DANTON EEPROM Eeprom stands for Electrically-Erasable Programmable Read-Only Memory. It keeps vital data safe in electronic devices and can be read an infinite number of times.
Danton was introduced to the world of computers when he was just a boy growing up in Marseille. When Mrs. Eeprom bought her son a Thomson MO6 computer at age 6, she probably didn’t realise she had changed the course of his life. After studying computers (obviously) and English (he had always loved anything English), Danton started to teach himself how to make music. His high school band Dust Art, a seven-year creative adventure, allowed him access to the ‘Rose Des Vents’ studio in Aix-en-Provence, not far from Marseille. It was here, while recording the group’s album that he honed his mixing and production skills. Although the album was never released, the studio time turned out to be an invaluable formative experience - between day sessions as an assistant he would spend his nights learning how to tame the classic analogue synthesizers and high-end recording gear, experimenting with their quirks and unique sound. He became a trusted member of staff with his own set of keys, the studio’s de facto apprentice. And so it was here, far from the suburban hubbub, that his first album «Yes Is More» was recorded.
The next step, on a whim, was leaving for London with just a laptop and keyboard in his pocket, so to speak. Without funds, it was tough finding somewhere as well equipped to record. Luckily, support from Andrew Weatherall in both interviews and radio play facilitated things quite a bit - frankly, there are worse guardian angels to have. Little by little, Danton managed to build up the home studio of his dreams, requiring a lot of hard graft, so much in fact that he admits he was close to giving up at least a dozen times during the recording of the album.
Thankfully, London inspired him - getting noticed was tough, the weather was frankly nothing like the south of France, but people respectfully let him do his thing and encouraged his originality, giving him the strength to continue. The insatiable dandy had found not only the haven of peace he needed, but also a powerful creative stimulus. «Never Tell» is like seeing Bryan Ferry emerge from the evening fog after a Roxy Music concert in Hyde Park! “Work hard and play hard”, as the saying goes, and Danton was eager to do exactly that, taking his perfectionism to extraordinary new heights. “If Looks Could Kill” took eighteen months to finish and certain tracks went through 26 iterations before reaching what he considered satisfactory excellence. Danton had taken his time for once, supported by Alexandre Cazac, label manager at inFiné Records and just the A&R man Danton needed.
It all started with «Biscotto & Chimpanzee». This exercise in synth-pop, a veritable invitation to jump into the sea off the Balearic Islands, laid the foundations for an intricate, detailed album. Next, the benchmark for production became «Hex Tape», one of Danton’s guilty pleasures, with its perfume of lascivious hip-hop beats as also heard on «All American Apparel», a retro-tinged synthetic siren call for pole dancing - “Oops, I did it again!” Emma Darling, a pure product of East London with her hardhitting freshness, added vocals to the track. Hard to believe that Danton met her at a karaoke party on New Year’s Eve.
«All Dressed Up (And Nowhere to Go)» expresses in its title a certain notion of the urban condition that Danton himself experienced, the futility and solitude of living in a big city. The video is also his project, partly because he lives in London, but mostly because for him, everything is connected. As was the case on his previous album, he sings and plays all the instruments, preferring to “play everything badly rather than one thing well.” And because he considers each of his tracks like a short film, why not add images to them himself?
And so he does it all - both racing driver and mechanic, the champagne finish and oil up to the elbows. And always with an off-kilter sensitivity that finds its force in his childhood, something he cultivates in order to stay sharp.
On «FemDom», you can feel the fascination for the moist cellars and twisted beats of Detroit that have made his reputation. Noble, sensual techno that reminds one of sweaty bodies rubbing up against each other in the night, loaded with the promise of a certain hook-up. Nights where you’ve drunk too much, smoked too much, and yet you don’t want them to end. «Occidental Damage», the only track to have already been released as a single, is unabashed techno, ruthlessly effective, fitting into the album perfectly. «Hungry For More» with its sensual keyboards, sexy bass and seductive vocals prepares the ground beautifully for «All Eyes On Me», a sort of All Tomorrow’s Parties without an end. Danton Eeprom handles producing music with equal measures of panache and offhandedness, part fresh, part decadent. This hopeless romantic with a heart of silicon is savouring his thirties and continues to refuse categorisation, erasing the line between electronic music and rock. With If Looks Could Kill, he has created a sly, voluptuous virus that will send your system into meltdown...
D AN T O N E E P RO M 2014 — iF1027
I F LOOKS C OULD K ILL
1_ MELODRAMA IN CINERAMA 2_ BISCOTTO & CHIMPANZEE 3_ HEX TAPE 4_ FEMDOM 5_ ALL AMERICAN APPAREL 6_ NEVER ASK, NEVER TELL 7_ ALL DRESSED UP (AND NOWHERE TO GO) 8_ OCCIDENTAL DAMAGE 9_ HUNGRY FOR MORE 10_ ALL EYES ON ME
THE HACKER CUBENX
DANTON EEPROM RONE
Published on Feb 4, 2014
Sophomore album from London-based electronic pop experimentalist Danton Eeprom. The aftermath of an intense period at the controls of his pu...