New York dream pop vets come roaring back with first new single in a decade
Spring has been relatively enjoyable in New York City for once and the music is helping that feeling thrive. The veteran dream pop band Mahogany has aided in that regard with the release of their latest single “A Scaffold” – their first new track in a decade – and its equally entertaining music video directed by Julia Khoroshilov. With its urban thrills and melodic pairing, the band have succeeded in attracting another swath of curious listeners. The layers of songwriting and instrumental focus showcase the musicians’ attention to the craft.
“A Scaffold” is a buzzing track that builds up into a catchy simmer that holds. The clashing of quiet vocals with the shoegazing pop is extremely soothing for the ears. It’s a song that has a lot of movement that seems chaotic, yet is well-orchestrated for a constructive build. There is a whirl of nostalgia that grips the listener from various moments that they all are jumbled together in a full picturesque memory. Mahogany succeeds in crafting something organic in a way that does not seem so. Multiple listens provoke more mystery even as one solves one prior. Interest remains in full swing throughout just begging for a click of the repeat button. Click away listeners, click away.
To add more, Jaclyn and Andrew took time to share their thoughts.
“A Scaffold” is a welcome track for the spring. Can you share a specific memory of creating it that sticks out in your mind?
J: It was in fact late spring when I wrote the vocal for “A Scaffold” at a Tribeca café. I was working on headphones using a rough mix from Andrew of only bass and Farfisa.
A: Recording Jaclyn’s vocals for “A Scaffold” in our loft had a sense of lift, an easy focus — the light was great that afternoon, and the air was fresh.
What motives have been capturing your creativity these days to push on?
J: The urgency of the world’s troubled existence. Making any form of art to inspire someone or allow for generative ideation will only improve how society may collaborate.
A: Certain lyrics that have come to me in dreams. Melodies and progressions which seem to present themselves at very early hours. I’ll find myself awake and drawn to composing.
How has your craft changed in the last couple of years? Are there specific instances where you have found more development?
J: My process begins with drum pattern writing on my MPC and combining vocals. Although less structured in the past, our recording process has now morphed into something we may manage at varying hours during the day.
A: I leaned into playing drums for the new record, which definitely carried a learning curve. Vocals and synths are committed to our reel-to-reel. Developing an interest in methods that are more immediate and concrete.
Who are some musicians you have been listening to lately and why?
J: I’m returning to an interest in baroque pop — Twice As Much, The Left Banke, The Cleaners from Venus. I love the dynamic range of instruments plus vocals and how it can feel contemporary despite the pre-digital production.
A: Laetitia Sadier is so captivating live, and her most recent record is expertly constructed. Back in rotation lately: Severed Heads and Wire’s The Ideal Copy — maybe for a sense of tension and placement that strikes me as vigorous and adroit.
What advice would you give musicians new to the space that you wished you had known?
J: Nothing successfully sustaining itself came from a day at the casino. Invest in your art — whether it’s time, tools, marketing, research, personnel.
A: The self-education implied in the journey is useful beyond imagined reward. Defiance is a blossom, and liberty the flower.
