The Many Hats of Fernando Damon
We caught up with the CT-based artist Fernando Damon to find out about his journey, creative process, future plans and what he would like to see from the South African music industry going forward.
Written by Neil Büchner Jr.
“At the core of it, my life was moving on and I needed to say something. I picked up the drums out of a need to do more,” Fernando Damon explains over coffee on a sunny Friday afternoon in Walmer Estate. “Essentially, I’m just trying to reflect what I’m feeling.”
Between his improvised electronic experiments in critical sound collective Dead Symbols and his eclectic beat-making practice and trio, he’s a difficult musician to pin down, but he wouldn’t have it any other way. One thing is certain, Cape Town-born Fernando Damon is no one-trick pony.
In the years following his debut single release, the drummer, DJ, producer and now label head has had his music playlisted on BBC, hosted radio shows on Worldwide FM and collaborated with Adidas, Kid Fonque and an array of local and international musicians. He’s also done film scoring work for Highsnobiety, KFC, and Anglo American Platinum, and performed on the same bill as Stones Throw alumni SAMIYAM.
Born into a musical family, his upbringing played an integral part in his sonic journey. Some of his earliest musical memories include watching his choral director grandfather conduct friends and family in his George church choir during the Easter and Christmas holidays. “That was my first point of reference as to how music could be used within a community,” he recalls. “Experiencing that at that age shaped what I would go on to do. I’m not doing gospel. But it is gospel, you know what I mean?” he says with a chuckle. “Music is a spiritual practice.”
After graduating high school, he felt a need to express himself creatively, so he dove into music production and studied sound engineering. “I wasn’t really working a job during that time in my life. So, for a good couple of months, before I went out and did live sound, my only reference point was what I was listening to.” Fernando says.
Immersing himself in the music of J Dilla, Madlib, Miles Davis, Aphex Twin’s Selected Ambient Works and the Low-End Theory movement, he worked tirelessly until he achieved his own style and musical language. He counts local beat-battling events like Button Bashers and fellow producers in the scene as significant influences as well. “With all the beat-making going on, I feel like we were sparring with each other in a sense. There was a bit of positive competition going on without saying it,” he reflects.
Hip-hop production was also a big conduit for his drumming. “If you listen to some of my early stuff; you’ll hear that I used a lot of less ‘electronic’ sounding drums, which is also a thing in and of itself which I really appreciate. I was kinda programming and playing everything myself, to get this kind of human touch. But what’s better than playing it, you know? The most human touch is to actually go and play the instrument,” he explains.
Although he eventually felt pigeonholed as a beatmaker, sampling would echo through to his playing style today. “My ethic of playing the drums comes from sampling. It’s about the feel. To this day, I can’t read music, but I play off the feel. If it feels good, it feels good. The drumming really opened up a world where I could speak with the kit."
His drive and meticulous work ethic have allowed him to inhabit many realms, collaborate and get recognition from people he’s admired for years like the BBC's Giles Peterson, among others. In fact, it was Stay True Sounds’ Jonny Miller who spurred him on to start his own record label, Teal Street, not too long ago. Nevertheless, he’s quick to single out the fact that he’s been able to share something that started in his room with a global audience and having confidence in his own practice as his proudest accomplishment to date.
Naturally, with this thirst for renewal, there are new releases, shows, international travel and even film scores on the horizon. “There’s a lot of ongoing work happening with new artists,'' he reveals. “I think with the next project I’m putting out you can expect a natural progression. The next phase, the next suite. It’s an evolution of where I’m at.”
There’s no denying Fernando’s versatility or triumphs in the music industry. Still, what struck me most about him is his authenticity and commitment to his craft. When asked how he thinks the South African music industry could be improved, his words are blunt but hopeful.” In many ways” he answers with a laugh. “First, we need mentorship. The OGs, the so-called OGs, need to listen to the kids and vice versa. We need to listen to those with experience, especially in SA.”
He’s also a firm believer in the importance of community, grassroots support and staying true to yourself as an artist. “South Africa is so rich. We shouldn’t be afraid to be South African and we shouldn’t only give people props once they’ve left, you know what I mean? I’d like to see more of us working together to actualise the ideas we have. More of us nudging each other in a direction we can look back on and be proud of. Speak to the person who doesn’t talk about their art too much”
It’s that same fearless devotion to self-expression that’s made him the dynamic musician he is today and he’s just getting started. Whatever the next cog in the wheel may hold, it’s safe to say it’ll be worth investigating. “Knowing that everyone has an opinion and still doing what you wanna do, that’s the power. ”
