Breaking Down the Fourth Wall With M.A.G.S.

Image Courtesy of Avi Loud 

In what felt like the first time in centuries, I lifted my laptop open to launch Zoom. Albeit it was just me and my reflection in the moments leading up to 2:30 pm EST the oddly similar pang of apprehension that I associated with logging onto a class populated by muted microphones and blank screens hit me as if no time had truly passed. Another square appeared above mine and I inadvertently released a sharp, tense breath. Elliott Douglas, famously known as M.A.G.S., smiled brighter than the neon green and pink designs on his shirt appeared on-screen. I couldn’t tell if it was Elliott’s inviting nature or simply the swirls of thick, white smoke radiating from his half-finished joint (as if the vapor could travel through the lens of our webcams, let alone 3,000 miles), but I instantly felt a wave of calmness wash over my once-jostled nerves. 

Rightfully so, M.A.G.S., in addition to being a homage to his influential grandmother Maggie, stands for “Marijuana and Good Sex.” Although the stage name was never meant to portray an alias, there is a certain persona that comes with this title. M.A.G.S. represents a distinct headspace free of fear and conviction and instead cultivated by creativity, which is a stark contrast to his restricted, religious upbringing. The Buffalo-bred, Los Angeles-based artist grew up immersed in the Christian community. His father’s conservative mindset as a worship pastor extended into his home life. M.A.G.S. was homeschooled from first grade up until he graduated high school; his parents barred secular music and television for a large portion of his childhood. Despite existing in a curated environment, M.A.G.S. and his three other siblings made light of their shielded situation. Music deepened their respective bonds and posed an opportunity to explore their individual creativity. Constantly experimenting with new instruments and forming “joke bands” amongst each other edged M.A.G.S. into his own atmosphere of writing and recording. At the ripe age of 17, which coincidentally happened to be the same year his family was excommunicated from their congregation, M.A.G.S. no longer had to filter the type of content he was able to take in and create. 

“I was making music in a vacuum for a long time,” M.A.G.S. explained when asked about the influence religion had on his evolving identity.  “[However,] I was in an environment where I was able to discover myself before I was exposed to a lot of stuff. I could take what I wanted from it [it being music and other media] and leave the rest.” 

Almost 15 years later, spirituality still guides M.A.G.S. through his daily endeavors, but not in the same way it did during his formative years. He no longer identifies as a Christian and has no desire to be affiliated with any church. M.A.G.S. paused, an act acknowledging the lengthy time spent questioning the realm he once knew, before unveiling the analysis behind his decision to delve into different spiritual practices.  

“A side of Christianity that you don’t really hear about much is all the corruption, even just on the ground floor. You hear about the celebrity pastors, their dirty laundry, but it’s happening on all levels. There's so much in Christianity that’s man made, and it’s not really things God was asking of us. I think being connected to God spiritually is a pretty easy thing. I think people make it complicated because we wanna put structure around God and make ourselves feel like we’re in control. I don’t really fuck with that.”

M.A.G.S. emerged from his Christian cocoon and flew directly into New York’s progressive music scene. Bands like Circa Survive and Coheed and Cambria invited M.A.G.S. into the punk and hardcore world due to their amplified sound and signage to the Albany-based label Equal Vision Records. With a little help from his friends, he plugged into one of the most prominent yet underrated locations for DIY music. Show after show, M.A.G.S. learned the tricks of the trade by simply observing the example set by Buffalo’s alt-rock and new wave groups. His years of violent moshing and screaming in the abyss of the pit have come to inform his own on-stage persona, the energy and natural impulses of his younger self guiding the rhythm he now harnesses during live performances.

“I owe a lot of who I am as a musician to the Buffalo music scene,” M.A.G.S. stated with a voice filled with gratitude. “The early to mid 2000s in Buffalo were a very potent time for me. I was shaped by a lot of bands I played in and a lot of the people that I was surrounded by. I feel like that’s what I’m always drawing from in my writing as well.”

Although M.A.G.S. eventually relocated to LA, he instinctively knew that he could not leave the pivotal culture of his hometown behind. With the growth of his solo career seriously on his mind, M.A.G.S. made the momentous move to sign with the independent label Take This to Heart Records earlier this year. The label’s understanding, appreciation, and backing of the DIY scene drew M.A.G.S. to this untraditional deal. The two entities, despite having different expectations, are able to sustain an encouraging, equal partnership that prioritizes M.A.G.S.’s artistic autonomy and authenticity. 

“I like to be a little bit separate because the music industry is rough, it’s extremely political and people talk,” M.A.G.S. shared when asked about how he stays grounded as musicians are being placed in difficult positions. “I always said that I wasn’t gonna sign to a label and the main reason is I don’t think that labels are all that necessary at this point. I don’t like anyone telling me what I can and can’t do. I specifically said ‘If I’m going to sign to any label, I wanna maintain 100% of everything that I make.’ I think that’s an important thing for artists; you have to understand what you’re worth.” 

M.A.G.S. preserves his worth largely by protecting his energy. After working with various players in the music industry, M.A.G.S. learned the importance of asking himself if the energy and people he surrounds himself with are the right ones. He often taps into his intuition to assess this and is quick to question any situation that may make him feel uneasy. Over the course of navigating his ever-changing musical goals and persona, M.A.G.S. has established a creative team that aligns with the visionary ideas he wishes to promote through his platform. The music videos for “Smile,” “Sunrise,” “Choked Out,” and “Beg,” which are the four released singles featured on his forthcoming sophomore release Say Things That Matter, all feature Taylour Chanel as the Creative Director and Mitch deQuilletes as the Director and Editor. The three, bound by trust and chemistry, bounce ideas off each other that either tie into or add distinct meaning to each track. Working with an intimate crew guarantees a certain repertoire that can’t be found in big production companies; some may argue that their small, independent budget strains their possibilities when it in fact has only bolstered the group’s creativity. Each video is aesthetically pleasing and visually engaging, making it unbeknownst to the viewer that the intricate scenes and enthralling storylines were funded by $5,000 instead of $30,000. Whether it’s working on a designated set or letting the spontaneity of a moment guide their direction, the shoot-from-the-hip style stays true to M.A.G.S.’s DIY nature. 

Even though other facets of his career are collaborative, the making behind M.A.G.S.’s music is a lot more singular. M.A.G.S.’s mother taught him that the noise coming from one cassette tape could be recorded by another before he could finish first grade, and he’s been enamored by the subjective freedom and authority that is a part of producing ever since. His skills evolved with years of trial and error and upgraded technology. While M.A.G.S.’s background is rooted in an analog sound, audio engineered background, he tries to blend his new knowledge of digital production into his mixing styles. 

M.A.G.S.’s current production set-up is essentially the computer he answered the Zoom call with. The simple software (and his instruments, of course) are all that M.A.G.S. really needs to continue making music the way he wants to. When it came to build the body of work that is his upcoming album, M.A.G.S. wanted to place more emphasis on the hands-on process than he ever had before. In the past, M.A.G.S. opted to mix his tracks in the studio. This time around, M.AG.S. mixed and mastered all 14 songs. M.A.G.S.’s self-reliant undertaking granted him with the liberating opportunity to follow a more ebb and flow creative process. During the ten month span of creating this record, his workload fluctuated from consecutive weeks characterized by long hours and new progress to months where the project was a mere thought residing in the back of his mind. In the hectic shuffling sessions between his friend Jake’s home studio and his apartment, M.A.G.S.’s determination carried him through every cut bass, guitar, drums, vocals, and subtle sounds that truly reinforce the meaning behind Say Things That Matter.

Say Things That Matter holistically catalogs M.A.G.S.’s personal growth over the past few years. Each song hones in on a specific point in his life that prompted an epiphanic realization, making him reevaluate himself, his actions, or perceptions. Lyrics like “Lord, I see it coming in my mind’s eye / I think I knew it from a past life” underlines the innate awareness that ultimately defines his dream indie-pop sound. M.A.G.S., capitalizing on his versatile spirit, seamlessly switches or combines multiple genre styles based on the vibes leading his verses. His cathartic songwriting explicitly addresses the vulnerability within himself, but his soothing yet ragged, upbeat yet raw approach makes these intimidating themes seem easy (and in a way comforting) for the listener to confront. 

“We all go through this point of ‘how has my past informed my present and how is my present going to inform my future?’ It’s my own personal experience, yes, but we all are having the same experiences. It’s really easy to feel alone in the things that we think and feel.

Part of what I want to do as an artist is build a community through my music. I want my music to be sort of a catalyst for people coming together and realizing that they’re surrounded by people who are like-minded and are also sharing their experience whether they know it or not. That’s the kind of environment I want for my shows and that’s what I want people to take away from the music that I create. It’s not really about me, you know? Even though I’m talking about my shit and my version of stuff, it’s really about all of us.”

Say Things That Matter will be available on all streaming platforms August 13, 2021.