EOD: ‘I’d like to hear more wackiness’
EOD started making music around 2002, self-releasing online for a while until being picked up by several record labels around Europe (Stonedwave, 030303 Records). He got signed to Aphex Twin and Grant Wilson-Claridge’s Rephlex Records back in 2009, culminating with the releases Volume 1&2 in 2013. Now signed with Bjarki’s bbbbbb records, with his first release, Swurlk, selling out within a matter of weeks (again with support from Aphex Twin, receiving plays at festivals like Fuji Rock in Japan and Flow in Helsinki during 2017). Recently, he’s been playing EODJ sets all around Europe.
You started making music sixteen years ago. The scene has changed since those days. How would you compare the period you were starting to to now?
Digital distribution and the ‘second coming’ of vinyl have made smaller, more niche labels and artists flourish again. Marketing requires a totally different approach these days due the current nature of the internet. Despite this, the music itself and the amount of variation within the electronic scene hasn’t really changed much. In fact, due to the heavy emphasis of gigs as a revenue stream I’d say most artists are suffering creatively because they have less time to get inside their own heads without considering a third party.Personally, I’d like to hear more wackiness during club sets. Overall, though, it’s a great time to make music and the listeners and crowds seem to be a lot more receptive and enthusiastic than they were back then.
Your releases have appeared on Rephlex Records. Can you describe this collaboration? How did this collaboration start, and how was it to work with Aphex Twin?
It was fairly simple, Grant Wilson-Claridge contacted me via Myspace years ago after Richard [D James, Aphex Twin] had DJed one of my tracks at Primavera 2009 and we started planning a few releases. It took several years before anything came out, but it was an honour to release something with them before they folded. Richard was mostly involved in picking tracks, so it was just like any other label really. I still stay in touch with him and send him tracks to play in his sets. He’s a top guy, for sure 🙂
Can you talk about your music-making? What elements, feelings, narratives are important to you. How do you create music?
I think the importance of each element shifts according to what you want the track to say or be, you need to play to its personality and strengths. I try to slightly adjust my emphasis for every release I do in order to spice things up a bit. Sometimes I plan out a conceptual release with a certain trademark sound shared between the tracks, sometimes I just sit down with the gear and fuck around for hours. It’s vital for me to put in as much time as possible. Even if I feel like I’ve made nothing good over a 10-hour session, I can suddenly strike gold at the 11th one.
For a good few years now I’ve made music without a computer which is quite helpful with setting a certain mood or creating a certain state of mind. It really helps me to focus a lot more and be more present in the moment. That’s why I always record stuff live too. I just love capturing what is going on right there and then.
Your music oscillates between the introspective and the dance floor. Can you talk about these two sides?
It’s just part of the electronic music legacy I think. Lots of the classic stuff that influenced me always travelled between both. It creates a healthy listening dynamic and it’s more inspiring to work in a way that reflects more than just one aspect of yourself.
Can you talk about your latest release – Dunal Chronicles?
It’s a more experimental take on things with influences from traditional IDM and more tribal/worldly stuff tossed in there as well. Like an exhaust vent for the soul. Not that I have one.