Eddington Again

Alt R&B sonic sculptor Eddington Again and I shared stories of our creative voyages—one leading to the bustling streets of Berlin, and the other to the quiet solitude of a writing nook. In our latest episode, the songwriter, singer and composer delves into their artistic metamorphosis, charting a course from their West Coast beginnings to the introspective melodies of their debut album "Naomi 9." Our conversation taps into how physical spaces, from sun-kissed coasts to the brooding German capital, leave an indelible mark on artistic expression.

There's an unspoken language in the meticulous composition of music, much like the careful curation of a living space. This episode peels back the layers of Eddington Again‘s songwriting craft, where each note is placed with intention, telling its own story. We wax poetic about the pressures of industry demands and the constant pursuit of output, celebrating the purest form of expression that emerges despite, or perhaps because of, these challenges. It's a dialogue that honors the intricate dance of creating art that resonates with the soul of listeners.

Finally, we bridge the gap between solitude and the rich tapestry of collaboration. Reflecting on the transition from pen to keyboard, and how our individual journeys through isolation can unexpectedly fuel the creative flames. Eddington Again opens up about the dynamics of working solo versus in harmony with others, and the search for those rare collaborators who share the same fervor for music.

Eddington Again‘s album Naomi9 is out now on !K7 Records here

Presented and produced by Paul Hanford 

Paul Hanford on Instagram

Lost and Sound is proudly sponsored by Audio-Technica

Paul’s debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. 

Subscribe to the Lost and Sound Substack for fresh updates and writing.

Lost and Sound title music by Thomas Giddins

INSTA

Transcript

Speaker 1 0:01

Lost and Sound is sponsored by Audio Technica, and right now I'm wearing a pair of their ATH M50 headphones. I love them. They fit great and snug. They're for the studio or out and about, for example, like where I am right now on a busy street corner in Berlin. Audio Technica are a global but still family run company that make headphones, turntables, cartridges, microphones studio quality yet affordable products, because they believe that high quality audio should be accessible to all. So, wherever you are in the world, head on over to AudioTechnicacom to check out all of their range of stuff.

Speaker 1 1:33

Hello and welcome to episode 123 of Lost and Sound. I'm Paul Hanford, I'm your host, I'm an author, a broadcaster and a lecturer, and Lost and Sound is a weekly podcast where I chat with an artist who works outside the box, from global icons to trailblazing outsiders and emerging innovators. We talk music, creativity and perhaps the most daunting part of being an artist the praxis of life. Previous guests have included Peaches, suzanne Chiani, jim O'Rourke, chilly Gonzalez, Cosy Funny Tutti, jean-marie Selja, mickey Blanco and Thurston Moore, and today you're about to hear a chat I had with songwriter, singer, composer and sculptor of futuristic and distinctly idiosyncratic R&B, eddington, again. Meanwhile, my book Coming to Berlin is still available in all good book shops or via the publisher's website. The publisher is Velocity Press. If you've not read it, buy it. Please buy it. I really want to go on more holidays this year, okay, so now on the show in a minute.

Speaker 1 2:40

You're about to hear an interview I did with California Born and Raised, now Berlin residing artist Eddington again. We spoke because they had a little while back released their debut long player on the Berlin based K7 label and, like a lot of debuts, it's the culmination of a long journey. There's a lot of life, a lot of lived in experiences that go into making a debut piece of work generally, and I think it's always interesting how artists convey this. In the case of Eddington again's debut album, which I should say is called Naomi 9, I found listening to it to be a really kaleidoscopic experience. It's futuristic, it's soulful, it has bits influenced by rave culture, other bits go a bit post punk, goth almost. It's psychedelic, it's dense, there's cinematic stuff going on. Yeah, it's always really, really intimate and I think the glue that meshes it all together is Eddington again's voice. So when I first listened to it it sounded like an album with lots of additional vocalists, backing singers, kind of really, really on point guest singers, but I realised actually, to be honest, during the interview that it was all one person, it's all them singing.

Speaker 1 4:02

And now each of us here perceive sound in our own uniquely personal and distinct ways. And I'm not a massive lyric person, I don't really hear lyrics and that might be weird knowing, but I'm an author. But it's true, I'm more orientated to the sonics of music. So with voices and I do love voices why here is really not the words but the shape and the texture and the depth and the sound the words make. And this debut album by Eddington again, really, really, really has so much depth and detail in on that. So even a num num like me that doesn't really pick out lyrics very well goes on an emotional journey with it.

Speaker 1 4:51

Before Eddington, again, this has been the culmination of a near decade long journey of exploring music under this nom de plume. Prior to that, they were in acclaimed psychedelic hip hop and R&B outfits, audience and projects, both of which became fixtures on the Los Angeles music scene. And that was going back over a decade now, during the time of the blogs, the blog era, the era prior to now, prior to the rise of the influencer culture, and we talk about this in quite a frank way. As is often the case with Lost in the Sound, there are moments of rawness and vulnerability that we share together. I really, really enjoyed talking with Eddington again, and we had this conversation few weeks back, at the beginning of March 2024, and this is what happened. Eddington again, how are you doing? How's your mood at the moment? Are you enjoying this vague little drable of spring?

Speaker 2 5:57

Yeah, it's refreshing, definitely. I like a sap for 30 minutes, just like barefoot in the park absorbing the sun, and like grounding. I need the vitamin D.

Speaker 1 6:10

You can go for so long without it and, as a California native but now living in Berlin, do you find that your creative energy is different between these two cities?

Speaker 2 6:20

Definitely. I feel like I was more productive in LA.

Speaker 1 6:25

Why is that, do you think?

Speaker 2 6:27

I don't know. I think maybe it was just the sunlight, maybe more optimistic, maybe a bit like energetic, I don't know. Yeah, I can't put my finger on it actually, but I made more songs when I was in Los Angeles. I definitely make less music here.

Speaker 1 6:49

Do you think there's got something to do with the lifestyle here as well and the sort of pace of life? I find that when I moved here from London that my output definitely got a lot slower. I felt I was more encouraged to take a slower view of life as well, which was good at the time, but it didn't mean I got lots of stuff done initially.

Speaker 2 7:12

Yeah, I don't know. That's interesting. I'm not really sure exactly. Yeah, I do know that, like I or maybe it's because I finished the album that I just slowed down, because things have changed for me like in my life since I've been here Before I moved here, I was really working towards like finishing a project and like completing my first album, and maybe because I've done that, I've kind of like took a step back and just reassess what I wanted to do, that could actually be it. I don't even know if it's the environment. I honestly think that's it. I think that might be it.

Speaker 1 7:55

Yeah, yeah, I mean I get like an album a night, because there's quite a long period between you starting to perform as Eddington again and the album. So does that feel like a kind of a completed circle to you, then? Do you think in finishing it?

Speaker 2 8:15

Yeah, I think an album for me wasn't even realistic, just like I feel like there's so much conversation around albums traditionally, in which, like there should be a concept, there should be like a bridge, there should be interludes.

Speaker 2 8:32

You know, I feel like especially like people I grew up in the 90s, so like 90s albums just kind of felt so theatrical A lot of them. It's like you kind of want to live up to like the albums that you thought were amazing. But then eventually I was just like I've made so much music and I have so many songs that will make sense on the debut album. Let me just make an album, you know, because there was even like labels who wanted me to just like keep putting out their EPs and building up an audience. Even K7 initially wanted me to put on EP, but I was like I'm not, it doesn't make sense for me to keep putting out EP. I feel ready for an album and I feel ready to do another album after that, you know, and it's like I feel mature. I feel mature in my craft and I feel like it's just time to like reset.

Speaker 1 9:18

Yeah, sorry, I didn't mean to cut in there, sorry.

Speaker 2 9:21

No worries, I don't remember the question. I was just rambling.

Speaker 1 9:24

No, that's good. I like the rambling. It's like 99% of the podcast works best for me when we all just ramble. Yeah, what kind of albums was it from the 90s then that you've had in your mind when you were making this album? Or perhaps not necessarily, you know, not in. I don't mean in terms of emulating, but in terms of, like you mentioned about these kind of standards of like theatrical perfection, I guess in terms of the album format.

Speaker 2 9:51

Yeah, I think, like I think for me, like the albums that stood out to me the most, like from like late 90s and early 2000s, like I was from Janet Jackson, usher, dip Set, Cameron, and then like later in the 2000s, like Santa Gold, that was when my taste got like a bit more eclectic. But I say like early on, like it was definitely like Janet Jackson, usher, cameron, dip Set, even Michael Jackson, yeah, maybe Rashadé Anita Baker, yeah, yeah, good examples.

Speaker 1 10:36

Yeah, and you mentioned about eclecticism, ben, as well, and to me the album does feel very, I think, what I really love about it. Well, one of the things I really love about it on a sonic level is that it's sort of very eclectic. Yeah, it feels like very, very unified and fluid. Was that something that you tried to push or is that just like a natural part of, like, how you interpret music and relay music out to the world?

Speaker 2 11:06

I feel like over time my taste in music and like my palate for music grew, and then also the more I made music kind of, the more I got obsessed with making music. So got to a point where I was like influenced by artists who I thought were really like special, like Andre 3000, c Lo Santago, black Party, azulia Banks. Like those artists were like these artists could kind of like touch in like any like sector, in genre. I think that's like a really special thing to have and so like. With that and then, like my intake, I was like, okay, so this is like my influences, this is artists that I appreciated, these are sounds that I appreciate. And you know how do I express what I love about these songs in my own music? And yeah, I think, as like time going on and like I was just like hearing experience it did for sounds, I was just like just kind of like relaying what I felt internally in the recordings.

Speaker 1 12:18

Did you sort of, I think, like alter egos the idea of alter egos as well, seems to be I don't want to make a presumption, but does seem to kind of play, I get an impression plays a role in the how you put across your identity within music. And I wanted to kind of ask, like if that is true and it might not be true, what roles do having alter egos have for you with your music?

Creative Process and Industry Pressure

Speaker 2 12:46

I feel like if there is a sense of alter ego, it's probably something subconscious, because I've never really like connected with, like alter egos. I feel like alter ego is something like a character, like character building right, like you have like an alter ego in it. You kind of like examine like these character traits of the alter ego and like how is the alter ego that would express itself in this hearing, like you know, here or now or at this point, I feel like maybe alter egos is something that I have yet to like explore. For me personally, when I make songs, and it seems like a lot of people say like oh, your song sound like you have feature artists on your songs, but all the all the vocalists are you.

Speaker 2 13:31

And it's like I'm just like hearing an instrumental and responding to the instrumental, what I feel would be appropriate. You know what I mean. So it's like if I was hearing this instrumental, what would the vocalists who connected with this instrumental, how they express themselves over this? And it kind of also has like. It's like I feel like I like download influences when I hear certain instruments and so it's like I could be just like channeling a different artist, channeling a song, channeling a sound channeling, an emotion that I've had when I've heard something similar, but I have yet to really like evolve that into like a character, like an alter ego.

Speaker 1 14:13

Right, I was listening, thinking like who are the guest vocalists on that? Oh no, it's, no, it's. It's all you.

Speaker 2 14:20

I never even thought about that until people start saying I was like yeah, I guess that makes sense.

Speaker 1 14:24

Yeah, so I get. I mean, do you think that last connected with like a natural sense of how people would arrange things, that you could go into the same to like maybe like how you might arrange your living space or how you might cook a meal or something like that, just like a natural sense of having a feeling of where things should go?

Speaker 2 14:43

Definitely, Definitely. That's why I always like I mentioned to people that I'm a composer. Yeah, I always mention to people that I'm a composer because, like I feel like a lot of artists, musicians, like have a tendency to like use their attention to detail in different ways. Like I'm definitely a songwriter, a storyteller and a composer, but I'm not a producer. You know, like I don't sit and like listen to 10 cents in a row for hours. I won't like sit with the keys for hours, but I will like sit with a song for like two years as a composer. Into a sounds from top to bottom, everything is place where it's supposed to be, and I'm listening to the entire song and nothing is like sticking out to me or throwing me off or making me feel negative. You know what I mean. So it's like that attention to details, Like that's what I do with my attention to detail.

Speaker 1 15:37

Yeah, kind of like gardening or something For sure, for sure. And do you find that you're a patient person or do you ever get like really impatient for ideas to just be ready before they are?

Speaker 2 15:52

Yeah, I feel like if I get impatient I just stop working on it, like that's always like best for me, like if I'm feeling impatient, maybe I'll push out all the ideas I have and then I'll stop working on it for a while, because I feel like every time I come back to something with a fresh ear, it's just fresh inspiration.

Speaker 2 16:08

You know, a lot of times I record things and forget that I even recording like, oh, this song is awesome, and then I finish it. You know what I mean? Yeah, and then I was like Venture Fire was one of those songs where it took like a year to make, because I was like recorded so many different versions and they kept going back and like, nah, this isn't right, this isn't right. And then at one point I was just like sitting in a living room my ex-boyfriend's house and just like listening to Pentrafine. I was like, oh, I look, exactly what this means and just like recorded the post like second half of the song, and it was like the fifth version of that, and then finished it and then, as I get this done.

Speaker 2 16:45

It just like moved on.

Speaker 1 16:47

Yeah, I love it how these things can just suddenly just drop after years of like so much time. I think it's like more pressure we put under ourselves sometimes like the less we can see Definitely.

Speaker 2 17:00

Definitely. I mean I've heard that, like you know, like pressure makes diamonds, and then like people like work better under pressure. But I don't know, I feel like my life already has so much pressure just like under, like capitalism and you know all the other obstacles that I think that, like I don't know, emotionally, pressure doesn't make me feel productive. I mean, it's like if I pressure myself to figure, like push something, it's like I'm gonna, like I just feel frustrated.

Speaker 1 17:31

Yeah and like, like you say, there's so much else in the world that is frustrating, that puts pressure under people in different ways that the sort of stuff that we do out of love. Should that really be a place that we have these like sort of really kind of? I think it's also kind of like capitalist narrative that gets woven into creativity now of like you've got to put out a content, you've got to do this, you've got to do release something on a Tuesday or or whatever like that, which I don't think really fits in and makes people feel good in any way If you put pressure with that at any point to to live up to standards that put down on you by the industry.

Speaker 2 18:09

I mean all the time, you know, all the time. And it's like, even when I do get like a lot of positive response on like a video I upload, I'm already thinking about, well damn, how I'm gonna follow up with that Like or like, if I'm like I uploaded a video, it was just basically just like me in like a room, a studio, like wrapping page, and find like a lot of people really liked it and commented and shared it. And then I was just like, damn, this video has gotten more attention than almost any video that I've uploaded in the past year and, just like you know, it gave me a perspective on what people actually wanted to see from me, which is just like a simplicity of, just like you know, raw talent and expression and you know just how effortless. I don't like to call it effortless, but it's like now it kind of feels effortless because I've worked towards it. I've been doing it for 10 plus years, so it's easy for me to do in a sense.

Speaker 2 19:05

But it's just like, how do I follow up with this video? And like, why all this other shit that I spent, like you know, $6,000 on making these, all the rest of this content is not living up to this one video that we only shot in like an hour, and it's like I don't know man. It's like content is frustrating as hell, like I missed the days to just email a blog, you know, just like hype you up and then all of the record executives would be emailing you. That was the fuck. That was the level of the losing. I enjoyed this fucking Instagram shit, man Kissing me off.

Speaker 1 19:38

Yeah, yeah, definitely. It's just offloading it on the artist to do everything, is it? But you sort of started as well, like during that time, during the great blog time I don't know if that's an official term, but you know like the late noughties, early, early 10s.

Speaker 2 19:54

Yeah, like I started making music in 2009. And then I had a group named audience with me and my sister and my friend Kevin and then my friend Pablo, and it was like around 2011 or 2011, 2012. Like we made this video and it was just like a really cute video. We're in Echo Park, you know, just like hanging out and like on a construction site, like just rapping, riding our bikes. You know just like these Hollywood vibes and like at the time that wasn't really like present on the internet. You know what people were called.

Speaker 2 20:32

Hipsters were just actually, you know just artists in city, just like you know, living on our live rap and making music. And Pablo was just like very talented as a video artist, so they kind of like shot it through. A lot of this like really beautiful in it, like imagery of just like us, you know just being ourselves, and so we I sent this to a bunch of blogs after my friend gave me some contact with him the intern at a record label and so I just emailed like probably like 50 to 60 people this symptom, this video that we did, and then this blog called the recommender picked up on it and basically the recommender.

Speaker 2 21:08

Have you ever heard of that? I haven't.

Speaker 1 21:10

No no, I mean, I was into blogs at that time, but there was so many and I think I was in London, so maybe there was a slightly different angle of listening as well.

Speaker 2 21:19

Yeah, okay, apparently, like the recommender was like the industry, some type of industry blog, right. And so at the time, like a recommender, the recommender was like I guess who the industry was looking to for like artists or whatever. And so, like the recommender, wrote this really long like article on why he loved this video and why he thought that our group like the next big group and then, all of a sudden, like you know, scott Roger, and like Mercury records and like all these lawyers were like in my inbox and like got flown around the United States with the South by Southwest. We got flights to New York. We signed with Mercury records in the UK. We signed like with Scott Roger for management. Like we got like a fat ass advance from like Mercury is in the UK, all because it's one blog post. No Instagram was out yet.

Speaker 2 22:09

No, nobody gave no numbers or nothing, but we were just like this mysterious new band in LA. You know, gonna be like the next big thing just because of all of that, you know. But like if I don't have a certain amount of followers on Instagram, then people don't care. It's like that went from that to that and it's like the park.

Speaker 1 22:32

Yeah, yeah, I know it's weird, because I had my band. Experience was like in the late 90s, early noughties, and it was kind of old school and we made like a demo tape. Me and some friends made a demo tape over a weekend and we had like a bunch of labels that were bidding over it and it was a real surprise. But we had never played live and we hadn't written any songs that weren't on this demo tape, you know, and so it was, you know. Again, it was like the idea of we had press, but it was all like print press as well, you know, there was no, not even on blogs, and so it was just this kind of. It felt really mysterious to us and obviously we got a bit lost because we hadn't written any other songs or played live and so we had no backbone to carry us through beyond that. But it was, it was a really weird experience. So I feel like now it's like when people just see statistics, you know, make a decision based on statistics without checking out the music necessarily.

Speaker 2 23:35

I know and it's crazy because it could be manipulated in so many different ways. You know people could just pay for ads and pay for content and even pay influencers to share your music. Like there's like a I forgot what the app is called, but there's an app that you could pay like $110 for a campaign and it sends it out to like 60 influencers and the paid a certain amount based off their engagement with your music. And it's like if you could just pay and have influencers to share your music all the time on TikTok, that's how you become famous and it's just like you just manipulate the whole game, regardless of what your music even sounds like. You know what.

Speaker 1 24:18

I mean yeah, yeah.

Speaker 2 24:21

And it's like what's about?

Speaker 1 24:22

who has the money to do that as well?

Speaker 2 24:23

Exactly exactly. And it's just like, yeah, I feel like I'm not upset I mean, I'm upset about a lot of things but like I'm optimistic because I have a vision right, and like I feel true to my vision and I understand the vision and I just I have a clarity that helps me not to be jaded. But at the same time, it is frustrating to like kind of like have to wait until you feel like you have like an entryway or you have like the proper moment to like execute all these ideas, while other people are like floating bullshit and it's just like flying and going viral and like all this shit. And it's just like I really have to watch it, because I'm on Instagram all the fucking time and on TikTok it's just like wow man, it's like a mind fuck.

Speaker 1 25:12

Yeah, but so the vision that you have, and is that something that you feel that you've always had, like a sort of a sense of what that is, or is this something that has you've let develop or has developed with you over the trajectory of your artistic career?

Speaker 2 25:30

Yeah, I basically had a vision starting, okay, so I would identify like certain things that other artists that I really enjoy, right, like Cameron and Diff, said like he was always to me like a weird, like a strange individual and like a community of people who, like, would just do things that he felt made him feel good and made sense to him and seemed abstract at the time and then eventually people were just like, oh yeah, that's really fucking cool because he's so confident and he has so much clarity in his vision that he execute. It's like a leader aspect to it, like a leader in a GNSN. So I kind of like identify in different artists what would make sense to me, like I could see it reflecting in them, right, and so I just feel like over time it evolved and then it just evolved to a point where now I just have like a lot of ideas and a lot of just like a lot of fresh inspiration that I'm just like trying to execute and materialize.

Speaker 1 26:34

I'm not saying ideas are always easy or always come easy, but do you feel that there's a sort of automatic presence that you know what you want with a sound or with your identity, with artistry, or there are ever patches where you feel like you have to start looking again or start reexamining?

Speaker 2 26:56

I feel like these days I'm less hard on myself when it comes to ideas and output and I'm not afraid to be to see somebody else do something, but like, oh, and then identify why I like. Like. If I see somebody or I see a video and I'm like I really like that, this is fucking cool, I can quickly identify why I like it and be like this is what I like about this video. I'm gonna try this in my way. You know what I mean. It's like I don't really put pressure on myself to be like the most original or the first person to come up with something, because I understand that all ideas kind of just like float through a sphere and people pull them down in the sense. You know what I mean. So it's like it makes it easier for me to be like I have a pool of things that I want to do and every single day I'm seeing new things that I want to do and like I'm just jotting them down until I can figure out a way to execute them.

Creativity, Solitude, and Collaboration in Music

Speaker 1 27:51

And you mentioned that, about that every day. Do you have like a routine or a practice that you do to keep the energy up? Or, you know, keep yourself in the realm?

Speaker 2 28:04

I think for me writing helps a lot. Like I still I don't even write in where I type a lot. Somebody told me that I was depressing that I don't write anymore. But whatever I type.

Speaker 1 28:17

Oh, you mean? You mean from pen to typing, do you mean?

Speaker 2 28:20

Yeah, I don't really use a pen as much as I used to. I do sometimes, but I think typing is just more of a flow for me. I could just sit on a laptop and type for hours, so it's just like for me that really helps. And I type everything If I have an idea, if I have a frustration, if I have an experience, if I have. You know, I just sometimes sit there and just like let things flow like you know, I think that is a practice for me that makes me feel like confident and makes me feel like it makes me feel like powerful. You know what I mean? Because I'm like I can materialize these ideas and just go back to all these notes that I've been taking for years and just feels like an endless pool of just like ideas, you know, like a source.

Speaker 1 29:03

Yeah, and I think there's a kind of idea about like you make the workout, the journey you're on as well, rather than perhaps trying to grab something before you've got there, if that makes sense. So do you feel like the writing and the note taking is a form of like just building up this path of everywhere you go?

Speaker 2 29:23

Yeah, it also just helps me process. It just helps me process Because I feel like a lot of times, like when you start writing, like you'll end up in a flow and then, like some things that come out of you be like oh shit, all right, that makes sense. Like today, I was like writing, just thinking about like why I haven't gotten a response that I expected in my music or I haven't gotten like in Berlin specifically. I'm just like I don't really like spend a lot of time. Okay, so they say like certain people have like circles right, and within their circles there's like they look out for one another. I don't really and I was like, why did that? You know, a lot of people get like recommended for certain things and like I haven't got recommended for that. I'm just like, oh, I'm not really a part of that group of people and I think I don't really have like a circle per se, just because I like to isolate a lot. I don't know why.

Speaker 2 30:22

I think about that often, but I really enjoy isolation and I also think like it's probably like I don't like being stimulated by other people. For some reason, spend a lot of time by myself, and so that kind of puts me in a place where, like people call me mysterious or people just like you know, I end up out of sight, out of mind, and so, like I don't end up in like spaces where I'll see people who I don't want to say, just don't make music as good as mine, but I'm just like like why are they doing that easily? I can easily like do that so much better, but it's like you know that's their friend group, that's their circle, like that's you know their connections, and it's like I don't have those connections because I don't spend time with these people. And that's something that like a realization that I had today, when I was just like jotting down like notes and thoughts.

Speaker 1 31:12

Yeah, yeah, I mean, I think. I mean, I think everyone's different, aren't they? But I relate to similar experiences I have with that. I do, I don't know. I mean, I think you know I've always sort of bought into this idea or felt comfort in the idea that there's something, a connection with solitude and creativity. You know, and I know it's different for different people, you know, and I think there is a wonderful thing about collaboration as well and creativity, but I think you know there's a certain amount of stuff that you can only do on your own really.

Speaker 2 31:43

It's true. It's true I do write some of my best music by myself, but I do also really enjoy collaborating. Like Petrify is one of my best songs, but also K-Code is one of my best songs, and Petrify I made by myself. Alex sent me the instrumental and I just recorded the whole thing by myself. But also K-Code is a song that I made with Boys Noise and we made that at his studio. I didn't record anything by myself, I recorded it all with him.

Speaker 2 32:13

So it's like, you know, I feel like those are two really strong songs, you know, but I feel like one has way more detail. Like, if you could listen to Petrify, there's way more detail in Petrify than there is K-Code. You know, because by myself writing, you know, I also spent more time on it. Yeah, I enjoy style too. I try not to hide, though that's one thing I tell myself cause, like I feel like being alone can get really comfortable and then, like being outside can be overstimulating, so like it is easy to just be like hiding in space when you live alone. So I try not to do that, but at the same time, it's like I've reached an understanding and an acceptance that, like, I really do enjoy style too a lot.

Speaker 1 32:57

Yeah, yeah, I guess it's kind of knowing when it's good for you to leave that zone and go out, and things like that. Yeah, definitely yeah. And what do you like when you do collaborate, and maybe not just in music but socially as well, or in kind of like networks? What do you think are the most important values for you with the people that you do collaborate with?

Speaker 2 33:23

I like to collaborate with people who are, like, equally obsessed with music. You know, like people who, like, almost don't care about anything else but music. I feel like when I work with people like that, that's when I make the best song. I would definitely consider that valuable obsession. Damn, that's a good question.

Speaker 1 33:46

It's one of those. Come back to it in a day's time questions with yeah.

Speaker 2 33:51

I think I also look for people with similar tastes. You know people that enjoy you know similar artists, similar music, have like similar like listening experience, people that are like familiar with my like network, seeing global community. I feel like you know I love to collaborate with people where we have, like you know, 20 mutual friends, so kind of like we can like reference similar things you know, without even like having to say too much. Also, I like work with people who really love my music. You know, like, when people reach out to me and be like, oh, I really love Core 22,. I would love to make a song with you, I'm like okay, you get it, cause Core 22,. You know that's not like a normal song. If you hear that song and you connect with it, then it's probably me and you are gonna connect.

Speaker 1 34:38

Yeah, yeah, you put that there's. I don't really use the word hardcore tracks, but the more you know the tracks that aren't gonna be the kind of radio tracks that when people kind of connect with the deep cuts, I guess it's like yeah that's you know, that's something from the soul people connect with.

Speaker 2 34:53

Yeah, they get the essence.

Speaker 1 34:55

Yeah, yeah. It's like being in a restaurant and going for that meal that the chef really loves cooking but not many people ask for.

Speaker 2 35:04

Definitely definitely.

Speaker 1 35:07

Thanks so much for chatting with me today.

Speaker 2 35:10

You're welcome.

Speaker 1 35:14

Okay, so that's Eddington again in conversation with me, paul Hanford for Lost and Sound, and we had that chat on the 7th of March 2024. Thank you so much, eddington, again, for speaking to me about everything really that you spoke about. Their album, naomi 9, is out now on the K7 label. And, yes, Lost and Sound is sponsored by Audio Technica. Audio Technica are global but still family run company that make headphones, turntables, cartridges, microphones. They make studio quality yet affordable products because they believe that high quality audio should be accessible to all. So, yes, head on over to AudioTechnicacom to check out all of their range of stuff. My book Coming to Berlin is available in most good book shops or via the publisher, velocity Press's website.

Speaker 1 36:05

And the music that you hear at the beginning ooh, beepity, beepy. It's really funny how cars get really irate with each other sometimes, isn't it? It's a bit like just chill. I'd like to thank Thomas Kiddens for doing the music you heard the beginning of the end of every episode of Lost and Sound. This is Rosalie Delaney, and mostly to you, the listener yeah, have a really fucking great one and chat to you soon. People touch each other, thank you.