Photo by Sean Gummer Photography
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After being seriously wowed by ESA’s That Beast we spoke with the man behind the whistle, Jamie Blacker, about the album and his approach to sound production.
How did you get into the act of Electronic Substance Abuse?
ESA came to light around twelve years ago. It originated as a branch off from the black metal bands that I was writing for. I had always been really interested in the Industrial scene during my teenage years (Frontline Assembly, Skinny Puppy, etc) and after seeing my first noise show, Sonar, I decided that I had to have a crack at recording my own electronic compositions. It was incredibly rudimentary to begin with but I stuck with it (much to the dismay of my neighbours,) but I slowly started to develop the sound and tone that would end up being the hallmark of the ESA style.
“It actually felt like it was owning me. That Beast became a beast all of it’s own or at least that’s how it felt.”
ESA for me is very much an outlet. I feel that I have come to the point in which I can push the project into the direction that I want and over the twelve years that I’ve been producing, I’ve managed to collect a lot of influences from Rap to Folk to Drum n Bass. I always want to include as many different inspirations into my writing style as I can. While managing to pack it up in a very unmistakable ESA way.
…and the new album That Beast, how did you find the process of writing and recording it?
What most people don’t know is that although around three of the tracks were almost at their final stage around two years ago, I ended up writing and engineering the majority of the album within a condensed three month period. I was heavily involved with the latest iVardensphere album and between that, writing and actually playing shows for the latter project I fell way back on deadline for That Beast. I basically had to lock myself in the studio for a solid three months (other than the day-job) in order to get this album together. I had to constantly assure the label that this was going to get to them before 2043 and they were hugely supportive!
[That] allowed me to become really connected with the album. I allowed no other distraction to get in the way and this created a real attachment. There were points when I felt like I was losing all perspective along with my mind but overall what came out of this was a really defined product. Everything was written and engineered with the same state of mind and I actually think the situation proved to be a real blessing.
The album essentially had a life of its own. It actually felt like it was owning me. That Beast became a beast all of it’s own or at least that’s how it felt.
It sounds like a branch off from the earlier iVardensphere albums was it like scratching a mental itch?
It did feel like it was a case of scratching a mental itch. I’ve learned a lot about how to construct a juicy and heavy bass-line with to my production work for iVardensphere and the last three ESA albums were heavily conceptive. Creating albums around a concept is hugely inhibiting. I am incredibly happy with how those albums came out but this writing experience was completely alien to that.
I basically decided to treat every track independently and without constraint. I would consider how I could make each track as big as it can possibly be and so instead of seeing the album as a whole journey it was far more segmented.
I concentrated a lot more on hooks for this album. I let go of any chains and decided to just write heavy, powerful tracks that had a real catchiness to them. It was intentional and also flowed extremely easily.
“I can’t work like that because there’s no spontaneity or creativity…”
What is That Beast, what does it mean to you from your perspective?
I see That Beast as a very organic thing. We all have That Beast inside of us. We all struggle to keep our primal urges at bay on a daily basis. That was the theme that I took into the studio when focusing on this album and I think the overall sound of the album communicates that pretty well. It’s angry, powerful and dark. I think everyone struggles with these emotions at some point in their life. The tracks for me were a connection to that animalistic side of us.
Getting into the Zone what does your studio look like?
It’s a very modest ensemble and consists of a few guitars, a couple of keyboards, a sequencer, mics and an iMac.
Where do you find the inspiration for the voices (patches) that defined iVardensphere and now
ESA?
Well ESA has been going for twelve years so there is a much bigger patch catalog for this project than the work I do for iVardensphere. However I work very illogically. Rarely will I start with a template and modify it. I can’t work like that because there’s no spontaneity or creativity working on a pre-set canvas.
“I can’t wait to throw these tracks out live!”
I will usually develop one sound, whether it’s a vocal line that I’ve recorded and then distorted, chopped so it no longer sounds like a voice and then work from there. Inspiration comes from a multitude of platforms. Films, Tracks from other Artists that speak to me, Artwork etc. I usually have to feel something before I sit down and create a structure.
The next part is developing a kick sounds and a distorted rhythm that partner well together. After that I will work on a hook and if the track requires it: vocals. The work I do on iVardensphere tracks tend to be much more akin to a that of a studio musician. I hear what I think a track needs and create from there. A lot of Scott Fox’s and I’s work tends to be complete collaborations where we engage a lot and work off of each other.
Do you play around in the studio, what is the cheesiest cover you’ve made just for fun?
I don’t take too much time to record just for fun but Displacer and I did a cover of the Johnny Cash track Men in Black. It was a purge for both of us I think.
Okay, back on track, is there a tour coming with ESA?
No tours as such but there will be a string of international dates for ESA in 2018. Those being Iceland in March, Japan in May and Canada in July. It’s looking like a full year and I can’t wait to throw these tracks out live!
