In just a few years, Endor has risen through the ranks of the scene to become a champion of the underground and one of the most exciting electronic artists out there. Best known for his all-conquering Pump It Up – arguably one of the biggest house record of 2019 and currently sitting at over 75 million streams worldwide – Endor has also released on labels ranging from This Ain’t Bristol and Simma Black to Warner Music and Island Records, making an incredible impact on the scene in a short space of time. We the chance to chat with the producer about his hit, his graphic design study, his studio setup and more. Have a good reading!

WWD: Hey Endor, welcome to When We Dip! Aside from the recent global craziness, how’s 2020 been treating you so far?

Cheers for having me! Not gunna lie, 2020 has been a bit of a cruel mistress so far. We’ve had Australian bushfires, a narrowly avoided World War, the death of a basketball icon, floods in the UK and now a global pandemic. Apart from all that we’re in good shape.

WWD: You studied design at St Martin’s right? How do you think what you learnt there feeds into the music you make, if at all?

Yeah, I did an honours in Graphic Design. At CSM we learnt to be very thorough; to pinpoint the best way to make our work as progressive and disruptive as possible. It’s really hard to channel that ideology into music – because you can be left with something unlistenable that only works on a conceptual level. It’s still something I’m working on though. In 2020 I want my music to push boundaries.

WWD: When did the Endor project begin, and were there any key touchstone for you in terms of artists or specific records?

Endor began in roughly 2013 I think. I’d spent the last few years making Dubstep and I needed a change. Disclosure had just burst onto the scene with a style of Deep House and Future Garage that was so fresh. I’d say their track “Blue You” was an important record for me… that an “Au Seve” by Julio Bashmore.

WWD: Tell us about your studio set up… are you mostly digital, or do you have a load of hardware as well?

I have fuck all in terms of hardware! A couple of midi keyboards and that’s it. It’s not that I don’t like a good bit of kit, it’s just that you can’t torrent a Minimoog!

WWD: Most people will probably know you via Pump It Up… how does it feel to be responsible for arguably one of the biggest house record of the last 12 months?

Well that’s a very kind and generous accolade. I’ll be honest – it hasn’t quite sunken in yet. My lifestyle is still the same, I still do the same daily routine and I’m still just trying to make as good music as I can. It’s been amazing to get the recognition of my peers all of sudden… but now it’s time to go to work.

WWD: Pump It Up is one of the few club records that breaks out of the underground and enters the collective consciousness… when did you first realise you had a crossover hit on your hands?

I think playing it for the first time at Beat-Herder festival was a key moment. The crowd just “got” it instantly. That made me realise I might be onto something.

WWD: When you finished making it, did you ever think it would go onto achieving this level of success?

Of course not! It was one of those tracks that I didn’t think I’d ever release, just something that was a bit of fun for my sets.

WWD: Once you’ve had a record of that magnitude, do you feel like there’s increased pressure for you to deliver an equally big follow up? Or do you go in the other direction and put out something completely and utterly underground?

In a weird way, I feel like the pressure is suddenly off… I don’t have to bang my head against my computer anymore worrying that I’m fading away. It’s like a weight has been lifted. I’m now free to experiment more with music and make the tunes that I want to hear. In terms of my sound, I’m in no hurry to try and replicate what happened with Pump It Up… but if it happens, cool.

WWD: You’ve got a couple of remixes for some pretty high profile artists coming up… what can you tell us about them?

Yeah! I’ve just finished remixes for Madonna and Mabel. Two pop queens, one from the old school and one from the new school. They’re a good opportunity to make some statements with my sound without the rigmarole of an actual release. The first of those is out on the 3rd of April.

WWD: I’m sure the remix offers came flooding in after Pump It Up… how do you choose between them?

It was all about which tracks had potential for a remix – a cool vocal or interesting melodic stuff. It’s usually pretty straight forward to decide!

WWD: Aside from the music we hear you’re still a keen artist… is that something you think will be with you forever?

I guess so! I get a kick out of visual stuff just as much as audio stuff, and the two are intrinsically linked. I find it exciting to create the complete package; the music and the optics that go with it – because the end result is my true, undiluted vision. Also it helps break up my day a bit to do something different!

WWD: What can we expect from you over the coming months?

Well, Corona Virus permitting, I will play as many shows as possible and work on new music in between. I’m almost there with the next single, but I want to make sure it’s absolutely spot on before it drops.

WWD: And finally, have you heard anything recently you think has a shot of becoming the Pump It Up for 2020?

There are definitely some bits I’m super excited for. In terms of being the next Pump It Up, I’m happy to let the masses decide that one.