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d’Eon is producer, composer and singer based in Montreal, Canada who explores electronic counterpoint through house, funk and pop music. Using synthesizers to snake out melodies that weave and interlock with each other, d’Eon’s music straddles a space between pessimistic desperation and the longing for ecstasy.

At the age of four, d’Eon began making music with synthesizers and sequencers and learning music theory. Over the course of 20 years, d’Eon has inhabited numerous musical spaces. As a small child in the early 1990’s, making amateur tapes of synthesizer-based music exposed him to electronic music. As an introverted only child, music remained a constant fixation over the next 20 years.

At the age of 11, d’Eon began studying piano at a local university in eastern Canada, and was there exposed to the music of post-minimalist composers like Steve Reich and Terry Riley. The shifting counterpoints and patterns in Reich’s music made a considerable, permanent impact on his perception of music. The young musician then started composing and arranging various musics for violin, chamber orchestra and piano.

After a childhood of music lessons, master classes and competitions, the teenage D’eon dropped out of formal music training, and after increasingly disabling anxiety and schizoid tendencies developed into severe agoraphobia during his adolescent years, he began producing large quantities of ambient, minimal electronic music while shut in for weeks on end.

Having eventually overcome these issues, d’Eon started on a path studying several music traditions and instruments as an adult, including the Arabic Oud, Iranian Setar, Turkish Saz and Indian Harmonium. He briefly fronted an industrial noise group in 2005, all recordings of which have since been erased by d’Eon himself. In 2008 he travelled to the Himalayan foothills to study Tibetan music. During this time he lived in a secluded Tantric monastery on the side of a mountain, where he spent months in relative silence, practicing and writing music.

After returning to western society in 2009 to find the world’s economy collapsed and his job terminated, d’Eon moved to Montreal and began writing pop music with heavy influence from classic Chicago house, early 90’s dance music from Britain, boogie-funk, as well as the influences that had accumulated through the years of musical learning. The songs on his upcoming debut LP Palinopsia (named after a vision condition that d’Eon was born with) evoke a sense of dread, but also longing, like the hope of getting into heaven after the apocalypse. Much more so than any superficial musical cues, it is the longing for divine ecstasy and the fear of divine judgment that motivated the music of Palinopsia. Lyrics like “The ocean is a sewer / The city is a whore” suggest a much more apocalyptic view of the world as compared to the blissful, sleepy escapism of chillwave. The tracks are a deceptively accessible backdrop for d’Eon’s vision of the inevitable horrors of the 21st century post-information-age hellscape that we all will likely have to endure.