If Looks Could Kill Danton Eeprom

• 1 Melodrama in Cinerama 03:04
• 2 Biscotto And Chimpanzee (feat. Birkii) 03:41
• 3 Hex Tape (feat. Emma Darling) 04:01
• 4 FemDom 08:26
• 5 All American Apparel 03:38
• 6 Never Ask, Never Tell 05:36
• 7 All Dressed Up (And Nowhere to Go) 04:49
• 8 Occidental Damage 05:16
• 9 Hungry for More 07:05
• 10 All Eyes on Me 04:19
• Total Runtime 49:55

Info for If Looks Could Kill

Sophomore album from London-based electronic pop experimentalist Danton Eeprom. The aftermath of an intense period at the controls of his purpose-built studio, the result is a record which is hybridised at its core, where songs gradually intertwine with dancefloor values and risqué lyrical references.

„If Looks Could Kill“ takes the listener on a journey from the hook-laden synth-pop of „Biscotto and Chimpanzee“ via the lascivious hip hop of „Hex Tape“, the Roxy Music-esque „Never Ask, Never Tell“, the late night thug house club sleaze of „FemDom“ and „Hungry For More“, climaxing as the sun comes with the elegantly wasted „All Eyes On Me“.

Danton Eeprom
Eeprom stands for Electrically-Erasable Programmable Read-Only Memory. It keeps vital data safe in electronic devices and can be read an infinite number of times.

Danton was introduced to the world of computers when he was just a boy growing up in Marseille. When Mrs. Eeprom bought her son a Thomson MO6 computer at age 6, she probably didn’t realise she had changed the course of his life. After studying computers (obviously) and English (he had always loved anything English), Danton started to teach himself how to make music. His high school band Dust Art, a seven-year creative adventure, allowed him access to the ‘Rose Des Vents’ studio in Aix-en-Provence, not far from Marseille. It was here, while recording the group’s album that he honed his mixing and production skills. Although the album was never released, the studio time turned out to be an invaluable formative experience - between day sessions as an assistant he would spend his nights learning how to tame the classic analogue synthesizers and high-end recording gear, experimenting with their quirks and unique sound. He became a trusted member of staff with his own set of keys, the studio’s de facto apprentice. And so it was here, far from the suburban hubbub, that his first album "Yes Is More" was recorded.

The next step, on a whim, was leaving for London with just a laptop and keyboard in his pocket, so to speak. Without funds, it was tough finding somewhere as well-equipped to record. Luckily, support from Andrew Weatherall in both interviews and radio play facilitated things quite a bit - frankly, there are worse guardian angels to have. Little by little, Danton managed to build up the home studio of his dreams, requiring a lot of hard graft, so much in fact that he admits he was close to giving up at least a dozen times during the recording of the album.

Thankfully, London inspired him - getting noticed was tough, the weather was frankly nothing like the south of France, but people respectfully let him do his thing and encouraged his originality, giving him the strength to continue. The insatiable dandy had found not only the haven of peace he needed, but also a powerful creative stimulus. "Never Tell" is like seeing Bryan Ferry emerge from the evening fog after a Roxy Music concert in Hyde Park!

“Work hard and play hard”, as the saying goes, and Danton was eager to do exactly that, taking his perfectionism to extraordinary new heights. “If Looks Could Kill” took eighteen months to finish and certain tracks went through 26 iterations before reaching what he considered satisfactory excellence. Danton had taken his time for once, supported by Alexandre Cazac, label manager at inFiné Records and just the A&R man Danton needed.

And so he does it all - both racing driver and mechanic, the champagne finish and oil up to the elbows. And always with an off-kilter sensitivity that finds its force in his childhood, something he cultivates in order to stay sharp.

Booklet for If Looks Could Kill