Electric Flower – ‘Electric Flower’

Electric Flower, the new band featuring guitarist Imaad Wasif and drummer Josh Garza, will release their self-titled debut EP on November 8 on Narnack Records. The EP will be available both digitally and on foil stamped, red 10-inch vinyl, limited to a run of 500 copies. Wasif and Garza formed Electric Flower after two chance collisions three years apart — the pair first met while trapped together in a stuck elevator in BBC Studios, then again after (literally) bumping into each other on an LA street corner. Wasif has performed as a solo artist and collaborated as a member of the bands Alaska! and Lowercase, and Garza is the drummer of The Secret Machines. ‘Electric Flower’ features powerful, evocative performances from both Wasif and Garza. Wasif’s emotionally charged singing is supported by his masterful layering of guitars, and Garza pounds out driving drumbeats that propel the songs forward.

Wasif and Garza have taken the time to share their perspectives on the three tracks from their debut EP. Read on for some fascinating insight into Electric Flower’s first release.

IW: In the interest of protecting what I feel is the sacred aspect of songs and their origin, I think it’s better to give you the lyrics to the songs on the Electric Flower EP as a starting point. I don’t believe in “song as mystery,” but I do believe that sometimes explanations are better left unsaid. It really doesn’t matter to me if the songs are understood in the way that we intended. A song can mean many different things to many different people and therein lies its power. What we are most interested in as Electric Flower is creating songs that have minimal resistance to the truth, be that sonic or conceptual, to be sure that what we hear is what you hear. Recording is a trap, a deception — and most of the time the raw emotion of a song is lost in its production. We’re trying to maintain that aesthetic above all — to keep that emotion intact. If we can be accused of having a unified vision, it is this: that the songs be simple and absolutely modern; only then can we attempt to transcend the intent of composition, to heat riffs to vapor in crucible focus and deliver beats that make mountains crumble. We have no famous disappearing act.

JG: Yeah!


IW: 4:16 is basically about reincarnation, or my primitive understanding of it. The idea is based on the minute mark (4:16) during Kurt Cobain’s performance of that Leadbelly song, “Where Did You Sleep Last Night,” on ‘Unplugged,’ when you can see him in the throes of possession, and then in the next moment completely dispossessed, emptied out. The image of seeing his soul leaving his body on TV is seared in my brain and has been with me ever since.

JG: I couldn’t figure out what drum beat to apply to this song at first, then right before I fell asleep that night I had a moment of clarity. I knew I needed to combine a fast rhythm with a slower one somehow, the idea of the floor tom going double time with the snare and kick matching the slower vibe of the melody just made sense to me. I’m glad it worked.


Don’t you blink at me
Bat your false eyelash
Sinister poses in your howling eyes

4:16 4:16 4:16
Your god ain’t clean

Son of sun in the pines
You were clearly pinned
A transient alien in a druggy fairy tale

4:16 4:16 4:16
Your god ain’t clean

Nervous rebirth

Channel what you can,
Until you don’t exist
Watch your power dissipate,
Goner with the wind

4:16 4:16 4:16
Your god ain’t clean


IW: “Faces” means what it says, literally and in every sense. Lyrically, It’s a memory of an early revelation I had regarding identity and existence. The arc of the song is based on our joint interpretation of Steve Reich. But you always begin with an idea and it turns into something else entirely…

JG: This one is simple, I basically borrowed the pulsing beat from an early ’70s German band called Harmonia. I morphed it into a simpler, louder and heavier version to help push the song along.


Faces are not what they seem
Hiding places in our dreams

When I was younger I loved a girl
I didn’t have to put on a face for the world

Faces can be unreal
Hiding ways that we feel

When I was younger I loved a girl
She didn’t have to put on a face for the world
She didn’t have to put on a face for the world

When I was younger
I asked my mama in anger
To tell me who she was
When I couldn’t recognize her,
She said “You don’t need reflection,
You don’t need a mask,
To know that we’re all actors,
To know that we’re all cracked.”



IW: I’ve always wanted to get the sound that Phil Spector got on “All Things Must Pass” using multiple layers of chiming twelve string guitar, and mix it with a song that had the vibe and directness of the Wipers’ “Doom Town.” I think we got that on “Circles.” The voice comes from my night person, who is different than my day person. I can’t tell you how many times in my life I’ve come to realize that everything comes full circle.

JG: A mini-epic in 3 parts.


It’s the same old story
You’re up against the wall
And if I was weird then I’m only weirder than her
I’m cursed
Baby come back from the moon
If you find you’re unable to cope

I’d give you my bones
To know how to take dreams into my day, so all the lines bend
I’d give you my hope, a vanishing voice
…Into my girl
She is all I have

In the wide open night
Let your fear open doors
Come around

I’d give you my ghost
Leave no trace
Regrets, all a matter of time

The feeling might go
Be careful what I say
Regrets, all a matter of delay

In the wide open night
With your fears exposed in the quiet
Come around

Pick up Electric Flower’s debut EP, Electric Flower.