Art d’Ecco
Art d’Ecco is a Canadian recording artist who refuses to be constrained by labels. While that’s a bland trope bandied around by algorithm-savvy Gen-Z popstars, Art d’Ecco is anything but. Instead, he’s a marketing department’s worst nightmare: a true original with no intention of conforming to a single genre, gender, style or substance. He’s no maverick – the word conjures up an annoying Aviator-and-leather-jacket phase – he’s a genuine innovator, a creative who loves coming up with ideas, testing them out, and seeing what sticks. Imagine a hacker whose medium is music and you might get something close to Art d’Ecco, whose new album, Serene Demon, is out now.
Somehow, Serene Demon is simultaneously an upbeat, playful record and a headlong plunge into esoterica. Pointed-toe (or should that be hoof?)-tapping jostles with full-throated exhortations to embrace the absurd, remain authentic and, in doing so, discover subjective meaning: in short, the existentialist credo. The self-doubt and angst which pervade the lyrics aren’t the petulant bellows of an indie teen-rocker; instead they creep in, insidious and riddled with the uncertainty of life itself. Where so many of his contemporaries are confused juveniles, lost in their own mini-dramas, Art D’Ecco is setting the stage, writing the script, and performing all the dialogue.
We were privileged to get the chance to quiz Art on his process, philosophy and, of course, his FAULTs.
FAULT: On the surface, Serene Demon (the album) could be seen as a passionate endorsement of existentialist philosophy. But the inclusion of some ideas – the paradoxical wordplay in the titles of ‘Serene Demon’ and ‘True Believer’, reflections on morality offset by the incongruous inclusion of the anomic Mersault, references to being “all doomed in the end” versus “condemned to be free” – suggests that that’s not exactly the case.
The result is a record that feels perfectly yet precariously balanced in this wonderfully terrifying state of utter ambivalence. That constant undermining of your primary theme feels too meticulous not to be deliberate so, I have to ask, what was your intention there?
Art d’Ecco: Thanks – that’s a great question! Serene Demon is a metaphor for the seduction of evil from within. It’s a malevolent force that is happy to lay dormant, until it senses weakness and pounces on its prey. This can manifest in all sorts of ways.
‘True Believer’ is written from the perspective of this evil. It’s whispering in your ear. It is lurking deep in your thoughts. Stalking you from from the inside…
How we overcome our own personal adversities and battle these so called “demons” is what I try to reconcile throughout the album. I wrote the title track as a conversation between two people: a believer in a higher power, and an existentialist. It was a nagging thought experiment (“a believer and an existentialist walk into a bar…”)
The idea of two people coping with the difficulties of the human experience, yet each employing a very different philosophical edict – was fascinating to me. It literally kept me up at night for months… like, “What if they were in a relationship that’s now coming to an end?
“What if they were commiserating over a shared loss or experiencing pain?
“Or what if they were two strangers alone in this world seated at a bar, having a deep, sensitive conversation about god and demons?”
On that note: a lot of what you do seems to be about playing off competing concepts to see what emerges from the dichotomy. Whether that’s your “contrarian approach” to gender identity in the alt-rock niche on previous releases, or (currently) the paradox of seeking meaning in a meaningless existence, you seem to relish the creative tension that exists between the space of apparently binary ideas. Have you taken a conscious decision to explore that as a musician, or is it more of a reflection of what you’re personally drawn to?
I think my contrarian ways when I was younger were driven by a rebellious spirit. An outsider howling at the moon, trying to make loud statements, trying to wake-up the whole neighbourhood. But lately I feel like I’ve honed in on what I am actually expressing with a lot more intention and maturity. That baby wolf is all grown up and the rooftop has a garden patio now – I’ve ditched the wolf costume too.
“It’s just me, Art. Shall I make us a couple Negronis?”
You’ve spoken about existing within the “paradigm” of your signature musical style while also challenging yourself and your listeners to create or experience something completely different. At the same time, you’ve been pretty candid about the difficult commercial realities of being a recording artist. What’s more important, in your opinion: satisfying the demands of an already-loyal fanbase or changing your sound/style/overall dynamic enough to potentially reach new listeners?
I think my job as an artist and a songwriter is to put forth and publish only the most inspired work I possibly can. Although I’m grateful for each and every supporter and fan I have, it would be a terrible disservice to pander to anyone at this stage in the game, you know? You can’t trick someone into liking your music – it’s an autonomous response. So one mustn’t be consumed with the notion of being as popular as possible and being everything for everyone. That being said, these days there needs to be a big enough audience for what you’re making in order to support yourself and live as a full-time artist.
Your music is unashamedly sophisticated, your lyrics delve into some big ideas bordering on the esoteric, and you defiantly refuse to fit into a prescribed ‘type’. Do you worry that you might be seen by some as elitist as a result? Further to that: looking at the current musical landscape, is there an argument that your art (or product, depending on how you look at it) isn’t particularly accessible by comparison?
I’ve been called a lot of things but “elitist” would be a new one…!
First and foremost – everyone is welcome to the d’Ecco show. There’s no secret handshake or special I.D. needed at the door. Come in, take your shoes off. Stay for a while.
Accessibility is a funny one. I had to battle hard for ‘Serene Demon’ to be the lead single on this album. Never mind focusing on it as the lead single: there were some people in the initial recording sessions who wanted nothing to do with it. In other words, I had to fight for it to be heard, even on my own album! At over 7 minutes long, it’s not contemporary or modern in any way, but not everything needs to be built for the streaming apps. Nor should it be! Perhaps I’m rebelling against that notion…
The release that preceded the new album campaign was a one-off single last summer called ‘I Feel Alive’ which is still charting on FM radio here in Canada, 7 months after release. I was able to use that as leverage. I said to the label [Paper Bag Records], “I gave you guys a feel good blockbuster summer movie, now let me make my arthouse Criterion Collection picture”.
I like big pivots. ‘I Feel Alive’ and ‘Serene Demon’ couldn’t be further from one another. But they are avatars for those two paradigms we speak of.
How would you describe your sound?
As you’ve already suggested, it changes a bit from album to album, but I think I’ve earned the right to be called something other than “glam rocker” by now. Open to suggestions! What would you call it?
Which do you prefer: the act of creation (writing music) or the thrill of sharing it (performing it live)?
Recording a new album is an epic journey by ship and rail through rain and sleet and snow. You see the seasons change. You experience growth. It’s a slow burn with highs and lows, and eventually you make it to the other side with an unforgettable experience and many core memories.
Stepping up on stage is a wild night out with all your friends. It’s an immediate rush.
Few things in life will ever come even close to that high.
I live for both experiences.
What has been the highlight of your career so far?
Surviving this long.
If you weren’t making music, what would you be doing?
I’d own a tiny little speak-easy style spot that was the perfect little neighbourhood bar. Unpretentious. Simple. A place for creatives to meet and scheme up their next moves. The food would be really good too. Vinyl record player behind the bar (or maybe an old fashioned jukebox out front?) Old worn-out ephemera plastering the wood panelled walls – like every cliched movie set from the 70’s and 80’s. Just a single exposed red light bulb out front above the door. No sign.
I’d be there every day like Sam Malone from ‘Cheers’, just hanging out and polishing glassware. Pouring pints, having a laugh with the regulars…
What is your FAULT?
I’m detail-oriented to a fault. Sometimes life’s a better experience and more enjoyable when you let things happen to you without an outline or predetermined plan. (I’m still working on that part). Writing about it was the first step…