Eats Everything feat. Justin Martin, 'The Gettup': First Listen
The U.K. producer on his two-year ascent to house stardom, and his close musical relationship with fellow “idiot” Justin Martin.
“Man, it’s hot,” exclaims Eats Everything, aka Dan Pearce, as much to himself as anyone around him. It’s early evening on Saturday June 1, and he’s standing under a canopy meant to serve as a makeshift DJ booth at LIT Ultrabar in Philadelphia, about to play the headlining set at the kickoff of its outdoor summer party series. It’s mildly ironic that a fair-skinned Brit from Brighton has been tasked with making the crowd dance itself into a sweaty frenzy, while he’s momentarily stunned that the late-afternoon sun could be withering enough to push the temperature above 90 degrees at this time of year.
The partygoers are better prepared, some armed with water balloons and pistols. In a league of her own is the fan who brought an enormous cardboard cutout of Eats Everything’s rather large head, and continues to budget an impressive amount of energy toward keeping it raised above her, even while she dances. It’s a literal example that the house DJ/producer’s profile is rising: Not only amongst his peers, but hard-won American punters too.
And it couldn’t have happened at a better time. Over a decade into his production career, Pearce was about to hang it all up in 2011. Then came his breakthrough track, the prophetically named “Entrance Song.” Now, he’s co-producing with one of his idols Justin Martin, releasing music on venerable labels like dirtybird, Defected and Southern Fried, and playing summer kick-offs in far-off lands like Philly.
Pearce’s sound often shifts from one project to the next, like the murky, choppy drums of “The Withywood Walk,” to crisp, jacking four-to-the-floor with collaborator Martin on “Feather Fight.” But the even neater trick is how he draws on detailed knowledge of the various shades and periods of dance music, ranging from early ‘90s to old-school jungle and speed garage, and then juxtaposes them in unpredictable ways within the same track. Nowhere is this more apparent than on “The Gettup.” The dirtybird recordings single is exclusively available to stream below, ahead of its commercial release June 10 at Beatport (it goes wider June 25).
Listen to “The Gettup,” Eats Everything’s latest track with Justin Martin, premiering below:
“In England it’s been getting absolutely rinsed,” says Pearce (which translates to a good thing in American). “The cross-section of people playing it is quite astounding. You’ve got, like, Crookers, and then you’ve got, like, Jamie Jones.”
More than just a track to Pearce, he sees “The Gettup” as a truly new invention, and an answer to the Disclosure-driven house trend that’s already swept the U.K. and is just starting to take hold here.
“We kind of listened to this ‘90s revivalism house stuff, and it was getting to the point now where it was like, ‘This music is killing me,’” he said. “‘We just need to do something that’s completely out there and completely different to anything that’s been made before.’” He points to the bass - every bass sound is a double bass sound, “like Roni Size’s ‘Brown Paper Bag,’” he says - as a key point of difference.
In the two short years since the release of the alternately glitchy and lush “Entrance Song” in July 2011, Pearce has ticked off nearly all of his career goals: Playing Fabric nightclub in London and Space in Ibiza, doing an Essential Mix, warming up for Carl Cox. The deal for the track fell into place a month before the end of the one final year Pearce and his wife had agreed to devote to chasing the dream, before he relegated music to the sidelines to pursue a workaday career path.
One of the long list of DJs who championed “Entrance” was Martin, who was already enjoying his own success as a founding member with Claude VonStroke of San Francisco's powerhouse dance label/techno mafia, dirtybird. Now, Martin and Pearce are working together, on more than just “The Gettup.” A collaborative album is planned for 2014.
“After a few times playing together we realized that this chemistry was too good to waste and now we are just working on bigger and better projects together,” says Martin. “For me it’s really fresh and exciting, and I feel like the possibilities are endless.”
“We’re like-minded,” Pearce says. “We’re both complete fucking idiots who just want to have fun. When we’re in the studio together, we spend more time, like, Sellotaping each other’s heads and being complete idiots than actually making music.”
Martin concurs, but says that the madness is all part of the process. “The key is having fun and trying to really be creative,” he says. “It’s cool to be inspired by other music, but when creating you have to do it your own way. We just set out to make stuff that will be fun to play and different to the people listening on the dancefloor. We don’t want to make a track that sounds like everyone else’s song, we want to make music that people instantly know is ours when they hear it.”