Boom Bip with special guests Eric Avery, Money Mark and Alessandro Cortini

For musicians, one of the greatest wonders of the 21st century is the ease with which records can now be made almost anywhere. Producer Bryan Hollon—better known as Boom Bip—has seen enough of this big world to make smart location choices. He began his career in Cincinnati, Ohio, and currently resides in Malibu, California. He's performed at venues and festivals around the globe: Glastonbury, Primavera, Coachella, Sydney Opera House, Walt Disney Concert Hall. So why in heaven's name did he elect to cut his new album, Zig Zaj, in a "big, dirty, all-wooden room with bad acoustics," deep in the heart of Echo Park?

There were a couple of reasons. Despite his affinity for high-end, expensive-sounding production, Boom Bip isn't fond of fancy studios. More importantly, the finished record needed to sound loose and live. "I wanted to get away from all that computer fussiness and focus on the emotion in the moment." The easiest way to achieve that was by hosting impromptu sessions whenever the mood seemed right. "This was a place we could go into at three or four in the morning, after the bars closed, and just hit the record button." In addition to the nucleus of the Boom Bip live band—Josh Klinghoffer (Red Hot Chili Peppers), Eric Gardner, and Josiah Steinbrick—the participants frequently included members of LA post-punk combo Warpaint (with whom he shared the space). Other times, Hollon would simply jam with himself, laying down drums in one take, then adding a melodic line on the next pass, until he had a rough track with the elements he wanted.

After some judicious edits, the outcome is an album that breaks new sonic ground while simultaneously underscoring the strengths Boom Bip fans already appreciate, particularly his ear for distinctive timbres and off-kilter rhythms. On "Tum Tum," polychromatic percussion volleys back-and-forth atop a bed of slow-moving keyboard textures. With its menacing bass line, the clattering "Pele" makes a perfect complement to early Public Image Ltd on a mix tape or playlist. Permeated with invigorating fuzz and distorted vocals by Money Mark, "Manabozh" sounds like the theme music for a futuristic blood sport, a disquieting yet muscular mélange of triumph and tragedy. In addition to the aforementioned guests, other contributors to Zig Zaj include Luke Steele (Empire of the Sun, Sleepy Jackson), singer-songwriter Cate Le Bon, and Mikey Noyce (Bon Iver, Gayngs). Boom Bip was especially happy when Alex Kapranos of Franz Ferdinand signed on for the brooding "Goodbye Lovers and Friends." "I had that track and I couldn't imagine anybody else's voice on it but his," he admits. "When he delivered the vocals, it was nearly exactly what I had imagined, which rarely—if ever—happens with my music."

True to form, Boom Bip originally thought he was working towards a full-on, heavy-hitting rock record during the two-plus years he spent making Zig Zaj. "I kept thinking 'I'm reinventing myself. If I do have any fans, I'm leaving them all behind with this one.'" Not so fast, mister. Zig Zaj is definitely a progression forward, but for anyone who has followed Boom Bip thus far—his innovative instrumental hip-hop tracks, the collaborations with Dose One and Gruff Rhys (as Neon Neon), the remixes for acts like Oasis, Jamie Liddell, Mogwai, M83, Boards of Canada and Four Tet—it won't come as a shock to the system. And the artist is okay with that. "It feels new to me, but it will probably sound like Boom Bip to everyone else."

Even the album title might ring a bit familiar, since it bears the double consonants that have become one of Boom Bip's trademarks. The idea for that peculiar name actually took shape outside of his grungy rehearsal and recording space in Echo Park. Boom Bip is also a member of Hollywood's world famous Magic Castle, and he spent an inordinate amount of time in the club's extensive library, gleaning inspiration for Zig Zaj. Not only did his research prompt the album's title (a nod to the magician Zan Zig, who first pulled a rabbit out of a hat), but old-school posters and artwork colored the vibe of cuts like "Pele" and "Goodbye Lovers and Friends," while allusions to tricks worked their way into lyrics and song titles ("The Mascot and the Moth" refers to a vanishing illusion originally performed in 1905). "So there's a little bit of a theme going on," he concedes. "But we're talking about tasteful, turn of the century magic, not '70s, polyester bellbottoms magic."

Boom Bip’s Zig Zaj is out September 27th on Lex Records.

For more info, please contact Trevor Seamon at score,, 323.254.4027.





WIM have emerged on the scene out of relative obscurity. There have been whispers about them for years following their wondrous live shows; and now their haunting tunes will bring them into the limelight. Now Modular is proud as punch to announce their debut album to be released...

WIM's debut, self-titled record has been a creative meeting of minds, having been produced by local legend Tony Buchen (Andy Bull, Ray Man 3, Kid (Andy Bull, Ray Man 3, Kid Confucious) and mixed by industry aristocracy Bob Clearmountain (Springsteen, Roxy Music, INXS) in L.A. The result is an album that encapsulates the best of classic song writing and modern ideas, executed in a phenomenal fashion. The record itself doesn't ooze of a buzz band way ahead of itself but rather a gradually growing group of musicians doing what they do best.

From the stomping album opener 'Collossus' to the poignant first single - 'See You Hurry', the band exudes confidence, style and prestige. The album takes many turns, as a journey is formed with tracks like 'America' and the enthnic tinged 'John'. You not only listen, but feel this music, with every listen, your senses open up and take in what is a densely beautiful album.

WIM don't create buzz through cheap stunts or Twitter; rather, they excite and amaze with long sets, great tunes and glitter.

Do yourself a favour and get drawn into the depths of this band's sound. You won't regret it for a second as every spin of WIM is a new discovery. The shock of the new has never sounded this good.



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