Born in Canada to British parents, Damian Taylor’s formative years saw him travelling throughout North America, Europe, the South Pacific and Middle East. This afforded him a broad perspective that has been fundamental to his aesthetic approach in the studio. He chose London as his base at the age of 19.
After a year engineering in-house at a studio in Brixton, he met producer/writer Guy Sigsworth, who immediately partnered with Taylor on all his projects, including Frou Frou’s “Details”, Radio One playlisted remixes for Talvin Singh, and sessions for Björk’s “Vespertine”. Taylor became heavily in demand due to the completely unorthodox techniques he developed to manipulate audio, predominantly based on deeply detailed audio editing and automation which at the time this went against the grain of the predominantly MIDI based approach of programmers.
Through the early 2000’s, in addition to his normal freelance work, Taylor acted as a behind the scenes “silent member” for UNKLE and Adam Freeland, both of whom had regular residencies at Fabric nightclub in London, a significant global epicentre of underground music. This meant Taylor would often spend the week in the studio before taking new music directly to Fabric where it would be DJ’d by Freeland or UNKLE’s James Lavelle. In 2003 Neil McLellan invited Taylor to join him and Liam Howlett in the studio for seven months to complete The Prodigy’s “Always Outnumbered, Never Outgunned”. While Taylor acted predominantly as an editor and engineer on the project, five years later Howlett would again tap Taylor for “Invader Must Die”, with Taylor’s role expanding to additional production, helping Howlett tie up the album in a more concentrated three month span. The contrast of these different worlds has come to characterize Damian’s work; innovative instrumentals informed by British beats and bass culture that make a huge sound system rock a crowd, in combination with a deep sensitivity and attention to details with vocalists.
Late in 2005 Taylor was asked to work full time with Björk as her personal engineer and programmer, a richly rewarding collaboration which would eventually span six years, two full albums, a world tour, and the world’s first iPad app-based album. While touring with Björk, Taylor chose to move base back to Canada, at first operating out of a cabin on the west coast of British Columbia, before moving to Montreal, Quebec, and building his Golden Ratio studio designed by acoustician John Brandt.
Having his own facility allowed Taylor the freedom to work with new and developing artists he believed in, including Trust, Austra, Diamond Rings, Foxtrott, Mas Ysa, and Gems, in between larger projects for established artists such as Arcade Fire and The Killers. During this phase the demand for his services as a mixer began to surge, and he developed supportive ways to help the new generation of self produced artists maximize their own vision.
In 2016, Damian received an ARIA Best Adult Alternative Album nomination for The Temper Trap “Thick As Thieves” (Liberation) for which he was the primary producer and mixer. He also added programming to the Arcade Fire single “I Give You Power” featuring Mavis Staples, mixed Love Thy Brother feat. Ariel Beesley “Love Me Better” as well as Mark Stoermer’s (The Killers) “Are Your Stars Out”. He went on to establish a new label imprint “Vibe Over Method” in 2017, while working on releases with Petra Glynt (Vibe Over Method), TR/ST (Perfect Bloom), Louise Burns (Light Organ) and Kirin J Callinan (Universal Australia).
More recently, Damian produced and mixed Australian singer-songwriter Odette’s debut #1 album To A Stranger (EMI Australia) as well as her breakout single “Watch Me Read You”, mixed the new Evanescence album “Synthesis” (BMG), and mixed Alaskalaska’s debut album The Dots (Marathon Artists). Dizzy’s debut album Baby Teeth (Royal Mountain Records) won Best Alternative Album at the 2019 Juno Awards. The album was produced, engineered and mixed by Damian.
*Credit Key: P – Producer, M – Mixer, W – Writer, Re-M – Remixer