Q&A: Marci Details the Duality of Being Human in New Album ‘Mask Lady and Late Night Girl’
WRITTEN BY ANTHONY RATCHKOV
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Photo by @nineslimee
LA-Based artist Marci, the alias of Marta Cikojevic, has just unveiled her new album Mask Lady and Late Night Girl, and while the album features many personalities, they all combine to tell one intricate story. It’s the perfect characteristic for this story that details the dualities in personality an individual can have.
Bilaterality is a common theme across multiple songs. The lead single of this album, “Butterfly Sticker,” is Marci describing the differences in who she used to be compared to who she is now. “Lady with the Mask” is a commentary on the two different energies of Hollywood projects.
The sonic bilaterality showcased gives this album a sound that is both familiar and distinct from the rest of Marci’s discography, which is what makes this such a special release from her. “99 Dimensional” is a prime example of the groovy tunes that Marci’s talents consistently shine in, whereas “Pay Me Now” is a powerful, anthemic pop-punk jam. For those individuals who are craving the synth music to guitar music arc Charli XCX famously came out with this year, Marci is your artist, and Mask Lady and Late Night Girl is your album.
Life on Jupiter had the opportunity to sit down with Marci to discuss Mask Lady and Late Night Girl, architecture, and everything in between. Read our full conversation below.
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LIFE ON JUPITER: What would you say to Mask Lady and Late Night Girl if it were a human?
MARTA CIKOJEVIC: I would say you’re crazy. I feel like it’s bipolar; it’s kind of all over the place. When I was making it, I was wondering if it’s too all over the place, but it just works.
How did this backstory you based your album off of also lead to some songs like “Cherry Sunday” and “Pay Me Now” to have a crunchier rock sound compared to a bunch of your discography?
CIKOJEVIC: I really wanted more of that on this record. I was listening to a lot of Def Leppard and Whitesnake; the way they produce guitars is magic; it does something to me. I really wanted to attempt doing more guitar-driven stuff on this record. I’m a keyboard player, so this was a world that I always wanted to try. I want to keep trying to make music like that because it’s so much fun; I love the drama of it all.
There is also a song called “Lady with the Mask”, which has a lyric alluding to how you would pass by her on the street. How else does that song tell her story specifically and what it means to you?
CIKOJEVIC: That song is kind of about Hollywood and Los Angeles. When I first moved to Hollywood, I really felt this sense of crazy energy that people are coming here to have their careers made, but also this sense of sadness that people are getting their dreams crushed here. Hollywood is such a crazy place and I wanted to write a song that kind of described it in a way where dreams either come to die or make you who you are. On the other hand, Mask Lady is a part of Hollywood. She’s been in Hollywood for a very long time, and she’s a character of the neighborhood. I felt like seeing her walk around with a mask on just really encapsulated everything about Hollywood in a way.
You’ve said that this new album is about duality and which version of you is in the driver’s seat. When listeners finish going through this album, is the goal for them to know which version of them is in the driver’s seat, or to learn to sit with each version at once?
CIKOJEVIC: Yeah, I think it’s more about learning to coexist with multiple versions of yourself; that’s what it felt like to me. Sometimes you need that alter ego to protect you.
Every music video you’ve made for this album all have very distinct aesthetics from each other, is that a conscious decision you make to switch it up visually every time?
CIKOJEVIC: I do want to do something where I plan out an aesthetic layout or rollout for a record, and I have big dreams of doing that, but I haven’t been able to do it yet. I’m the type of person that goes with the flow and just sees what works, and that’s what I did. I was thinking, “I really want to work with this person or that person.” I had all these directors that I really like. I also like making at least one music video myself because it’s really fun; I really enjoy doing it. I definitely do want to do something more conceptual in the future.
Was there a video for this album that you made yourself?
CIKOJEVIC: Yeah, for “99 Dimensional”! I love editing; it’s so much fun. It takes so long, but I really like filming and editing, and I want to do it more. I’m doing some camera research right now because I want to get a new camera and start playing around.
You joined TOPS when they unexpectedly asked you if you wanted to join, and the backstory of this album comes from Mask Lady unexpectedly recognizing you and asking if you wanted to hang out. Do you feel like the best inspiration to write about comes from these spontaneous moments you’ve experienced?
CIKOJEVIC: Yes, absolutely. I feel like my life is filled with those types of moments or interactions. It’s really just the spice of life. I feel like I live like that, and sometimes it’s difficult because I feel like I’m not the type of person that’s very good at planning, which can be annoying, but I do really find inspiration in moments like those.
In a previous interview, you described various architecture that secondhandly served as inspiration for this album. Drew Taggart from The Chainsmokers said in an old interview on the And The Writer Is… podcast that architects and music producers have similar jobs. Do you see that same parallel as someone passionate in architecture?
CIKOJEVIC: I think so, you’re laying the foundation and then building a structure that will hold the roof; a song is kind of like that. You’re building something and you’re giving it life. With a song you’re building sonically, it makes a lot of sense, honestly. When you’re building anything, you’re creating art; architecture is very artistic. I talked about brutalist architecture before, and you really have to design that. It’s a really creative skill. I also find that I can look at a building and just imagine a completely different life. Certain cities that I love being in, like Mexico City and Hong Kong, I really like the architecture there, and when I look at a building I think how I could have been anyone in this place.
You’ve been on a bunch of tours already with TOPS. As you get ready for the tour of this album, is there any city that you know a spot in that you can’t wait to visit again?
CIKOJEVIC: I love going to New York; New York is always so fun. I also really like Chicago. Talk about architecture, Chicago is so nice. They have a really big Serbian, Croatian, and overall Balkan population there, so you can find a lot of that kind of food. I really love Toronto; I don’t spend as much time there anymore because every time I go back to Canada it’s usually Montreal, but I grew up in Ontario and I feel like it’s my city every time I’m back. I have so many good friends that still live there and it’s always such a fun trip going back.
