Silkarmour is the brainchild of London-based musician and producer Enzo Samuel, a project that’s been active since the release of the debut single ‘Nervous Energy’ in 2020. Mutated over the years, but pushed by Samuel’s singular vision, Silkarmour combines earnest song-writing with experimental sound design, bombastic arrangements and tech wizardry. As a trio, their live set is formidable.
After his March 14th headline show at the heralded south London electronic hub Venue MOT, he graciously answered some of our burning questions.
Who are, or what is Silkarmour right now?
Silkarmour is me, but I’m currently performing with two geniuses; Finn Murphy on organ synths and Joe Killick on percs/drums.
How would you describe your music to someone who hasn’t heard it before?
Textural and spiritual.
Silkarmour’s sound has evolved a lot over the years. How has what inspires you musically or emotionally changed as the project has grown?
I think for me the sonics all depend on what the song asks for and it changes per song. I like a lot of 60s and 70s music, especially psychedelic rock, soul and motown and I think those grand studio semi orchestral arrangements are really inspiring. I guess I like to lean into that more nowadays.
Your visual identity feels inseparable from the music, do visuals come from the same conceptual starting point, or do they reshape the music after it exists? Or do they flow into one another like a figure of eight?
I really enjoy making visuals and I think I have the same visual taste as I do musically. The visuals definitely come second but I often start to get an idea of how I want things to look while I’m working on the music. Context is the most important thing when it comes to art in my opinion and when I’m working sometimes I like to look on tumblr or go through art books and I’ll see images that reshape the context of the music and make me rethink what I’m listening to, that definitely helps to inspire me visually.
My producer brain was geeking out a bit looking at your live setup, your use of equipment felt really meticulously curated, and of course maximal by design! You’ve previously mentioned being drawn to maximalist musicians and innovators in sound design and sampling, so I’m curious whether there are particular kinds of maximalism you connect with, whether emotional, sonic, or structural? And do those different approaches change how you think or feel when making music?
I’m a big fan of 60s and 70s wall of sound arrangements, the sounds of Phil Spector and Joe Meek in particular are very influential for me. I think that ‘maximalism’ is maybe my poor way of describing deep emotive sonic texture. These days when I’m writing I am very minimal in terms of structuring my songs, particularly when it comes to melodic repetition. However I am obsessed with the sounds that come out when you really mess with a sample. That kind of overwhelming otherworldly texture and harmony is what I’m thinking of when I say maximalism. And while I do consider my current sound maximalist I would say that to me my setup feels minimal compared to what I’d ideally have in my dream band, I’d be ecstatic to play with an orchestra, a pipe organ or a full on folk band.
Has the setup ever led you somewhere emotionally or musically you didn’t expect?
I’ve recently picked up a harmonium and have been learning to play it which really impacted the way the set sounded, I only added it to the set up around a third of the way into the rehearsals and it has really completed the whole sound for me, I had already been recording on other harmoniums and I think now it might be a staple of what I do for the next period of time!
Are there any underground artists you’ve been listening to, and you think others should know about?
MM’99, a brilliant future alt pop star, Canty, a fantastic songwriter and performer and gegenpress a very powerful noise rock band.
Are there any gig venues, spaces, or event series you’re excited about at the moment?
Anywhere with a good soundsystem and I’m dead keen. All is Joy is pretty cool.
What’s a song everyone should add to their playlist?
After a period of relative quiet (2022-2025), what has fundamentally changed in how Silkarmour makes decisions?
I want to release more music! Which is what I am doing now, I am way too detail oriented so I’m learning to find a balance there.
Is there anything you think audiences misunderstand about Silkarmour and do you ever try to correct that?
That there is no space in the name ‘Silkarmour’.Aside from that it’s all open to interpretation.
What’s something you’ve learned about making art that you wish you understood earlier?
Working on other people’s music is the best way to better yourself at making your own.
Any final words of wisdom?
If you’re making tunes don’t stray away from ‘weird’ sonics out of fear of alienating people, it’s audible when something has been watered down.
