eno-obong On the Making Of ‘Piedmont Park’
What was the creative process like for this particular ‘Piedmont Park?’
Unorganized and random honestly. Beat-wise, my goal was to create a thicker sound at the time. Not try to be too overbearing but get better in the middle frequencies. These were a collection of beats that didn’t really have a concept until I scoured the internet for an idea. Usually, I watch documentaries on YouTube or David Hoffman is always great but nothing was clicking.
What was the initial spark or idea that led to the creation of ‘Piedmont Park?’
I’ve always had this idea of a calm party atmosphere. Like if a club was relaxed but actually had a great, engaging vibe. Originally I was going to work on an Angel Dust idea going through a club in the early 70’s throughout the night as different adventures happened. Kinda worked, kinda didn’t. But that made me think of the best party under wraps. Freaknik.
Can you talk about the recording and production process for the EP?
I like to run my audio through analog gear, cassette players, and outboard effects. I use an sp-303/sp-404 for my compression and run everything through a cassette player. In the parts where I am talking, I warped a few tape loops and added those as top-layer effects.
Can you tell us a bit about yourself and how you got started in music?
I’m a sample-based and electronic music producer from Houston, Texas creating since 2014. My goal is to defy genre boundaries by fusing jazz, electronic, ambient, and drum and bass into something new to experience. I’m influenced by John and Alice Coltrane, Sun Ra, Flying Lotus, Sam Gellaitry, and MF Doom. I really started turning my ear to music in middle school. Instead of what was on the radio down south, I enjoyed Pro Era and Clear Soul Forces. Once I got the crack version of FL in 2013 the rest is history.
Have you ever encountered resistance or pushback when experimenting with your art? If so, how did you handle it?
Yes, every day to push the boundaries you are putting yourself in new uncomfortable situations. Having time to create is a big deal, not even because I have a normal job. But because I’m learning the extra things you have to do for music to not only satisfy me but speak to others. Coming up with promotion plans, contact lists, and collaborating with other artists. Hearing the no’s and getting left on read. As my homie ShermStx would say, the high’s and the low’s. They are always there but I’m at a point where I can look back and be proud I never stopped creating or let anyone tell me what I believe should be good.
