An interview With Multi-Instrumentalist CIAO MALZ
We speak with CIAO MALZ about her upcoming debut EP, her creative process, aspiring collaborations, and much more.
Brooklyn’s own CIAO MALZ (Malia DelaCruz) is a multi-instrumentalist blending indie rock, alt-country, and folk-pop with contemplative lyrics. Her debut EP, Safe Then Sorry, arrives on December 6th via Audio Antihero Records, following the November 15th release of its lead single, Two Feet Tall.
We caught up with CIAO MALZ to discuss her creative process, the gear behind her music, her journey as an artist, thoughts on AI in music, and more.
Chris Roditis, Musicngear: Congratulations on your upcoming EP, ‘Safe Then Sorry’! Could you share what inspired the stories and characters in these songs and how your personal experiences shaped their themes?
(Thank you!) The themes revolve around hesitation, uncomfortable feelings, and acceptance. I wrote the majority of these songs after work and on the weekend so a lot of the characters from those worlds found their way into my song world.
I’d like to think I’ve grown in the past year and these were important thoughts I’ve had along the way.
Your music blends indie rock, alt-country, and folk pop. How did your musical journey and influences—like Elliott Smith and Men I Trust—shape the eclectic sound on this EP?
I love the warmth of the Elliott Smith records, but recording acoustic guitar can be tough so I tend to use an electric guitar when it's warranted. I grew up playing electric guitar and learning John Mayer riffs so some of that is still in there.
The bassist in Men I Trust (Jessy Caron) inspired me to play the bass more, so I tried to get a little funkier where I could on those lines.
As a multi-instrumentalist, what key instruments or equipment did you rely on to shape the sound of ‘Safe Then Sorry’?
Many of the songs started on a guitar going through a chorus and delay pedal. The synths were preset from a Roland JX-3P!
I really love saturation, a lot of that coming from the ATR-102 plugin. Efforts were made during the recording to get a warmer sound. It may have added too much boom and adding brightness was necessary during the mixing stage.
What were some of the biggest challenges you faced as an artist while working on this EP, and do you have any advice for artists going through similar struggles?
The hardest parts were being patient and taking the time to incorporate live drums, tracking two guitars at once, etc.
Taking the time to schedule and make it happen made a huge difference in the overall feel. I had a bad habit of doing too much too quickly and taking away valuable space.
It was nice working with some of my friends on this to help make those decisions quickly.
You’ve mentioned your music sometimes evokes a sense of "stagnation while everything else is in motion," as seen in "Two Feet Tall." How do you approach creating music that captures such complex emotions?
I hope that it captures a complex emotion! For ‘Two Feet Tall’ there was a rhythmic choice to keep the drums in an upbeat clear progression while the lead guitar is super warby and a bit distorted.
I don’t find myself thinking about the specifics within the moment, but if I give into my emotions it tends to translate into the recording.
Promoting music in today’s industry can be tough. How do you approach sharing your work and connecting with new listeners?
Promoting music is hard and can be humbling. But it can also be fun if you want it to be! I really love making music, and if I share it and someone likes it, that is a big deal for me.
So anything that I can do to get the word out is worth it. I’ve been focusing on making better music, and I hope that I can reach new listeners!
Are there any artists that you’d love to collaborate with?
Lana Del Rey. A lot of people who invite her to songs don’t turn her up loud enough! That is something I would do immediately.
As an artist who’s involved in such an organic, hands-on creation process, what’s your take on AI-generated music—do you see it as a challenge, a tool, or something else entirely?
The only AI-generated music I’ve been okay with is the videos that feature Gary the Snail from Spongebob singing Landslide by Fleetwood Mac.
In all seriousness, I think AI-generated music feels weird and unnecessary. It’s the same way I feel about removing every breath from a vocal, it loses emotional nuance.
As of right now, it does not make sense to me.
Connect with CIAO MALZ
Facebook / X / Instagram / TikTok / Bandcamp / Spotify
Listen to 'Two Feet Tall'
About Chris Roditis
Chris Roditis has been an active musician since 1995 in various bands and projects across a variety of genres ranging from acoustic, electronic to nu metal, british rock and trip hop. He has extensive experience as a mixing engineer and producer and has built recording studios for most of the projects he has been involved with. His passion for music steered his entrepreneurial skills into founding MusicNGear in 2012.
Contact Chris Roditis at chrisroditis@kinkl.com
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