Illustration by Johnnie Cluney, Recording by Ian Harris, Video By Jake Lyle, Words by Landon Kuhlmann
Before I dive into each Daytrotter session, I like to read up on the band a little bit. This usually involves a quick Google search, which often brings up blurbs about the band from different music outlets. Reading what other people said about Erica Eso, the way other writers described them, had me more excited for a session than I've ever been. They instill in the writer a sense of wonder and amazement; I couldn't wait for my turn.
Erica Eso pushes electronic music forward with their contemplative noise-pop. The songs are a collage of sounds over surprisingly pleasant pop music, laid in like stitches in a quilt. They're arranged with incredible precision and a wide scope, allowing the songs to grow within their handful of minutes into something completely different than what they were at the start. Keep your ear perked to hear new layers of keyboards being added with subtlety, and listen for the bass dropping in and out to create nuance in each moment.
Despite the size of the band, there is a minimalist feel to the songs. Though layered, they don't feel overcrowded or busy. The songs feel like caves you could crawl inside to meditate alone while running your fingers along the colorful drawings on the walls.
A highlight of the session is "Fire Is The Mouth." The song starts out sparse but builds in arrangement and tempo. It's a perfect song to showcase the groups skill in making a good pop song that is still interesting and avant-garde. It almost makes you kind of wonder how humans could make this kind of music; sometimes it feels like a complex AI program was given a room full of Moog synthesizers and a thousand tabs of acid.
Most electronic artists use their medium to expound a fear of our encroaching chrome future, but Erica Eso's future funk synth-pop embraces it.
Erica Eso Official Site