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I've found that if you ask people what type of music they listen to, most will say that they listen to a bit of everything (except for country, of course). Yet this is rarely true- people tend to have a much narrower taste than they realize. Which is why it's so refreshing to find someone who has a true appreciation for the entire spectrum of genres. Alex Seaver is one of those people. Although best known for his DJ performances under the name Mako, Seaver got his start as a classical musician. That jump may seem extreme, but Seaver says that it felt completely natural. Many of his first favorite electronic artists, such as Swedish House Mafia and Above and Beyond, played with big, beautiful sounds that aimed to draw the same emotions as soaring symphonies. Seaver appreciated the shared beauty of the music but was drawn to the youthful and wild atmosphere of the electronic shows.

"When you create a lot you can't really choose what you're going to fall in love with, it just kind of happens, and for some reason that stuff clicked really quickly for me."

So Mako was born, the brainchild of Seaver and his close friend Logan Light. Mako very quickly made a name for itself with its upbeat dance tracks like "Smoke Filled Room," which reached 23 million plays on Spotify and "Beam," which has surpassed 25 million streams online. The act continues to evolve as it looks towards the future, and this last year and a half has been especially full of changes as Logan Light moved on to different things and left Seaver as a solo act.

In its newest incarnation, Mako is looking to bridge the gap between electronic and live music, and is adding a violinist, a drummer, and a guitarist to supplement Seaver's sound. Seaver hopes that his new approach will help him connect to the audience in a stronger way, and so far it seems to be working. "This is the first time where it's like, I wrote a song in Los Angeles about something from my life and then I go to a city I've never been to and everyone is singing the song with me in the room. That just changed the game for me."

Follow Seaver's journey towards authenticity and connection with our latest NEXT Session.

Transcript

this to me is probably... I would say it's comfortable except singing is pretty new for me.
I haven't been singing for very long, but I like doing it like this.
I mean, I write the records like this.
I mean, it's just organic instruments, so this is really how they start and then they end up, you know, getting built up to this other thing.
So it's nice to scale it back to the beginning.
Do you remember whispering "I'm falling hard"
We were drinking whiskey at your father's house
You took me by the hand and then we kissed for hours
Those were the good days, those were the good days
Do you remember life had took you far from here?
I could see you crying even when you held back tears
Leaving me behind was everything you feared
I said, "Remember the good days" Ay, ay
What I'm trying to say is Hey you, let go of the wheel
Let someone cut the brakes loose, let's get lost for real
I know love will find a way to you
Would you trust me if it took a leap of faith to make it real?
Oh, no, no Let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Just let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Oh, let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Oh, let go of the wheel
Yeah, ay Just let go of the wheel
Do you remember climbing out your windowsill
You met me late at night before the sun could hold you still
We've run into a tire point
Holding on to the good day Ay, ay, ays
What I'm trying to say is Hey you, let go of the wheel
Let someone cut the brakes loose, let's get lost for real
I know love will find a way to you
Would you trust me if it took a leap of faith to make it real?
Ohh, let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Oh, let go of the wheel
Yeah ay ay ay ay Let go of the wheel
Just let go of the wheel
Ohhhh, let go of the wheel
Leaving me behind was everything you feared
Oh remember the good days ay ay What I'm trying to say is
Hey you, let go of the wheel Let someone cut the brakes lose,
Let's get lost for real I know love will find a way to you
Would you trust me if it took a leap of faith to make it real?
Just let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Just let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Oh, let go of the wheel
Oh, oh, oh, oh, oh, oh, oh Let go of the wheel
Ay, yeah, yeah, yeah Just let go of the wheel
introducing yourself? - Absolutely, my name is Alex and I am Mako.
We are Mako.
I never know how to say that.
I go by Mako.
Isn't it a little late
I'm from San Diego originally.
It's a tough life.
I've got to be honest with you, yeah, the streets of San Diego.
And I actually fell in love with music there so it has a special place in my heart.
I'm a classical music freak.
So, I started playing French horn and kind of grew up with the San Diego Symphony, so that's kind of like home base for me, yeah.
I heard this piece called Scheherazade when I was in middle school and then I just dove headfirst into all the dead composers you can possibly imagine.
So I never got to see a great live show.
I think I bought a Destiny's Child album, that was the last time I was, yeah, aware of popular music until 2012, I think.
- How about the mellophone? Did you ever play the mellophone? - I played mellophone in high school marching band.
I positioned the bell so that it would block my face so that my friends couldn't see me from the football stands.
Yeah, when you're a super nerd, you got certain tricks to get through.
Another night up at the bar late Skinny dresses and heartbreaks
There's just nothing magic going on Then 'long came you
All the lights are down low And I keep losing my focus
There's something happening I can't keep cool
Oh, I can't sleep I'm dancing with adrenaline
I can't speak Hands, they keep trembling
I've been so weak When you make an entrance
And when you leave Oh, I can't hardly breathe
Oh, darling, I can't breathe Oh, I can't hardly breathe
Oh, I, oh I can't hardly breathe Oh oh oh oh oh oh oh I can't breathe
Can't hardly breathe Oh I, oh I can't hardly
And now you're killing me softly You're saying things with your body
I take your hand and then we go All eyes on you
And I pull you in closer You got me hooked and you know it
You're like a gamble But I love playing it loose
Can't sleep I'm dancing with adrenaline
I can't speak Hands, they keep trembling
I've been so weak When you make an entrance
And when you leave Oh, I can't hardly breathe
Oh, darling, I can't breathe Oh, I can't hardly breathe
Oh I, oh I can't hardly breathe Oh oh oh oh oh oh oh, I can't breathe
Can't hardly breathe Oh oh oh oh oh oh oh oh I can't hardly
Oh, tell me what you've done I'm awoken
I love it more every moment So, give me something for when you leave
'Cause I can't hardly breathe Oh, I can't hardly breathe
Oh I, Oh I can't hardly breathe Oh oh oh oh oh oh oh I can't breathe
Can't hardly breathe, oh oh oh oh oh oh Oh I can't hardly breathe
- I met Logan who has been my partner in Mako for a while up until recently, and he took me to Electric Daisy Carnival which is a massive DJ festival.
It was in Vegas at the time and I don't know, man, I don't really know exactly what about it screamed like, give up the French horn and go make DJ music, but something about it really shook me in an amazing way.
When you create a lot, you know, you can't really choose what you're going to fall in love with.
It just kind of happens and for some reason, that stuff clicked really quickly for me.
When I discovered dance music, it was Swedish House Mafia, it was Alesso, it was Above & Beyond, it was all these grandiose, epic, but beautiful artists just playing music to young people which was a relationship I never had with music.
I mean, when we played in concert halls, it's silhouettes of old people, you know.
And they clap at the end and you never get to meet anybody.
And when I saw all these artists playing really beautiful melodies with amazing vocals and kids just losing composure, something about that hooked me.
So I know it seems bizarre to go from orchestra to DJ stuff but it was such a smooth transition for me because it was just dictated by this kind of inherent sense of beauty in the music that I really loved and that then took shape into a love for songwriting and a love for what we're doing now which is kind of a hybrid of a lot of things combined.
Isn't it a little late Shouldn't you fly away
Little dove with cigarettes Show 'em that you can hold your breath
I heard about a girl Buried her dolls and lost her curls
Painted on lipstick red Grew herself up and then she'd
Walk into a smoke-filled room Oh no one could keep their eyes off you
Isn't it a bit too soon Oh how could you be that girl I knew
Walk into a smoke-filled room Little black dress and mama's shoes
Isn't it a bit too soon Oh how could you be that girl I knew
Oh oh oh, oh oh oh How could you be that girl I knew
Oh oh oh, oh oh oh How could you be that girl I knew
Walk into a smoke-filled room Oh I believe love will follow you
Isn't it a bit too soon How could you be that girl I knew
Take a step around the room And every head keeps turning too
Little dove, you fight 'em back Show 'em you're so much more than that
I heard about a girl Buried her dolls and lost her curls
Painted on lipstick red Grew herself and then she'd
Walk into a smoke-filled room Oh no one could keep their eyes off you
Isn't it a bit too soon Oh how could you be that girl I knew
Walk into a smoke-filled room Little black dress and mama's shoes
Isn't it a bit too soon Oh how could you be that girl I knew
Oh oh oh, oh oh oh How could you be that girl I knew
Oh oh oh, oh oh oh How could you be that girl I knew
Walk into a smoke-filled room Oh I believe love will follow you
Isn't it a bit too soon Oh how could you be that girl I knew
Oh oh oh oh, oh oh oh oh
Yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah
Walk into a smoke-filled room Oh I believe love will follow you
Isn't it a bit too soon How could you be that girl I knew
- This is probably around 2014 or so, electronic music started to take a different tenor.
It became really aggressive, it became really percussive and rhythmic.
And I liked it, but I wasn't able to communicate beauty in that sort of format.
I all of a sudden felt a pressure to make other things to move the project forward, which is always an indicator of me that I need to regroup.
...breathe
Oh, darling, I can't breathe Oh, I can't hardly breathe
- Making one track that's not sincere is enough to show me like this is no way to do it.
I mean, it's like doing any other thing where you're just like half-assing just to get through it.
I just kind of follow the music, just follow what I like and then we'll figure it out from there.
It's not always obvious like what I'm making and where it should end up, but I think as long as I'm enjoying myself that's the only way to do it.
What I'm trying to say is Hey you, let go of the wheel
- We have people coming to shows that have never seen a real instrument before in concert.
But it's a cool thing, I mean, like that...where I come from is classical music, which is as organic and acoustic as it gets.
I mean, there's no amplification and then now it's DJs pressing play on a mastered, fully-produced record.
So to bridge that gap a little bit, to bring it in is a super goal of mine.
- Percussive music was so stressful, I had crazy performance anxiety.
DJing is a lot of fun, but I like being in the audience more than I did performing it.
This is the first time where it's like, I wrote a song in Los Angeles about something from my life and then I go to a city I've never been to and everybody's singing the song with me in the room.
Like, that whole thing just changed the game for me.
It was really like, "Wow, this is a relationship with performing that I actually love and I want to really foster.
" - Are you getting more sleep now? - No.
- No? Okay.
- Yeah.
Well, you know, yeah, the sets are earlier which is a lovely thing.
Yeah, starting at like 2 a.
m.
and then having a 7 a.
m.
flight the next day wasn't the best.
So I am getting more sleep after the show.
That's true.
- Cool.
Let go of the wheel (Let go of the wheel)
Oh oh oh oh oh oh oh Oh oh oh oh oh oh oh
Oh oh oh oh oh oh oh Oh oh oh oh oh oh oh
Just let go of the wheel

Artist Bio

Mako Veteran DJ meets Juilliard graduate. In an era where unexpected ingredients thrive, Mako offers a truly unique experience created by Logan Light and Alex Seaver.

Alex attended The Juilliard School on full scholarship as musician. Having played with some of the worlds elite classical artists in the most storied of venues, Seaver was destined for an unusual path. While Seaver was performing for thousands at Carnegie Hall, Logan was quietly mastering the art of DJing in a makeshift room to an audience of none; though within only several years, Light had opened for some of dance musics biggest international acts, including Tiesto and Avicii. No stranger to the festival scene, Light has also marked off major appearances, including Chicagos Lollapalooza.

Before an introduction was made, the two budding artists spent their early life progressing musically in radically different worlds, and yet unknown, were also headed on collision course set back in the fall of 1975. Both members fathers were paired as roommates at Syracuse University. Some 36 years later, young Seaver and Light met for the first time.

As the story goes, en route to Electric Daisy Carnivals 2011 stop in Las Vegas, Light invited Seaver to experience a taste of his musical world. EDC was nothing less than a shock and revelation for Seaver, who had until that point very literally only known the world of classical music. Suffice to say, Mako was created soon following.

Upon graduating school in New York City, Seaver moved to Los Angeles after being selected for the ASCAP scholarship workshop for scoring music to film and television, and the two began their first work on early demos. For Alex, this meant seriously writing a genre of music he had yet barely heard of. Hard work paid off, the demos soon found their way onto desks of industry professionals and production companies, where one Primal Scream Music licensed Head Up as the centerpiece theme of the 2012 Fruit of the Loom Olympics campaign on NBC. Soon following, blogs everywhere were praising the young duo, It seems to be increasingly rare to hear a preview and to know that youve got something special on your hands. Thats how we feel about the duo Mako claimed StopBreatheBump.

The groups first release Beam quickly circulated on blogs and YouTube accruing more than 1.5 million views to date. The track was featured on SiriusXMs Beta Test Tuesday shortly after in which they proclaimed Mako is the next big thing.

Since their start, Mako has built a working relationship with Interscope Records, quickly finding themselves in studio with some of dance musics top artists (Avicii, Sander Van Doorn, R3hab, DubVision, Heather Bright, Le Castle Vania, and many others). Makos first label release, Into the Light, on Spinnin Records, reached #3 on the Beatport Top 100 in just a week and sat in the top 5 for over two weeks.


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Mako

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