.

What’s the story behind the video for the single?

The concept for the video sort of discovered itself along the way, where some elements of the final product came from ideas we had from the start and others arose in the moment during the actual process of filming and editing. We knew we wanted to evoke some of that nostalgic vibe through the use of projectors and home footage, as well as to use colors, textures, and silhouettes to create a Fantasia-esque “blurring of reality” for the band footage (we almost look like cartoons, but not completely, which totally nailed what we were going for). The mediums used and methods for executing these ideas were really developed on the spot. We particularly dug using minimal post-production, instead opting to create all of the environments and effects ourselves during filming, which helped to make it feel warm and somewhat vintage or analog.

The single comes off your forthcoming project The 1955 Collection – what’s the story behind the title?

For now, we’re interested in letting the music and most of the details speak for themselves, likewise in allowing listeners to experientially ascertain that knowledge for themselves.

How was the recording and writing process?

We are entirely self-produced, which we have referred to in the past as “both incredibly draining as well as a blessing.” James comes from a background in audio engineering, meaning that from the start we were demoing and tracking our songs onto recording software. Handling the production, particularly the sonic qualities and characteristics of the song that go beyond anything about the music, entirely ourselves from start to finish has sort of become part of the artistic package for us. It’s painstaking but also incredibly rewarding, because we get to see a song come to life from nothing. Main Street is a great example of that process streamlined for time efficiency while working with James’ Dream Theater touring schedule: We wanted to write a new song before he left, and so in a total of around 10 days we built the song up from scratch in the room, quickly demoed it out for reviewing and revising, then tracked it and mixed it. So it went from nothing to a finished track, passing through all of those intermediary stages along the way. It’s super cool.

What was it like to work with Steve Fallone and how did that relationship develop?

James got connected to Steve during his time working as an engineer at Cove City Sound Studios – there was a project he was engineering that led him to reach out to Steve for mastering. Steve’s great and we’ve used him for a couple of releases.

How much did he influence the project?

He doesn’t really have any influence on the project, but he does help bring the tracks to life by bringing them from a “mix” to a fully mastered and finalized project.

What themes would you be exploring on this material?

Concepts behind The 1955 arose out of our ongoing habit of not taking ourselves too seriously followed by taking ourselves kinda seriously… beyond that, we can let everything speak for itself for now…  It’s like a super-physical-but-simultaneously-mental-emotional “park ride” through a number of states of being as well as — ahh, nevermind.

Would each installment follow a different topic or all the 4 EPs would share the same themes?

The EPs relate to each other, but each explores an independent musical, visual, and lyrical aesthetic.

Any plans to hit the road?

Nothing on the radar just yet, but big ol’ Summer 2017 is just around the corner 🙂

What else is happening next in Time King’s world?

Straight up chillin. SYKE – constantly working on content and moving this project forward!

About RJ Frometa

Head Honcho, Editor in Chief and writer here on VENTS. I don't like walking on the beach, but I love playing the guitar and geeking out about music. I am also a movie maniac and 6 hours sleeper.

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