Hey! Great thanks. Just getting back from Thanksgiving holiday and excited to release our new EP this Friday.
Can you talk to us more about your latest single “Float”?
Float is a fiercely hopeful anthem than bounces with positive energy. In a time where everyone seems to want to be the same, Float is a big bombastic sing-along that reminds that strange is strong. Be yourself and let go of all expectations of everyone else. Being true to yourself is the one true path to being your best self. Be weird, stay weird.
Did any event in particular inspired you to write this song?
Float is lyrically inspired by the idea that being different isn’t a bad thing but rather that it’s our differences that make us who we really are. So often modern culture, we’re all put into boxes and labeled. Float is all about breaking out of those molds and celebrating the strength that comes with being unique and thinking outside of those boxes.
Any plans to release a video for the single?
Not at the moment but we’d love to get one put together down the road.
The single comes off your new EP Heavy Towards The Light – what’s the story behind the title?
Heavy Towards the Light is a reference to how our lives flow ahd nothing stays the same. The weight of the world can be so heavy. We made our way through some dark times during the writing and tracking of these 6 songs and have found our way towards the light.
How was the recording and writing process?
We recorded the track ‘Yesterday’ at Dave Grohl’s Studio 606 with engineer John Lousteau. That was super cool to get in the studio and record on the board from Sound City where some of our favorite albums were cut. To be able to get in and track on the same board as Nirvana’s Nevermind was a really cool experiment. A majority of the song was cut live and we tried to keep as much of that raw sound and feel as possible.
The Light / Blackout / Get Away were experiments for us to try some different recording workflows. We recorded drums for the tracks with Brent Ulrich at Big Bad Sounds. Dan Whittemore helped with production / recording for The Light. Alex Gilson helped mix Get Away, and Dan Korneff helped mix the track Blackout. Besides drums and some vocals, we recorded most of the instrumentation in our lockout.
As for Anchor and Float, they were produced by the one and only Steve Evetts.
What was it like to work with Steve Evetts and how did that relationship develop?
Unbelievable. Steve has worked with some of our favorite artists / produced albums that influenced all of us growing up. Saves The Day, The Cure, Senses Fail, The Dillinger Escape Plan, Glassjaw, The Wonder Years to name a few. It feels like he’s touched every genre of the rock realm, which is why we knew he was the guy; we tend to cross a few lines in the rock world.
We met Steve through Jesse Cannon; he runs a rad podcast called Noise Creators that we highly recommend checking out. It all started out with an email to Jesse, a quick rundown of what we were looking for, and some references – and Jesse instantly knew Steve would be our guy.
Besides having great pop sensibility and knowing how to make riffs slams, Steve knows how to (positively) push the boundaries for a band to get the best take. He’s very true to the craft, and makes everything sound natural / full of the right emotion. No autotune, no pitch correction, no pro tools playlists; you play until you get the right take, even if it takes you 50 times to do a pick slide (they don’t call him Steve “one more time” Evetts for nothing). At the end of the day, you end up questioning years of experience playing your instrument – but then when you get the final product you can really hear the difference.
How much did he get to influence the album?
Steve was a huge help for Anchor and Float; he was a huge help in crafting the sonic / emotional dynamics of those songs. He’s a wizard when it comes to sounds tones for a final mix. He also has a great ear for song structure, and was insightful when we’d restructure parts, change lead lines, etc.
How have artists like Kings of Leon and Jimmy Eat World influenced your writing?
We’re huge fans of modern rock music. Jimmy Eat World and bands like them paved the way for bands like ours. We grew up in 4 separate parts of the country. Alec grew up in TN, Brett in Delaware, Dustin in Texas and BLP in Alaska. But we all grew up having a real passion for rock music. We definitely tap into that idea of riff based songwriting with plenty of room for sing-along hooks.
What role does LA play in your music?
Totally. We’re surrounded by so many talented musicians and we’re constantly being inspired by all the hard work everyone is putting in around the city to create and share their art. Plus it’s sunny and 75 degrees nearly all year, so some of that sunshine definitely creeps into the sound.
LA also has a great platform for supporting local artists; we’ve been fortunate enough to play iconic venues such as the Roxy, Regent, Whiskey a Go Go, Viper Room, The Satellite, and others. There’s also great collective’s such as Wild Riot supporting artists, and radio / streaming platforms outlets like KROQ and Spotify have been actively promote and grow the rock scene here.
Where did you find the inspiration for the songs and lyrics?
They say inspiration comes every day and it’s up to us to tap into that. Lately we’ve been really trying to make sense of what’s happening to the country in the modern news cycle. There’s so much to digest every day and we’re all sifting through it and trying to relearn how to be better humans and take care of each other. I hope our music helps people find some peace in that.
Any plans to hit the road?
You’ll see us there soon 😉
What else is happening next in The New Pacific’s world?
Recording, recording, recording. We’ve finished up the EP, but we still have a lot of songs we’ve been working on and demoing. We have a couple in the pipeline that are almost complete, and should see the light of day in 2019; so keep your eyes peeled.