A few days ago, I shared the striking new track and video from London-based experimental artist ELDR. There was so much to unpack about her, and the single’s, story, that I needed to follow it up with an interview.
By Graeme Smith
Feature photo by Luisa Clauss
ELDR is the performing name of Marina Elderton, an artist and award-winning film composer. She’s just released her single Deer Skin which tells the story of a past, abusive relationship, bringing the emotion of it to life through her unique style and powerful music video. I posed some questions to Marina about her reasons behind releasing the single, the video and her experience of the music industry.
GS: You’ve just released a new single Deer Skin which you describe as “the tale of being in a coercive and psychologically abusive relationship – something I’ve experienced personally.” Firstly, I’m sorry to hear that. What made you want to share the story and write this song?
ME: Thank you, it’s all in the past now luckily. I wrote Deer Skin from quite a cathartic place, responding to a lot of intense emotions I felt during that time. It’s mentally confusing when the person you love can also make you feel suffocated, and even terrified at times. You’re constantly dancing between a state of bliss or agony, and that’s the seductive dynamic that I think keeps a lot of vulnerable people in these kind of relationships. You’re just waiting for things to feel OK again, and when they do you feel grateful. You learn to behave yourself out of a warped survival instinct. It made me feel like a deer being hunted and lured, and that’s where the song emerged from. I hope by talking openly about it might help anyone going through a similar experience.
The track comes with a striking video. Can you tell us a little bit about the story of the video and how it came about?
The video was shot in black and white in a beautiful abandoned chapel space with an amazing team. It’s directed by my partner Philip James McGodlrick with cinematography by Luciana Riso, in association with Cooke Lenses. It elaborates upon the themes in the song, telling the story of a deer being hunted in the form of a dance. The archers represent oppressive, coercive figures who try to seduce the deer to his death. During the creative process it was clear to us that an intersectional theme of racial violence was also emerging. The movement was choreographed by Alex Kamienski and it took shape quite organically with everyone’s collective input. Modest Mulenga gives such a stunning performance as the deer; I’m so grateful for the vulnerability he channelled and how open he was to the process. The video has a bleak ending which might feel uncomfortable and confronting for many to watch. We spoke about it as a team, and, with Modest’s encouragement, we decided to release it unchanged, because there is an undeniable truth that these issues still pervade society today. Particularly in America where police violence against black communities is frequently lethal.
As well as releasing your own music, you also write scores for film and TV. How would you say your approach differs between the two?
I really love both worlds. They’re very different but I think one nourishes the other. When you’re composing for film you are working much more collaboratively with a team of non musicians. You have to be extremely fluid and leave your ego at the door because the music needs to be adaptable to feedback and a constantly changing edit. I find I use other parts of my brain for scores. Sometimes I’m thinking quite logically and mathematically, trying to hit certain points and destinations discussed with the director/ producer. It’s also a great opportunity to try all kinds of genres and instruments in a way I don’t with my own music. In comparison, my music feels like a completely free space. It’s much more personal and is lead more by instinct. Sometimes, I impose my own deadlines for ELDR work as if it was a commissioned job. It helps give it more structure and discipline!
Your sound has been compared to some of my personal favourite acts – Bjork, Joanna Newsom, Portishead. How do you take those kind of comparisons? Do they resonate or do you feel there are better ones? Or maybe none at all?
I’m completely humbled by those kinds of comparisons of course; they’re amazing artists! I actually hadn’t listened to a huge amount of Bjork until people kept pointing out the comparison. She definitely takes artistry to the next level, an incredibly inspiring musician and woman. In some ways, comparisons can be useful to help position yourself, but, ultimately, I think we’re all unique products of a homogenous mass. Our influences infuse in us and metamorphose into something new along the way.
You did a live show last year that was also a VR experience. I’m intrigued! Can you explain a little how that worked?
Yes! I collaborated with the artist Balbina Bochuzynska to make a visual short story called Black Pearl set to an instrumental version of Weak Potion from my last EP HÖLY STRANGER. Instead of just putting it up online, I wanted to do something a bit different. So with the help of Opal VR and my partner we created a VR headset experience where you can watch the film on a giant outdoor screen on a virtual island. We also added some interactive elements like a virtual merch hut, ELDR lyrics inscribed on the rocks that come to life with a Capella vocals, and a floating shell which you have to ‘unlock’ to activate the film. It turned out to be really a beautiful and mindful design, with a twinkling dusk sky and the gentle sound of waves as you walk around and explore the island. I premiered it as part of a live show and invited the audience to try it. We had some amazing feedback; lots of people commented on how peaceful it is as an immersive VR experience. The piece was also exhibited at the Institute of Contemporary Arts. You can now try an online desktop version on my website. I’d love people to have a go!
You’ve experienced the music industry from both the inside and the outside. Based on your experience, how do you think the industry is doing? How is it coping with the pace of technology and what could it be doing better?
It’s insane how fast the pace of change has been in terms of the impact of technology on the music industry. It’s a double-edged sword for independent artists. On the one hand, music has sadly lost its value with streaming platforms paying absolute peanuts in royalties, but, on the other hand, we have access to much bigger audiences without the need for gatekeepers like labels. I think more does need to be done to support fledgling artists though because music is slowly becoming an unsustainable pursuit without external support either from parents, family, or full-time jobs. What interests me are different economic exchange models like Patreon and Bandcamp, where people can voluntarily support an artist in other ways. Perhaps if musicians were more vocal about these struggles we’d be able to lobby for more of a cultural shift. People may underestimate the impact they can have by buying some merch online or at a show, or paying for an album on Bandcamp, but it really does make all the difference.
If you’re comfortable talking about it, you had a very unconventional upbringing among occultists and organised religion. How does that inform your worldview and your music?
It sounds quite extreme when phrased like that! My upbringing was pretty idyllic overall. I was just brought up with very abstract beliefs. My mother was involved in a meditation group ascribing to theosophist esoteric beliefs inspired by early occult figures like Helena Blavatsky and Alice Bailey. The principles informed my whole worldview as a child and teenager, and it wasn’t until later that I started to examine things and reaffirm my own, probably more agnostic, approach to life. The negative side was I probably became too accepting of very bizarre belief systems, and I ended up dabbling in a more extreme religious group via the coercive partner I mentioned previously, until I rejected it all. Despite the negatives, I think my upbringing was a catalyst for my creativity and imagination, so I’m grateful for that. And I’m still very drawn to rituals and symbols as part of my music and the visual worlds I paint around it.
What’s next for ELDR?
I’m working on my next single release and a music video where I ride a horse through a pink forest! My producer Knut Jonas Sellevold and I are stripping the production right back to a much fresher organic sound, laced with raw electronic elements. I’m really excited about the direction it’s taking. Beyond that there are a collection of new songs brewing. Hopefully I’ll have my debut album in motion next year.
Anything else you’d like to say to the readers?
Do something today that makes you feel good!
Dip your ears in the ELDR universe @eldrofficial. You can join my mailing list, and check out my ELDR Editions merch and beyond.
