CLOAKZ started as Zac Ciangaclini's solo project while he was drumming for Raccoon Fighter in New York. He recorded the first EP, Semi-Autographic, by sneaking studio time and finishing the tracks at home. After moving to Philadelphia in 2017, he brought in his longtime friend Tony Aquilino on bass, and by 2019, the lineup was complete with drummer Greg Foran, guitarist James Keary, and keyboardist S. Catoe. Despite a COVID setback in 2020, CLOAKZ released the single and video "Head FX" in 2022 and began working on their debut LP, Control Program, set to drop in August 2024 via Mint 400 Records. CLOAKZ will be wrapping up a handful of shows with the finale at Johnny Brenda's in Philly August 25th with their labelmates Yawn Mower & Two-Man Giant Squid. 

 In your opinion, what are the essential qualities that make a “good songwriter”?

I’ve struggled with this question for a long time personally. I started my musical career as a guitarist and then a drummer and eventually became a songwriter. I can’t say I know what necessarily makes a “good songwriter” but I think the main thing that makes someone “a songwriter” is certainly different than being solely a musician. With being a songwriter you need to fully commit to everything and expose yourself emotionally while letting people see your vulnerabilities. It’s a scary thing to do and I feel like a lot of musicians who don’t write their own songs miss that part and are fast to criticize someone else's songs, whether a bandmate or another artist. Not that there's anything wrong with not being a songwriter but it definitely carries a much heavier weight than playing someone else’s songs in my opinion. That’s just my personal experience and I know there are songwriters out there who have always started out as such and don’t think twice about it. 

What is the basis for writing attention-grabbing music in this day and age?

It’s definitely changed and feels like it is constantly changing. A lot of bands seem to be putting out every song on their record as singles and to me it makes the actual record less of a cohesive piece of work. I don’t think this is solely because bands want to do it this way but due to the current state of the music industry it’s just become the new norm. Social media, technology, etc. has unfortunately lowered our attention span and in my opinion if you want to write attention grabbing music you gotta get to the point (or chorus) quickly! It throws a wrench in traditional songwriting, especially for certain genres but like any other industry these days you have to be willing to adapt or you’ll get left behind. 

What has it been like working with an indie record label as opposed to working on your own?

Working with our new label Mint 400 Records has been a godsend. Just having someone else who believes in you and what you’ve spent countless hours and exhaustion creating makes everything seem more validated. Personally I’m the sort of person that doesn't mind doing the work but I need guidance. My struggle with trying to do everything without the support of a label is that I get stuck and don’t know where or how to take the next step. Having Neil at Mint 400 guide me through a proper record release is invaluable and I am so grateful that he is willing to take a chance with us. 

Can you pinpoint some specific songs and songwriters that changed the way you write music?

I’d say for this record my main influences have been Paul Westerburg, Built to Spill, The National, The Rentals and Grandaddy. I’ve definitely explored a more indie pop sound than previous releases for this LP, mainly in the vocal and overall production. But I still wanted to get loud guitars and big drums like Dinosaur Jr. and Sonic Youth. I have to admit that I never really listened to The Rentals until we started making this record. I just happened to do a song with a prominent synth lead and my bandmate Tony was like “Dude this has got serious Rentals vibes”. So I started listening to The Rentals religiously over the course of this record and without purposely trying I found myself writing more poppy synth leads then I normally would. 

Do you find it hard to be inspired by artists that are younger than you, or are you motivated by their energy? Can you name any new artists you find inspiring?

Nah I don’t think so. There are a lot of amazing young bands that are killing it right now and they definitely motivate me to push for more energy in my live set and songs. Wet Leg, Mamma, Mannequin Pussy, Alvvays and Hotline TNT to name a few. When I hear songs from these bands it makes me feel 10 years younger just from the sheer amount of energy that pounds out of the speakers and demands your full attention. It’s certainly inspiring and I’m constantly awe struck by the talent and confidence that these younger bands have. 

For your new album, what inspired the lyrical content, album title, and overall vibe?

The album title “Control Program” and overall vibe is essentially dealing with the various types in control in changing environments and how you handle them (or don’t). Most of the lyrical content was inspired by the birth of my first child and handling that during peak covid. I often found myself burnt out and frustrated thinking “Can someone please just write a goddamn control program that runs everything flawlessly for me?” Some of the other songs have more dystopian lyrics while others are more straightforward love/loss concepts. 

Do you find that you ruminate over writing songs and hold on to them for a long time before including them on a record? Or do you prefer to write them, release them, and be done with them? Do you ever revisit old material to do a re-write or once it’s done it’s done?

It’s a mix of all of the above. For this record there are a couple songs that I wrote probably 12 years ago but never recorded. I didn’t think they were strong enough to make the cut but after showing them to the band and producer they insisted I include them. They turned out great and it just goes to show how sometimes outside perspective is crucial, especially with songwriting where everything is so subjective and personal to the writer. There are also songs on this record that I wrote in 2 hours and others taking 2 months. It seems to vary song by song but I feel like the best ones are ones that come naturally and quickly. I tend to demo a lot of songs before I record so there are always leftovers that can be revisited later. One song on this record, “Head FX”, was originally released as a full band single in 2020 and I decided to do an alternate stripped down version for this record with a different arrangement. Stuff like that sometimes helps spark new life into older songs and makes them feel fun and new again. 

Were there any lessons you learned in the writing and recording process for your current release that you will take with you into your next project?

For sure, my personal ones from this record are: Don’t make a record during and after your first child is born. Don’t make a record during covid or any other global pandemics. Don’t make a record doing all overdubs in your South Philly basement. Don’t make a record to justify buying a bunch of recording gear. These all seem like no-brainers after writing them down but I did all of them and certainly will not be doing them for the next one haha. 

In my previous band for one of our best records we rented a studio in upstate NY for 7 days. It was in a log cabin overlooking a river and a beautiful landscape. We stayed there and knocked out 10 songs in 7 days including all overdubs. For the next CLOAKZ record I definitely want to take that approach doing the full band in the studio, well rehearsed and just going for it on a deadline. I always work better under pressure so if I have too much time to record it’s going to take a long time to finish and likely won’t be as strong as it could have been. There is certainly something to be said about being on a time crunch and making fast decisions on the fly. I feel like that’s when I’m at my best and I can’t wait to get back in the studio for the next one.