Interview: CLOAKZ unloads immense emotional discharge with new song

Fashioned with chewy pop and electrifying indie-rock energy, CLOAKZ floods the senses with a musical discharge so thick that you get lost in its neon glow. “This is It,” which anchors the band’s new album Control Program (out this Friday), makes great use of its unconventional structure to let the emotion climax at just the right moment. Before long, all you can do is bathe in its pleasurable waters. That’s the sensation at least, as the gooey number bounces along and frontman Zac Ciancaglini’s voice slides across the melody.

There’s no telling what the band – also comprised of musicians Tony Aqullino (bass), Greg Foran (drums), James Keary (guitar), and S. Catoe (keyboard) – has in store across their latest record. With “This is It,” the group situations itself with a scarring instrumental that allows them to literally breathe. “By the end of the song, there is so much emotional build-up that a big instrumental outro just sort of fell into place,” says Ciancaglini. “The lead guitar riff is so aggressively fast-picked and spaced out that it really ends up making a big impact on the song’s structure.”

“This is It” throbs with rhythmic intensity, allowing the other instruments to hang like clothes out on the line. Around its base root, the band nurtures its parts and gives them over to higher instincts. What results is one of the year’s most interesting and layered performances, signaling that their new album could very well emerge as 2024’s best.

With their new creative freedom came a drastic shift in their lineup. In 2019, many previous band members stood at a crossroads. Some went back to school and others pursued different career paths. That left holes in CLOAKZ. While based in Philadelphia, Aqullino knew a few of his buddies and fellow musicians were moving to the area, so their current involvement was a no-brainer. As the puzzle pieces slotted together, a new perspective rose out of the ruin.

“Most of it was just knowing that, with the addition of female vocals and keys, I could explore different creative landscapes that I normally wouldn’t have done in the past,” Ciancaglini tells B-Sides & Badlands. “The majority of the early demos had keys in them, and in the back of my mind, having the idea to have three-part vocal harmonies really made a difference on this record.”

As CLOAKZ teeters on a precipice, with Control Program clutched tightly in their swollen hands, the band welcomes a musical reawakening. From the effects of the pandemic hanging over their heads to a fresh creative spirit, the group doesn’t as much transform themselves as they’re transforming the indie music scene. It’s only a matter of time before the national arena catches up.

Below, Ciancaglini discusses the pandemic, finding music again, fatherhood, control, and album takeaways.

The new album was born out of the pandemic and lockdown. Do you see yourself as a drastically different person than you were before?

Nah, I don’t think so on a larger scale. In retrospect, I’m probably close to being back at the pre-pandemic baseline, but it’s crazy to think that it started over four years ago and took this long. I’m certainly not the same person I was before, but I don’t think I’ve changed drastically. Probably just losing more hair [laughs]

Did the thrill of making music change?

During the pandemic, yeah, for sure. I don’t think I touched a guitar or my recording gear for the first year. Being so uncertain about the future and my family really made me take a step back and try to just focus on getting by. It wasn’t until I got used to living with that uncertainty to a somewhat tolerable degree that I forced myself to get back to writing and finishing the album.

What did you learn about navigating chaos during the pandemic?

It feels like there’s only so much you can do when everything around you is falling apart. I learned to keep my head up and just push through, knowing that there would be a light at the end at some point. Most days, I didn’t actually believe that, but I had to lie to myself to keep pushing. Navigating chaos has many paths, and I think it’s about finding one that can still keep you sane while also progressing forward. It’s a weird, messy balance.

Was it hard losing your sense of control over life?

Yeah, probably one of the hardest to date. There were days and even weeks that I legit just don’t remember. I was so out of my body that I was just functioning on autopilot, but it wasn’t an ideal autopilot. That’s what sparked the idea for the album title, “Control Program.” I wanted to be on autopilot, but in a scenario where I was thriving and functioning in every best possible scenario without wear and tear, essentially being run by an external control program.

How do you see yourself now?

I’m still pretty f’n beat up, to be honest. [laughs] I’m one of those weirdos who thrives on pressure, and this last year has been one for the books. I think after this year, I’ll be more settled and level-headed, ready to start writing the next record, as long as I don’t keep taking on more work than I can handle. I hate saying no to projects, but I’m getting better at it. Although, if you asked my wife, she’d probably give you a different answer.

You became a father during the pandemic period. What was the toughest thing you had to endure and balance with fatherhood?

Man, just getting through the day was a challenge. Operating on zero sleep and going back to being heavily caffeinated was rough on my body. I started drinking more, eating worse, gaining weight, and just feeling like crap. I work in commercial construction for my day job, and during the pandemic, we actually got busier than normal due to the rush to build more hospitals in Philly during peak COVID. It was a hard contrast to most of my friends who were getting laid off or working part-time, but I can’t complain because I had steady work. Throwing a newborn in the mix felt like I was sinking fast, but coming home at the end of the day and seeing the smile on my beautiful baby girl’s face gave me everything I needed.

How does that reflect in the new music?

The new record has more of a “cut to the point” kinda vibe. The songs are more pop structured, straight-forward, and reflect my mindset at the time. It was like, “I don’t got time for no BS,” so here it is, fully exposed. Take it or leave it.

How do you feel now as you “walk away” from the album—as you set it free into the world?

Naturally, it should feel like a huge relief, and it does to a certain degree, but I’m also already thinking about the next one. Any of my bandmates will tell you that I go through spells of creativity and motivation. I might not have anything for six months, and then all of a sudden I have a record in two. It’s just the way my brain operates, for better or worse. But I’m certainly over the moon to finally get this album out into the world after such a long and bumpy road to creating it.

Did you find new freedom in the musical soundscapes you created? How did those change over time?

Definitely. This album forced me to get back into engineer/producer mode, and I updated my recording rig with new gear and feel like I was able to unlock new sonic doors that I couldn’t (or was too lazy) to previously. Since then, I’ve doubled down and now have a fully functioning recording studio in Port Richmond. I’m doing a couple of friend’s records right now, and every time I do a project, I learn more and can bring that to the table for future CLOAKZ sounds and songs.

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