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Even Brenden AKA Chmmr Interview / 'Auto' Review / Full Pupp

Even Brenden, Chmmr, Interview, Full Pupp

Even Brenden is Chmmr. He has released on Luna Flicks, Relish, Dødpop and Untz Untz Records. He started releasing on Full Pupp in 2014 and has stayed in the fold since then. I like his stuff. Here he goes with a full player and its great. It’s also in the shops now as I have been a little slow getting to this one. He’s got a really great way with melody has Even. Doesn’t over cook it or add to much to the program and everything sounds warm and kind to your ears. His new album is called ‘Auto’ and is well worth a minute of your time to see if it is up your street. It is a quality listen from top to bottom pulling in that arp-y Nordic sound without over dicing the potatoes. Nice fx, warm synths, and lots of nice basslines and melody are the order of the day (not sure whats up with the food analogies today). Stand out tracks for me are the arpeggiated ‘Nine Chains To The Moon’, the percussive roll of ‘0x60’ and the Japanese lean of ‘New Slam’. Even even (sorry) brings the Zouk in ‘Alles City Beat’. Oh and I also like the closing track ‘Welcome Onboard’. Lovely melodies. Really loud I bet this album sounds super great as its put together so nicely. One to try later. Anyway, we spoke to Even to find a little more about him and what he does.

TP: How did the album come about?

Even: A little more than a year ago I had already made a couple of singles for Prins Thomas’ Full Pupp and he was pushing me to do a bigger release. I wasn’t really into it as I am generally not into club music in an album format, but he has this way of changing my mind (that I don’t fully understand yet) and I ended up being up for the challenge.

TP: How long did it take to come together?

Even: Well I took a month off work with the intention of writing an albums worth of songs. Whatever came out of that month was what is was gonna be. I like the idea of records being made in the same time- and headspace and it was important that it came it as something wholesome and not just a collection of single tracks. I also wanted to make slower, moodier tracks than before, sounds for living rooms if not for clubs.


TP: I know exactly what you mean on albums being recorded in a space and time. Makes them far more cohesive. What were you listening to at the time?

Even: Lots of early proto-house stuff, especially Italian stuff like Gang and Nightless. Also, come spring, I usually pull out Compass Point and Island stuff like Tom Tom Club and Wally Badarou, so that was mood I was gonna try and set. Really not sure if I succeeded with that, but nevertheless I ended up with a handful of tracks that I was really happy with. So it took a beautiful, intense and very enjoyable month of spring 2016 to compose most of the tracks and then some mechanical work like mixing and finalizing after that.

TP: What is the story behind the sleeve?

Even: While I was making the album, I received a newsletter from this computer science mag that visual artist Harold Cohen had deceased. He did some pioneering work on programming machines for automatically composing digital print that I find interesting for several reasons, but that is first of all very aesthetically pleasing to me. I browsed some of his work and found a piece for cover art that quickly turned into a “I need this and anything else will be second best”-situation for me. Luckily I got a hold of his trustee and got it licensed. That’s pretty much where the title for the album came from too – cover image being made by a robot and all, and these somewhat retro-futuristic musical influences mentioned earlier. Automation.

TP: Finally, I have been lost in the studio (and getting more and more lost) – what did you use to make this record?

Even: I used a Roland JV-2080, a Sequential Circuits Six-Trak, a Juno-106 (that I sold right after from going mad having to replace the voice chips all the time), a Yamaha TX81Z and a Lexicon LXP-1 for reverb. Got a friend to overlay some electric guitar here and there. Drums are mostly single shots samples and I use Ableton Live as a DAW.

TP: Nice. Thanks for the time Even.

Even. Welcome!

‘Auto’ is out now on Full Pupp. Check it HERE.

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