MALOO: Into the Multiverse
All, stylist’s and Todd’s own. Photography James Lai.
Multimedia artist & musician Maylee Todd explores sci-fi, technology and intergenerational trauma on her forthcoming album.
Text Stephanie Gancayco
Photography James Lai
Styling/Set Design Cat Calica
Art Direction Maylee Todd + Cat Calica
It might be hard to tell through her rather ethereal image and the conceptual territory she often treads in her work, but: IRL, Maylee Todd is funny af. Like, super goofy, actually. It makes sense, then, that her getting signed to Stones Throw Records - home to experimental hip-hop/beats legends like J Dilla, Madlib, and Knxwledge - came about when she was in LA opening for her friend, comedian Eric Andre, at his clown alter-ego Blarf’s album release. Her performance caught the attention of Stones Throw founder Peanut Butter Wolf - and as she says, “bingo bango the rest is history.”
Set to drop on Stones Throw this summer, Maylee’s fourth studio album is a stylistic and thematic shift from the groovy, disco-tinged R&B of 2017’s Acts of Love. Entitled “MALOO”, it explores a fusion of ambient synth music and alt-pop, and revolves around a virtual character who combines attributes of both Maylee herself and the digital world and its consciousness. Cross-referencing Motoko Kusanagi from the anime Ghost In The Shell and pop artist Lil Miquela, she says that “MALOO” is “outlined by themes of mental health, sci-fi, and psychology through modes of creation and technology.”
World-building through both music and social media, MALOO’s portrayal and narrative will be spread through lyrics, visuals, and live performances. The campaign for the record starts this summer, and Maylee will be keeping it fairly mysterious until then. She does disclose that she has different plans for live and digital “live” shows, and that she’s excited to get back to real human interactions after over a year of pandemic lockdowns in her homebase of Toronto.
Maylee catches up with Hella Pinay about MALOO’s origins and evolution, the importance of technical and psychological literacy in making informed choices, and the healing power in honesty and vulnerability.
All, stylist’s and Todd’s own. Photography James Lai.
Where does MALOO come from, and what inspired you to create her?
Maylee Todd: MALOO was a name for a side project I had in 2010. Typically I have a side project for me. I don't have to think about due dates, what's relevant. I guess I should be working from that space in general, but sometimes when you know the world is going to see/hear something it changes form. Like particles being observed.
MALOO was a nickname given to me by a group of Children I used to take care of. They had something called the Ew language.
In 2019 I was working on a prototype for a VR video game with a company called Occupied VR. They wanted me to be a character and design characters for the game. It was the catalyst for MALOO. I've always been interested in concepts like Ghost in the Shell and inspired by science fiction, so this seemed like an opportunity to create something for this company and align it with my next project. It's taken me many years to develop the concept and some of these tunes are from 2010.
“Through [MALOO], I’m exploring concepts of loneliness, being an observer, forming an opinion only to have it flipped on its back, and then over again. Exploring concepts and ideology are just constructs from the mind and culture, and depending on what planet/country you’re from some ideas are socially acceptable and some aren’t, and everything in between.”
What are you exploring through this character and album? Is there an overarching narrative to the album as a whole?
Maylee Todd: The album takes place in The Age Of Energy which is not defined in time or space. This multiverse is partly created by The Children Of Ew which are telepathic children that use telekinesis to bring conscious ideas and thoughts into physical form. They birth MALOO which is part undefined species with part consciousness of Maylee Todd. MALOO explores the multiverse in her Virtual Womb spaceship. MALOO is fluid and agender, can shape shift to different climates and laws of physics and is a curious observer, meeting all sorts of species. MALOO struggles with their human side, having rememberings of past life and traumas that still keep them from being free from their own impending thoughts. Some can relate this idea to intergenerational trauma.
Through the album, I'm exploring concepts of loneliness, being an observer, forming an opinion only to have it flipped on its back, and then over again. Exploring concepts and ideology are just constructs from the mind and culture, and depending on what planet/country you're from some ideas are socially acceptable and some aren't and everything in between.
Hands, Gorm. Pants, Todd’s own. Accessories, stylist’s own. Photography James Lai.
How has it been creating this album during isolation? Have you had any major hurdles or mental health issues, and how have you dealt with them?
Maylee Todd: There have been too many hurdles. Where to even start.
When the pandemic first hit I was relieved I've always worked hard on my craft. Alone for the most part so when we're all forced to stop it felt like a huge weight was off my shoulders. And stuff came up, a lot of stuff came up from my past, everything had a magnifying glass to it. I started to look at myself, my community, my family, the styles of communication to others, and my self-talk. Of course, I'm still exploring these concepts, but there's a different quality to it these days.
I've always been an advocate for therapy and mindfulness, but this had set everything on overdrive. I sought out help and was in therapy once a week or every other week. Every morning I write out all my thoughts, I use Headspace, MUSE (which tracks my brain activity), write out gratitude. This pandemic was rewarding in many ways and devastating at the same time. I've lost a couple of friends and a dear family member to suicide.
The album changed in many ways, pre-pandemic and during the pandemic; the textures, structures, and concepts were being revised. The album is written in many metaphors - that's typically how I write - but the story and concept will be highlighted through the mediums I'm working with.
“Isolation does not help our genetics, we need to really consider and practice being courageous with being vulnerable, open, and honest. We have so many layers we hide behind for the fear of getting hurt.”
Is part of MALOO a response to how tech can be used to both isolate and connect us in totally new ways, especially during a pandemic where people are forced to self-isolate?
Maylee Todd: Yes, these are all tools - for our benefit, our detriment, and everything in between. It's all about awareness.
I know we humans like to believe we are all brilliant and can't be easily fooled, but we are quite simple and with simple techniques, the folks behind these apps can use our shortcomings against us for profits. I think technical and psychological literacy is extremely important for us to make informed choices. Our brains tend to lean to the negative side, we live in our default mode network when we aren't present - that is living in our past or future. It's kind of like time traveling to a degree.
We very much still live in our fight or flight response, so without that spatial awareness, we can act out of emotion instead of challenging it. There's so much research out there that reminds me to challenge intrusive thoughts. Isolation does not help our genetics, we need to really consider and practice being courageous with being vulnerable, open, and honest. We have so many layers we hide behind for the fear of getting hurt. There is no threat here with these words, only a genuine exploration of how we can actually bring real value to a capitalist competitive busy culture.
All, stylist’s and Todd’s own. Photography James Lai.
You’ve described your family as being a huge influence. How have they helped shape you and your work?
Yes, my grandfather was an escape artist under the name The Great Toddini, he also made bold claims that he saw many UFOs, he collected clippings, and made a claim in the Toronto Star (a credible newspaper) that his car was hit by a UFO.
My father was an Elvis Impersonator and uses songs as satire, so he's a bit of a comedian too. My mother is an incredible textile artist and painter. She weaves together beautiful narratives in her abstract quilts. Both of my parents are good people; my father's trade is locksmithing, he also was involved in non-profits and always called out the corruption in our communities and my mother is an Occupational Therapist and still helping people to this day. She's one of the oldest OTs in Ontario.
Their stories are layered with trauma and triumphs. What they've experienced, these people are extremely resilient. My mom is from Tondo, and for the readers here that are Filipino you know the place I'm talking about. She educated herself and fought tooth and nail to get to Canada where she brought her whole family in her teenage years. I can't begin to imagine the experiences my parents went through.
These experiences have informed my work; satire, collage, trauma, conspiracy, triumphs, gratefulness are all woven into my life's thread. One day I may share these stories, it's probably why I take to the fantastical part of my mind, there is an opportunity to dream of other options that can be healing for me personally and perhaps other folks.
Gloves, stylist’s and Todd’s own. Photography James Lai.
Hands, Gorm. Accessories, stylist’s own. Photography James Lai.
How are you bringing MALOO to life?
Maylee Todd: Through story and songwriting. Technically for the past year and a half, I've been learning 3D modeling. I'll leave the live show concept to the imagination. It's a beautiful surprise! <3
From Hella Pinay Issue 01: Resilience - Spring/Summer 2021.
HMUA Anne Kwon. Additional Edit Kyvita
Growing up Pinay, self-love and acceptance are ever growing and transforming