Interview: Earmint
by Paul Richter
The man known as Earmint (real name Robert Krums) works quietly by himself inside his home in hicago. Beat making is a reclusive job, and Earmint’s no exception, venturing outside only for mportant things like crate diggin’ or pizza eatin’. And he’s a fuckin’ producer! Seeing him on the same vinyl with the likes of Madlib, Murs and Prefuse 73 pretty much speaks for itself. A suggestion? Seek the man out before he gets any bigger so you can say “yeah I heard about that cat in 2007”. In the meantime, Earmint answers some questions.
You are of Latvia ancestry, a country that departed from Russia less than 100 years ago. Have you ever visited the motherland?
Earmint: No, the motherland will be visited hopefully in the next couple of years, either with my mom, or my lady, who’s Lithuanian.
Back in high school, was there the obligatory short explanation of your nationality?
I’d basically have to clarify I’m not Russian,
What would you usually say to such an inquiry?
That there is a difference. And then I’d be forced to say something in the language. So I’d usually tell people how to say “Shit” [which is Sud, pronounced “sood”, like “food”.] The kids were all impressed.
So you curse out kids in Latvian when they’re on your lawn?
Yes, if it comes to blows. But they would curse me back in Spanish or Serbian, so it would feel useless.
You’ve stated 80’s New Wave artists such as Depeche Mode and New Order as influences.
I’d say they shape my sound in that my songs are more about the melody than just the beat in comparison to most hip hop producers. I mix the melody louder. This year I’ve got a record I’ve recorded under the name “Grauwelt”, which in aspects sounds a lot like Depeche Mode & New Order minus the vocals. So they are totally shaping the sound. It’s my high school goth kid record. I think it rules.
What are your preferred tools of the trade?
Lots of records, analog synthesizers, my old Macintosh and an old mixer. I like to record everything at home if I can.
How would you approach production for an instrumental track as compared to a track you collaborate with a vocalist?
I like to not add as many sounds or changes in a song with vocals, otherwise I tend to overdo it with layers. It’s difficult for me to try to keep a beat minimal, and not make the MC feel that the beat is competing with them, rather than acting as a backdrop for their lyrics.
Have you kept any interest in visual arts after years of switching over to musical production?
I still do most of my own artwork, artwork for friends and other artists. I draw, or doodle everyday. This year I should have a few t-shirts I’ve designed being made. One is of a giant robot made of buildings in Chicago, with big gold teeth. Tentatively it’s called the “Chi-Bot”, and it’s being printed for Formula Werks clothing this year.
You’ve been to New York City. What’s the first thing you usually do there?
Park your car, and not look at it until your trip is done. Driving in that town is pointless, as their public transportation system is pretty amazing.
Anything grabbing your ears lately?
Les George Leningrad, Skream, Make Believe, Deerhoof…not a lot of hip hop lately, but I actually think most of the hip hop that’s coming out is pretty dope, I just need a break.
2006 Another Early Evening (EV)
2004 Third Eye Pizza Party (Lab-Oratory)
