Thrilled to bring you the debut album from a stupendously talented Brooklyn producer. This effort is a departure from his previous work, so I’m delighted he spoke to me first about his new project, that drops TODAY, Escher Beat.1. How did Escher Beat come about? Escher Beat has been this nebulous concept in my head for a long time now. It’s hard to define when it was born- It’s like how some cultures consider the birth of a child to be when they first had the thought of creating one, as opposed to copulation, or the release of it into the real world. A lot of the stuff on the album has been in my head for ages but only now have I had the skill to get it written down and expressed in a somewhat proper form.
The album (and thus project)’s “copulation” began in 2012, when I was shying away from “23” as a project. I made the intro of the opening track (“Inter-Universal Transmission No. 2”), trying to make music that I thought I truly should be making. It was a good start but I found I did not have the skills to keep going forward. I also had a busy life finishing school and starting my career in NYC. But in the 2-3 years since then, I’d practice sound design, practice alternate forms of music, small things to up my skill set.
About 9 months ago, I said “alright, it’s time to actually try this again”. Over the course of 8 months, I wrote the album in a concerted effort. The last thing I wrote was follow up to the intro in the first track, which I thought was a nice conceptual way of completing the circle/journey.
2. What is it like being a closet producer living in Brooklyn right now? Depends what you mean by closet producer! Technically I work in a DIY-level dedicated studio. The room isn’t huge but it is covered in a professional level of bass traps with a properly set up and calibrated monitoring system, instruments, synths, etc. But in the sense that I just sit down and woodshed production for hours on end alone without telling anyone, you could say I’m a closet producer. It’s hard not to talk about what you’re working on. But it’s for the better because the more you talk about it, the less likely you are to complete it, I think. Less talk, more do.
Brooklyn is great because of the sheer number of musicians and artists around. I hope to take advantage of that in future work!
3. You had some success a couple of years ago producing dubstep under the alias 23, why did you decide to switch projects? I’ll try to keep it concise. I think 23 blew up faster than I was ready for. I was a one trick pony, and I painted myself into this dubstep corner. I began to become disillusioned with the progress of dubstep, and came to hate it. What happens when the only music you can reliably make is music you hate? That’s where the track “Fuck You (If You Like This Song)” came from; it was a frustrated irony.
I still consider my name to be the person named 23, but the work associated with it, I no longer identify with. It was a natural progression to make a new project for a more evolved sound.
4. What would be the ideal setting for listening to your music? Any altered state is a good start. The album isn’t just sound. There’s multiple layers of head-fuckery going on. I’ve used psychological setups and traps to influence the effect of sections of music based on the previous sections. There are sounds that bend and morph, and some things are so subtle, you need that altered state to obtain the perspective necessary to perceive it. These are some of my favorite moments in music, realizing the album you’ve been listening to for years had some hidden aspect to it you hadn’t unlocked.
I think a good stereo setup with a sub, with a bed in the center is a nice way. The album has very danceable moments, but they’re never too intense, so I think they’re still relaxation-worthy if you’d like to do home listening.
For dance purposes, I really want to see how it does on a big sound system with people who are really into dancing. There’s some funky grooves and heavy syncopation that, at least from my perspective as a dancer, lends its self to some really fun times dancing.
Without a doubt though, the album is best listened to all the way through. When you take the songs out of context, you begin to lose some of the “magic” so to speak.
5. How do you produce these incredible tracks? Can you give us any peaks into the method to your madness? I constantly have general ideas in my head about stuff I want to try. For example, in the second track (“James Brown…”) there’s this build up to this complete breakdown of the sound all together that then filters up and becomes a completely unique element of a completely unrelated beat. THAT kind of stuff is the essence of an “Escher Beat”. I had that concept in my mind for a long time, and that wasn’t even my first attempt at it.
After a concept is decided on, if any (sometimes things begin with a sound test or a jam) the writing process its self can be very…. automatic. There are times where I feel more like the music is written through me, or that I’m merely writing down what was already supposed to come next. My best music just happens, it becomes obvious to me. Sometimes, especially with long studio sessions, I’ll come back in a week later and forgot I wrote entire sections of music.
I guess that’s expected when you stay up for 24-48 (on rare occasion, 72) hours in a room with no windows. Definitely gets weird by the end of a session.
6. Do you have any preferred medium for performing live or strong opinions on the whole vinyl/laptop/cdj wars? Right now I work off Traktor cause that’s what I’ve always done. For someone who produces music, it can be a bit limiting, but I’m so familiar with the limitations and how to get around them that it’s a good old standby.
In the future I’d like to do Ableton live stuff. But I’m busy as fuck so that learning curve has kept me at bay for now. I’d really love to be able to re-fuck, re-mix, and re-contextualize things on the fly.
As to opinions on live mediums, I don’t think the medium matters at this point. Does the music sound good? That’s all that matters to me. I don’t go to shows to watch guys idly spin knobs or pretend they’re busy looking through a record bag. If the music is good, it’s good.
7. Are there any cool things happening in electronic music that you’re really into at the moment that our readers may not be aware of? A sub-genre or a new party or thing the kids are doing under the cover of darkness that you’re into? Honestly I hear good, new music every damn day. I love some of the more down tempo neuro stuff going on like Aio – Steam Prism, and also a lot of chill wave, and other really trippy beats. People are constantly putting out cool shit and a lot of it gets little to no attention.
I’d like to see this more progressive music at events. You’d think in such a forward city (when it comes to things like art and fashion) you’d see more interesting music at big events, and it certainly exists, but not at a reasonable scale. Like anywhere else, it seems most people in BK and NYC want that familiarity. Few people REALLY get into dance (dance, not dance music) and I think that’s a big reason why. When you have a strong dance vocabulary, new kinds of music means more ways to express yourself, as opposed to non-dancers who want to jam to familiar tunes (typically).
8. If I could wave my magic wand and get you a headlining slot anywhere in the world, where would you like to spin? I’d want to spin somewhere that has both a dancefloor, and places to relax, with lots of interactive and immersive artwork. Maybe something like DJing to people wandering a technological hedge maze/hall of mirrors that leads to different dancefloors with different art installations. I’m not sure it exists, at least all in one event. What I’m trying to say is the idea of me headlining a big crowd isn’t what I’m after. I’m about unique experiences and immersion, which have functional limitations in regards to scalability. I hate the idea of exclusivity, elitism, etc, but practically speaking, immersion isn’t possible when you have too many people. Except immersion in a crowd, but that’s why Big Room House came out. No thanks.
9. Any favorite plug-in’s, programs, pieces of hardware, or other music creation tools that you couldn’t have created the album without? A lot of the edits are by hand, and just layers upon layers of sound, with pretty basic plugins most of the time. When it comes to synths, if I didn’t have one, it’d be another. Most common VST is probably just my EQ. It’s less about the tools and more about the vision.
10. Are there any sonic influences that you couldn’t have arrived at this point without? Favorite producers, musical teachers, life-changing parties, etc? There have been a lot of nights at Burning Man where I heard music that I have never heard again that just blew my mind. I didn’t know how to classify it. But it was groovy. And when the DJs were done, they disappeared. Only recently have I been seeing music *similar* to this hitting the public sphere. Maybe it’s there and I just can’t find it. In a sense, this album is my version/interpretation of that hard to classify, but groovy vibe.
More often than not, people have been comparing the album to people I never listen to. A lot (not all) of my strong musical influences either have little to do with modern electronic music, or aren’t even music related at all. I’ll leave it at that because I want the album to be understood personally, not directed by me. I’ve done enough direction by writing the music its self.
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