Data Transmission Feature: Interview with Eskmo

 

Inside the Colorbrain of Eskmo

Written By: Caroline Leeming

Brendan Angelides, otherwise known as San Francisco-hailing producer Eskmo, began his love affair with electronic sounds back in 1999, when for his final project at high school his attentions turned to making music. Trading in the arduous academic efforts for something which he titled 'Machines On Task', Eskmo did not envisage the grandeur of the success that has enveloped him in recent years. Telling us that he just “gave it out for free to people I knew in school” it seems the romantic tale of a young aspiring artiste holds together the journey from college boy to the Eskmo we now know in 2011. And, though his choice of guise may entail  cold, frosty demeanor, the truth is that his work is permeated with nothing but heated affection.   

Eschewing the concept of genre, he winds through the endless facets of electronic styles, melding his dreamy shards of sound into wild and colourful syncopations. Weaving his own raspy vocals into his intricate patchworks, Eskmo procured his many talents, releasing the bulk of his material on his own Eskmo Recordings and Ancestor. However further along the way, amidst the plethora of imprints that were undoubtedly eager to snap up young Angelides, Warp an Planet Mu housed a number of productions such as' Let Them Sing' in 2009 and an Eprom collaboration in 2010.  Later that year, Eskmo signed to prolific label Ninja Tune where he became comfortably seated between the likes of Amon Tobin, Funki Porcini, Fink and Bonobo. The cosy succession of releases on three major labels, all of which preserve the rare and precious eclecticism within dance music today, Eskmo's work was always bound to blossom into something of a rare beauty.  We caught up with Eskmo ahead of his UK exclusive gig on June 4^th at Village Underground to look a little deeper into the mind of our musical auteur.

So was electronic music always a clear influence for you when you were starting out? 

Electronic and Rock were the main driving forces in High School; that and some stranger stuff like 'The Residents which I listened to daily back then.

Considering the multi-faceted timbre of your music, the almost ‘musique concrete’ deliverance, what equipment did you begin with, was it a simple set-up or were you a keen collector?

It was super simple equipment and it's actually stayed that way honestly. I've never gone down the collector route. It started with a simple drum machine, a 4-track, a bass guitar and a Roland keyboard and it just sort of progressed from there. I was playing with bands at the time but I wanted to focus a bit more steadily on creating and not worrying about other people's schedules.

You have clearly come into your own over the years, but how did you feel about exposing your music when you were starting out and how has this changed over the years?

I honestly didn't care too much about labels or anything for many years. I only just started actually sending out bodies of works to the 'industry' a few years ago. Before, if people heard it then that was awesome, but if not then no biggie. Even though by doing that it really took a long time for people to hear what I was doing, it honestly helped me develop a sound by not trying to impress some A+R person at a label.

You’ve recently been collaborating with Ninja Tune’s Amon Tobin, but you actually worked with him back in 2010, bringing out a single ‘Fine Objects’ under the Eskamon moniker; how did yourself and Amon come together?

We actually met at an event in California a few years back and just kept in touch. We gradually started to share music and hang out more and it just naturally fell into place.

How did you work together, what aspects of his creativity did you take and vice versa?

We worked together in his studio. I would just bring up my laptop and a hard drive and go to work. For that track in particular (Fine Objects) we ended up recording a bunch of random objects around his house. For me, just being around him and getting the opportunity to work on something in itself was enough of an inspiration for me, aside from all the technical stuff. I think we sorta linked at a specific point in each of our careers that really helped to fuel both of us as we were stepping outside a comfort zone or frame of reference that other people might expect from each of our own works.

What with the digital age coming into its prime, how has the production process changed for you?

The production process has kinda stayed the same for me for a number of years. The changes have happened with delivery and how people are exposed to what you do. It is a wild world that changes every 6 months, it's crazy.

When speaking of electronic music, there’s sometimes a palpable feeling that bringing vocals into the picture is pandering to the masses, making the music more accessible. What was your approach to the vocal side of things with your own production?

I just really felt I had to do it for my own personal growth. Music for me has always been a reflection of where I'm at and adding in this voice more into the character I had created just seemed to make sense. If I had tried to do a "sexy RnB" thing for the sake of it, I know it wouldn't have been coming from a real place for me (never mind not even sounding right cause my voice is stranger than that.) A track like "My Gears Are Starting to Tremble" from the album is so real and true for me and yet I know it certainly doesn't pander to any masses just because of the way it sounds and the content. But I love that.

In 2010 you were signed to Ninja Tune and released single Cloudlight which was later the opening track of your full-length. How did this turning point affect your career?
It just really helped to establish a more clear identity with this character I've been working with for a while now. Concept wise it's opened a door to share some intentions behind the music with people. In terms of performance it also forced me to start singing live which was terrifying at first and has grown to be one of the most important things I could have done for myself.

You are performing a London exclusive gig in June, how are you feeling about this? Is there more material on the horizon from ESKMO?
I'm excited to show everyone out there what I have been working on. Certainly more material on the horizon. Very much so.

You are performing a London exclusive gig in June, how are you feeling about this? Is there more material on the horizon from ESKMO? "I'm excited to show everyone out there what I have been working on. Certainly more material on the horizon. Very much so."

The Playground are hosting an Eskmo London-exclusive gig on June 4th along with  DELS, Kwes, Machinedrum, ANXST, Blank Disco and Seams at Village Underground.

Bag your tickets here while they're still hot.