WORDS BY NINA GREEN
Check out Vince Esqueda’s Bandcamp, Instagram
Apple Music & Spotify
Vince Esqueda, an LA based singer and composer spoke with Nina Green about the work he’s put into his recent EP release, titled “Patterns of Relative Motion.” Vince is a passionate musician who’s gotten to work in many different areas of the LA music industry and has had the opportunity to tour and share his music, before the current pandemic pushed most of touring to a halt. During this quarantine however, he’s had the creative freedom to collaborate with new people and worked hard to release an amazing EP.
Nina Green: Tell me about yourself and your background in music and past projects/albums/EP’s you’ve worked on and released?
Vince Esqueda: Music and I... In any active form, music has been the only unfathomable source I’ve encountered that has challenged me physically and most importantly, mentally. I’ve been “with the band” before. Now I mostly compose or write alone, although I do love a collaboration. It can be more enjoyable and exciting. Since 2013, I have been active in music production and audio engineering. In late 2018 I decided to release my first digital single, “Ride”. In April 2019, I released my first “string of narratives” (what I refer to as the binding of story/experience from the presented songs) titled “Mania”. August 2019 I released an EP under the alias ELEMENTS (EP also printed on 10” 45 rpm vinyl), which began a small West Coast tour late last year. Sadly that came to a halt because of the present times: COVID. Although I was fortunate! February 2020 I shared a room with some awesome people and recorded my second string of narratives. “Patterns of Relative Motion” was released on Bandcamp the 22nd of April, and set for release on all streaming platforms September 21st.
NG: What are you most proud of on this EP? How long were you working on it?
VE: I’m proud of the whole thing, really. It was a four-week process. I met up with my good friend and producer, Chris Schlarb, on January 29th then set a session date for February 23rd. I first wrote “Before Leap Year",” then “Blue Day Elixir” the week after. The final week, I rehearsed and learned the songs for the recording day at BIG EGO (Chris Schlarb’s studio in Long Beach, CA). We started by tracking a live rhythm section consisting of: Tabor Allen on drums, Anthony Shadduck on upright bass, Philip Glenn on Hammond Organ, and myself vocally. Then shortly after, Christine Tavolacci (flutes) and Alex Sadnik (sax) took a few improvised passes on each song. The second day I got together with my pal and genius man, Luc Kleiner. He came by my studio (Bleeding Black Studios in Hawthorne CA) to finish the final added elements of percussion, piano and harmonies for “Before Leap Year.” Then ukulele for “Blue Day Elixir.” The third day I finished the last of my part, and the following weekend of March 1st, we finished the mixes at BIG EGO. Shortly after that, I took what felt like my first breath in a while.
NG: How would you describe your music?
VE: I’d say it’s an eclectic experience. I recall thinking many times while writing to treat the music as influential, into various styles of sound. To create a wide-range of music with a relatable flavor. A feeling of movements, or what I like to call a string of narratives. I’ve heard my colleagues say that my compositions have “unusual arrangements”. Those that I believe derive from Jazz, Rock, Classical, Avant-garde, HipHop, Psychedelic, etc... Nothing specific, simply World Music based more on universal senses.
NG: Where did you come up with the title Patterns of Relative Motion for your EP?
VE: “Patterns of Relative Motion” is probably easiest to describe with Torsten Hägerstrand’s theory of time geography: comparing, combining and translating the use of patterns throughout a lifetime. Action to reaction and change. Although I’d say my topic is more so towards human geography. Approached by my personal experience and knowledge, as well as my thoughts on the human psyche. And relative motion being the similarities all life forms share.
NG: Do you have an artist you compare your style to? Do you have a role model in music?
VE: I can’t say that I feel my music sounds like any particular artist in comparison, but maybe "hints of"... I don’t have a role model, but I am grateful to the greats: the dedicated ones leaving a musical art form of life, science, emotions, spirituality, etc… (ie Leonard Bernstein, Frank Zappa, Dave Brubeck, Harry Nilsson, most famous Beethoven). The list is ongoing. To take in, filter, and apply.
NG: Do you enjoy collaborating with others? Is it fun to always have different results with different people or do you use the same basic process when you work with new artists?
VE: My process changes depending on the project. In “Patterns of Relative Motion”, one approach was not having either of the songs completed before setting a recording date. It helped with not having extra time to overthink and it helps with staying consistent and in the moment. Which could have also easily turned into a disaster if incomplete, because of deadlines that involved multiple musicians. But everything fell in place and it was a blast!
The only basic process I maintain is to approach the piece with an open mind at any stage of production, and an awareness of where the music wants to go.
And there is definitely a memorable rush to playing in a room with collaborators!
A more fun scenario: take your passion for travel. You can’t travel with just anyone, so who do you travel with and why? Picture an emotion or scene you please. Now mix in culture! Which beautiful California has so much of. Music is just as much of a trip. A person can listen, add to, or translate any musical element (rhythm, melody..etc) in multiple ways they know, feel, or choose at the given moment. Interpret sound like you would the world. I try to keep my music fun and active for not only the listener, but very importantly the musicians.
NG: What’s next for Vince Esqueda?
VE: Currently I’ve been writing my first LP, which I hope to release later this year under ELEMENTS (titled “Safari Playground”). I’m also looking forward to playing more shows. There’s an unbalanced feeling when you’re a musician from Los Angeles and you haven’t played the new material in your hometown.
What is left of 2020 and moving into 2021 is going to be interesting for the arts, and all else for that matter. Already kind of is… I will continue to work, create and grow with change.
Image courtesy of Vince Esqueda