Eureka The Butcher
Music For Mothers
(Dome Of Doom)
Release date: Mar 18, 2016
Dome of Doom is proud to present Music For Mothers, the debut LP from Grammy Award- winner and highly-acclaimed keyboardist and percussionist Eureka The Butcher (Marcel Rodriguez-Lopez of The Mars Volta and Zechs Marquise). Pressed on limited edition cassette and also hitting digital retailers, Music For Mothers is a cyclone of creative energy, rhythmic opulence and cosmic texture. The album showcases a duality of exotic electronica and subversive trap, entangled into a menagerie of colors and tones that are uniquely Eureka The Butcher. When describing the overall sound of Music For Mothers, Eureka attaches the identity of his music centrally to his family. He added the simple explanation, “This record is the sound of our household, the sound of our family.”
Music For Mothers begins with the influence of his mother Frances Sarah Rodriguez-Lopez. She accelerated his foundation in music with access to various instruments, a treasure trove of music history, and teachers of various capacities. In his early phases of music discovery, she specifically influenced his gravitation towards the piano. With his early love for percussion in tandem, these two areas have remained intimately close in the way he creates music. His first touring assignments with The Mars Volta in 2004 required him to present all of these past teachings in a highly accelerated musical environment that encompassed an eight-piece band, extensively drawn out compositions and sold out crowds to match. Every musical contribution he has made before and after that point has been accumulated in the spirit of his debut solo record Music For Mothers.
The unfortunate experience of losing his mother in 2012 pushed his creativity to a unique place, compelled to honor her legacy musically and also heal with his family from the devastating experience. Also finding the strength to go beyond his own world, Music For Mothers was created for women that give their children a spark and passion for the beautiful sides of life. It is a means of honoring the most important people on this planet, and preserving the admiration he has for these connections all over the world. Sonically, the melodies are darkly infectious with the bass tones riding out raw and thick. The drums and Latin percussion traverse in dynamic flourishes, and every synth line blasts into portals of the future. Eureka created the album at the frontier of electronic music, and it’s a fitting outcome to see it land on physical and digital formats with Dome of Doom and Alpha Pup Records for 2016.
The recording process surrounding Music For Mothers speaks volumes as well. The way Eureka The Butcher soaks in energy and environments for the formulation of his music encompasses a voice of the world. Recorded against a backdrop of touring with The Mars Volta and Zechs Marquise, he seeked any space available on the road to capture the emotions and sounds that were brewing within. “I worked on it in buses, vans, planes, dressing rooms, airports, hotel rooms, backyards, sidewalks, just about everywhere.” This fluctuation of energy is all over the record, pushing the boundaries of electronica’s current modern tonality to include new ideas into the genre’s idiom. It is a global interaction with the internal triumphs and battles that he’s been experiencing since his professional music career began.
Eureka wrote all of the music on Music For Mothers between digital and analog means. It is a hybrid record that was further enhanced by the mastering process undertaken by Daddy Kev at Cosmic Zoo. Every tone, rhythm and sound is derived without samples, a fact that is important when understanding the overall style that he brought together. Composing began on digital software, arranging sounds to adapt back to the piano and his impressive gear set up for the recording phase.
“As far as gear goes, it was a different approach for me,” states Eureka. “I was experimenting a lot with software and new technology like the iPad and OSC (open sourced controllers). A lot of those parts were played and written on various iPad apps that involved mapping notes to things other than a keyboard. I wanted to play music in a new way. So, for instance, I wrote bass lines and chord progressions by throwing shapes around on the iPad screen. Those shapes were designated specific notes. When the shapes collided with one another they would generate a note. When the shapes collided with the edges of the screen, they would generate a different note. Then I learned to play those parts on a piano.
“I also made my own software sequencer that was controlled with the iPad, but was modeled after an analog sequencer. I was able to sequence parts that I would never have been able to do on a hardware sequencer. It was a hybrid, the best of both worlds. Again, I would go back and learn how to play the parts and write additional parts to compliment the song. That part of the process is where my regular habits would come into play: using analog synths, electric pianos, and small percussion to record the parts live. My go-to pieces of gear were a Moog Voyager, Access Virus, Fender Rhodes, Hohner Clavinet, Mellotron M400, Roland Juno 106, and various effects pedals and Latin percussion.”
Eureka The Butcher’s love for analog culture even bleeds through into the album artwork from Zeque Peña, complete with vinyl ware marks intricately interwoven over a picture of his mother holding him as a toddler. Fast forward 30 years later from the point of his life depicted on the cover, and Eureka is now embedded into the bubbling state of growth that has emerged from the Los Angeles beat scene.
- 1. Here Comes Eureka B
- 2. Cold Ass Feet
- 3. The Home Stretch
- 4. Swag Shit
- 5. Barbeque at Channel One
- 6. Heavy Programming
- 7. Main Frame
- 8. Sarah Monster
- 9. El Paso Research
- 10. Desert Rituals
- 11. My Brother the Sun
Produced by Eureka The Butcher