ESKMO

2011-06-09T09:46:00.001-07:00

Fell in love with Berlin.

2011-06-09T09:20:00.001-07:00

In Hamburg - playin tonight at Hefenklang

2011-06-08T17:31:00.001-07:00

pay attention to Baths.

Data Transmission Feature: Interview with Eskmo

2011-05-26T08:56:00.001-07:00

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.

SHOW REVIEW: Eskmo and Beats Antique

2011-05-06T11:38:00.000-07:00

Beats Antique and Eskmo
Tuesday, April 19 at The National

While running around the National taking pictures at the Eskmo and Beats Antique show, I kept seeing dear creative friends. Noticing how many artists made up the audience, my thought was that the best way to share the night with RVA would be to ask these inspiring peers their thoughts on the show, and let that be the voices that accompany the images. I adored this night--from the music, the musicians, the helpful staff of The National (which included providing a great vodka suggestion), and my friends smiling and dancing to amazing sets of unique original positive music, it was the best of what a dance concert can be.
--Todd Raviotta, Natural Science Productions, Party Liberation Front, RVA.

"The onstage collaboration between Eskmo and Beats Antique made the show for me--solid beats backed by a symphony of glitchy ambience equaled sonic bliss."
--Damion Champ, Cold War

"Surrounded by and bopping along with several of my PLF brothers and sisters, the night wasn't complete until I heard "The Lantern." My skin became electric, and my hand was drawn to my pocket to reach for my phone. Upon telling my gypsy sister Damion Bond, "Wish you were here," gypsy brother Parker reappeared, and said had been moved to do the same. One consciousness shared across the continent. ♥"
--Deanna Danger, The Amazing Stage Show

"ESKMO completely blew me away. He moves beyond bass that takes the sound of dubstep to a level most don't even understand. Playing live sequencers and into performance, ripping paper, signing, vocal chants, using musical instruments/pots and pans in his sound--complete control, unique music by a producer with live mixing of video. All this, followed by Beats Antique, with Zoe Jakes; they are an inspiration to me in many ways--the look, the sound, the homage to past and future. The magical moments and feelings, representing other cultures and past styles, sound and dance intertwined, new school and old school together perfectly.... Mind blown. Much respect!"
--Reinhold, PLF DJ

"Beats Antique. My God, it was like magic tribal fusion. A hearty helping of inspiration. Of free expression. Of wild animal impulse. Of Love. And of DANCE!!!"
--Rachel B., Writer/Hooper

"The energy of the night was ripe with celebratory dancing, smiles and enthralled senses. When Beats Antique hit the stage, the level of crowd interaction jumped a few notches, due to the live multi-instrumentation and Zoe Jakes being front and center while hypnotizing the audience with her costumes, dance movements and eye contact. This group also isn't afraid to get silly and zany, and to me that makes the smiles bigger and the memories deeper."
--Parker, PLF Ringmaster

"Eskmo took me to the special place, where the music gets inside you, and the body surrenders to instinct, swaying to the rhythms and cleansing the soul with bass vibrations. You can see he really wants to bring you to a different state of being when experiencing his music. A master of low end theory and pioneering the possibilities of sound, with his rich quality of layers and textures, melding synthetic and organic techniques, I was hanging on every tone and couldn't get enough!"
--Akasha, PLF DJ/Producer

"One of the best, most creative shows I have seen in years. I think Eskmo has seriously set the bar for live original electronic performance. We got to witness him build up the percussion from simple loops, and remix his own songs from the ground up. He was literally ripping pieces of paper into a microphone and looping/glitching the sounds live. Another one of my favorites, Beats Antique provided a very unique (and awesome!) fusion of crunk beats, live instrumentation, and seriously top notch dance performance. Both groups were truly inspirational."
--Mr. Jennings, PLF DJ/Producer

"The Beats Antique and Eskmo show was pure sensory stimulation! Each set was a powerhouse performance from both groups. From the variations of electronic and live instruments, mixed with the always hypnotic stage presence of Zoe Jakes, this show was one of my favorites that I have seen at The National."
--Boo Boo Darlin', Burlesque Performer/Producer, Richmond Varietease

"The transference of energy from the stage to the crowd awakened my senses to the beauty of my people surrounding me, and the rawness and authenticity of their movements. All THIS taking place on a beautiful spring night made me come alive. Zoe's sustained spinning was the moment I was called to become an observer. As difficult as it was to stop dancing, I was taken aback. As a dancer, sustained spinning is my chosen method of slipping into my bliss the fastest, so the beauty of her dance especially resonated with me and several other hoopers as well."
--Natalie Gianninoto, Hoop Dancer, RVA Hoop Lovers

"Beats Antique was the medium through which I reaffirmed my right to be happy, and they hadn't even hit the stage yet. I like to move--I cannot not move when the music is moving. I believe that dance is a visual representation of aural input--your body is simply gives form to what the music tells you. In the beginning, getting acquainted with the group, I found that I actually had a little difficulty feeling a flow. Finding one is simple, but I believe that with dance, doing what you actually feel is more important than doing what your mind tells you it wants to do. Oftentimes our egos prompt us to try to look cool when all our bodies need to do is express what they feel. I stopped trying to move. I looked around and surveyed the undulating bobbing of the crowd, watching others in their flow. And then, before I knew it, I'm standing with my legs shoulder-width apart, hands balled in fists at my sides, arms flexed, and I'm yelling at the top of my lungs. What was Beats Antique's dictation to me? Release. Sweet, visceral release. Release of my foolishness of the day, release of my anger at myself for that foolishness, release of unspent emotions now directionless, release of whatever flow came to me for the rest of the evening... ribbit... "
--Russell Harris, Capoeira Angola Liberation Movement (CALM)

By Todd Raviotta

FREE DOWNLOAD: "We Got More" (Throwing Snow Remix) + "We Got More" Video

2011-04-07T12:13:00.000-07:00

Free Download by Eskmo - Grab it below!

NEW: "We Got More" Video + "Throwing Snow Remix" Download: http://t.opsp.in/QEwe

Eskmo Press on CreateDigitalMusic.com

2011-03-25T09:50:00.001-07:00

Electronic Music in Austin; Free Listening from Eskmo

Austin isn’t generally associated with electronic music, but from bands to strictly electronic acts, you see lines blurring all over the place. And amidst the many, many things happening here in Texas in the coming days, we’re fortunate at CDM to help support two events.

Tonight is the Allies Electronic Lounge – 416 W Cesar Chavez, 9-2, no badge and free, with Two Fresh, DJ Vadim, Eskmo, and Mindelixer. I’m especially excited about Eskmo’s music, and wherever you are in the world, you can take a listen, free. (Topspin just launched their media platform for everyone if you want to do the same with your music, and they’re naturally partying it up here in Texas to celebrate.)
http://www.musicallies.com/electronicalounge/

There’s some of the crackly clap sound that the kids love these days, to be sure, but Eskmo has some serious sound design chops, and a vocal style I love, very often reminiscent of Matthew Dear. I’m told Eskmo works with Native Instruments’ Maschine drum sampler instrument live. If you have any questions about how he works, let me know; I’ll be doing some research. Eskmo, aka San Francisco’s Brendan Angelides, has been on Warp and Ninja Tune, but he also has a mean mix of Brainfeeder music:

http://www.eskmo.com/

Friday night, it’s another free event on a rooftop in the heart of downtown Austin. I’m playing at 9pm on the spot to warm things up, so come say hello. Lots of free tech to win. No downloads yet, but again, if you’re not in Texas, let me know if you want any tips or information from these folks — I can sum it up by saying they’re all a bit insane with Ableton Live automation and sound design with Operator and NI’s Massive.
http://academikrecords.blogspot.com/

Original Press Article on CreateDigitalMusic.com

Q/A with Eskmo: Making emotive electronics

2011-03-18T09:04:00.000-07:00

With more than a decade of beat engineering under a few monikers and countless collaborations and remixes, Eskmo (real name Brendan Angelides) is finally gaining a following worldwide after exposure in traditional media (BBC), the blogosphere (Brooklyn Vegan, XLR8R, Pitchfork), and clubs (alongside Flying Lotus and Amon Tobin). Next up, he’ll be opening for Beats Antique’s US tour on a month of dates including three Oregon stops, Ashland, Eugene and Portland, in the end of March and early April.

Striking an emotional chord, Eskmo says his style “sounds like a robotic tree would sound”-- a perfect description of vibe he generates on his self-titled Ninja Tune debut, which dropped in October 2010. The organic and electronic cohesion is illustrated in sight and sound the first single, “Cloudlight” (video below, download track here), from Eskmo.

The Connecticut native but San Francisco transplant is inspired by “too much stuff to mention,” but his latest is “primarily about loss, gain, family, relationship, alchemy, love and stillness” and contains an enchanting palate of sounds, including “sticks being stepped on, soda cans, metal plates, etc….” Eskmo adds, “I record a lot of environments and natural sounds to incorporate into the songs.” (Listen to the whole album here.)

The album was written over a six month stretch “in the middle of a whole bunch of personal relationship-type stuff, a lot of deep life-experience type stuff happening that helped the music just bleed out of me. I just poured all those feelings into the music, it’s very cathartic. I allowed myself to let go of DJ structure – it’s not a ‘dance club’ album, because that kind of stuff hasn’t inspired me in years. This is the first full body of work where I’m singing all over it, and allowing myself to get over that furlough of expression has been really liberating.”

Your Ninja Tune debut features your own vocals a lot more than some of your past releases. Why did you decide to incorporate more of your own vocal samples on this album?
My last track of 2009′s “Let Them Sing” for Planet Mu really got me moving more in that direction. I just had a huge pull to let that side of me out. I almost felt like I made that track to say to myself: “Let yourself sing.” I knew it would drive some listeners off, especially since my background and influence is definitely not RnB vocals, which is all the rage. But it felt right to me.

You’ve explored a lot of territory with your music over the years. Tell me a little bit about the road that has led you to this point in your musical career.
I came from a band background, was introduced to electronic [music] in the mid ’90s and it took hold. I bought my first bass and 4 track and started writing in my bedroom. From there I branched out in various downtempo, then drum and bass and some heavier techno and gabber. Music was my fuel and kept me going. I started self releasing music and never sent anything out to labels for a while. I released a few vinyl records with labels that friends owned and started to get a tiny bit of attention. I just kept going, meeting more people, branching out, traveling and kept on opening myself to different sounds that wanted to come out.

What’s different about your latest release that you think has finally catapulted you to the next level and resonated with a larger audience? Is it simply something you’ve earned after more than a decade of music making; is it the support of Ninja Tune; or was there a conscious change or evolution in your music?
I don’t think you ever “earn” anything from the fan base no matter how long you are writing. I’ve seen people blow up and become huge within one year or two because they happen to be doing a certain sound at a certain time. The support of Ninja definitely helped, but before that Warp, before that working with Amon, before that Planet Mu and so on. I think it just grows and grows. This latest stuff definitely felt very, very real for me. All I know is it’s really where I was at, and the next material will reflect where I’ll be at that point. It’s all stepping stones.

How did the relationship with Ninja Tune begin and progress?
Well I met Amon a while back. We kept in touch and started working together. From there I met Jeff from Ninja around the same time I happened to be shopping the album out. It just came at the right time really. I ended up meeting more of them and seeing what they were about and it ended up being the best fit. They are very open to building artists still (something that gets lost with major labels these days). They are very open to experimenting and pushing art in general. So it made sense to me.

You are now experiencing some relative success (signed to Ninja Tune, extensive touring and spots opening for bigger names) and international exposure, how have you accepted this?
It’s all just been fun to be a part of the process. I never wanted to start touring so I’m a bit late when it comes to that side of the music world, but I’ve recently embraced it and just looking forward.

What’s been the biggest change or highlight as of late?
Just having the resources to create what I want on stage and moving towards being able to solidify that vision. Before it was very tough to show people what I was about cause I was always plopped into situations and club environments that didn’t gel with what I was trying to do.

What else influences you, musical or otherwise?
Just life in general. I like taking my experiences and trying to channel them directly as I possibly can into sound. Songs can tell stories even beyond what imagery it might convey.

How did you end up in San Fran? How has this helped your growth?
I played here in 2005 and instantly fell in love with it. The nature, music, food, culture, funkiness - everything. It’s helped to be surrounded by such a dynamic environment. My friends, other musical acts that come through town, the nature – it all inspires and has helped me to grow.

The video for “We Got More” is absolutely captivating… MC Escher meets a robotic Attack of the 50 Foot Woman. Tell us a little bit about the creation of this video.

I had no creative input in the video to be honest. Ninja sent over Cyriaks past work to me and I knew he could nail exactly what we were looking for.

Tell me about your live show and set up. What makes you different from other electronic acts?

I blend lots of stuff together on stage. I do live percussion, singing, tweeking out controllers and I play some keys. I’ve recently brought in a visual show that is triggered exactly from what I’m playing with my gear. Not sure what makes me different, I’m just doing my thing.

Your name comes from the title of the 1979 Residents’ album Eskimo. Why did you choose this name and why did you drop the “i”?
I was just really inspired by the album. I loved how it created an environment and at the time was one of the most out-there things I had ever heard. I listened to it every night for 5 days in a row and at the end of the week had come to the conclusion I wanted to base a character around the ideas I got from the album. Ideas of shamanism, sound, ice and psychedelia. Not sure why I dropped the “i.” Nowadays I like to joke and say it’s not about “i” it’s about “you.”

What can we look forward to?

I’m close to finishing up a Welder (my other persona) album, about to start working on new material with Amon, lots of touring this year and more Eskmo later into the year.

Catch Eskmo opening for Beats Antique in Ashland at the Ashland Armory on Wednesday, March 30th, in Eugene at the McDonald Theatre on Thursday March 31st, or in Portland at the Wonder Ballroom on Saturday, April 2nd. Ashland is 21+, Portland and Eugene are all ages, ticketing information here.

Original Interview and Q/A Article on Oregon Music News

ESKMO Included in the Top 100 Acts at SXSW 2011

2011-03-14T10:32:00.000-07:00

When it comes to making music, Brendan Angelides is a man of many names. Welder and Eskamon are among his noms de guerre, but at the moment, he's in Eskmo mode. Having just released an album on Ninja Tunes, he's focused on the collage-like, textured electronic music he produces under that moniker.

Before forming any of his artistic identities, Angelides spent his early years in Worcester, Mass., and later Connecticut. Five years ago, he was invited to play in San Francisco, and he fell in love with the city and its innovative music scene. Angelides packed his bag and went west, basing his new stage name on 'Eskimo,' a 1979 album by San Fran post-punk experimentalists the Residents. Angelides spoke with Spinner about why he started playing bass, the musical usefulness of shovels and why, if you see him getting into your elevator car, you're probably better off taking the stairs.

Your bio mentions that early some of your influences included Primus and the Prodigy, who were both huge in the mid-'90s but quite different musically.

What drew me to both was the bass. That was the first time I appreciated how amazing a big bass sound could be. It inspired me to start playing an instrument and I obviously chose bass. I basically leaned to play by trying to copy every Primus song I could.

That would definitely form some nice calluses and build up your finger muscles.

Yes, it certainly did!

Before going solo, did you play in bands?

Yes, but that was back in high school. Nothing serious.

When you perform, is it pretty much just you and your gadgets?

Yes, it's just me. I prefer it. I did the band thing and it seems like most of your energy is spent on keeping the equilibrium between members. I prefer the freedom playing solo gives me to create any sounds and music I want to.

You do have a collaborative music project called Eskamon, too.

That's me and Amon Tobin [Brazilian DJ/producer]. I thought it was important to differentiate between what I was doing alone and what me and Amon do. I'm concentrating on Eskmo right now because of the album I released last fall. But we will be doing more stuff together, not live, just in the studio.

How would you classify your brand of electronic music?

I don't know. I suppose it's in the dance category, though I never listen to dance music. I can't remember the last time I listened to a dance record at home. But, then, if Aphex Twin released a record, I'm sure I'd be the first to buy it.

You say you like to make field recordings. What sorts of sounds do you capture?

It can be anything: a twig breaking, a bird, a machine. I also create my own new sounds. I'm always raiding the kitchen for pots and pans and things. I'll incorporate pretty much anything. I want to be able to form music from as wide a range of sounds as possible. One time I played a shovel on stage.

You banged away on a shovel, or with a shovel?

I was beating it with drumsticks and looping it to create a big sound. It worked really well.

What comes first when you're making music: a sound, beat or melody?

It can be anything. Some pieces have come from a very basic childlike melody. One song came from recordings I made when I was jumping around and banging on the walls of an elevator.

Hopefully you were alone in it at the time.

Yes, I was.

You must have been praying no one stopped the elevator and got in. You could have been arrested.

Actually, someone did get in, but I managed to convince them that I wasn't a crazy person.

Original Article Featured on Spinner.com

MUSIC2 & ESKMO - Allies Electronic Lounge @ SXSW

2011-03-14T08:04:00.000-07:00

ESKMO Interview with BF2D + Ambient P Stretch EP

2011-03-04T08:26:00.000-08:00

Plus la peine de le présenter, le jeune artiste qui est l’un des shurikens montant de chez Ninja Tune. Avec un sublime album dont j’avais fait la review en septembre dernier (allez y faire un tour si vous voulez un maximum d’informations sur l’artiste), le producteur hors paire qui reste parfaitement dans la lignée d’Amon Tobin a plusieurs sorties de prévues pour cette année, dont l’EP Ambient P Stretch dont je vais aussi parler et qui est sorti il y a peu de temps.

Même si Eskmo n’est pas très bavard, je suis plutôt heureux de vous présenter cet interview, premier interview d’un artiste signé chez Ninja Tune et que vous trouverez dans la suite du billet.

Original Article posted on BF2D

EVENT: Eskmo, Blackbird Blackbird, oOoOO, DJG @ The Independent - March 3, 2011

2011-03-03T09:26:00.001-08:00

Eskmo, Blackbird Blackbird, oOoOO, DJG

Thu., March 3, 9:00pm

The Independent
Price: $15

You're Okay, Computer

Laptops and vocals make for futuristic pop with feeling.

By Ian S. Port

Consider this a notice and/or reminder that anyone looking for the cutting edge of pop music shouldn't be searching for someone holding a guitar. Today's envelopes are pushed via keys, screens, and sound cards, with the accompanying human components bathed in pale LCD-screen glare inside bedrooms, basements, or on stage. Sorry, rockists: Laptops ― and various things (including electrified traditional instruments) connected to them ― are to 2011 what the Les Paul guitar was to, say, 1964.

No scene better demonstrates this than the current crop of beat-pop practitioners: artists like Baths, Eskmo, and oOoOO, who meld elements of hip-hop, electronica, rock, and radio pop into many different-sounding and forward-looking musical styles. Some hail from the make-'em-move tradition of DJ-based dance music, but take it to new places; others merely assemble uniquely modern bedroom pop on their computers. (The names above certainly aren't the only artists doing this kind of music; they just all happen to be playing S.F. this week.) Instead of chillwave or witch-house or dubstep with vocals, let's brand this big group laptop-pop, even though laptops aren't a requirement, and a lot of it isn't quite poppy. The defining characteristic here is a reliance upon electronic instruments like computers and drum machines ― along with live vocals ― to make beat-based music that aims to communicate something more complex and profound than a simple itch to move.

Now, not all the music that fits our loose criterion is interesting or worthwhile. You could even argue that this territory is more prone to missteps than others: It isn't always going to make people want to dance ― although some of it does ― and it's rarely going to dazzle with rhyming lyrics. Plus it almost never wields the watch-me-make-it-happen excitement of rock. The above formula could easily be a recipe for intricately boring background music, and some of what fits it is. (The task of turning button-pressing into a compelling live show is tremendous ― more on that later.)

But consider Baths, the stage name of 21-year-old bedroom producer Will Wiesenfeld, who uses a laptop and various other tools to make beat music, with vocals, that is melancholic and complex and beautiful. A sudden star on the much-heralded L.A. beat scene, the classically trained Wiesenfeld builds dense, organic-sounding productions out of machine-made beats, piano, random samples, and his own wilted voice. "Lovely Bloodflow," a highlight from last year's rightly acclaimed debut, Cerulean, weaves a hesitant, stumbling beat through what sounds like the plucked strings of an acoustic guitar.

On top of this, he spreads several layers of his own singing into something like a traditional pop structure. "You are my bloodflow, baby lovely bloodflow" he moans, rather creepily, for the chorus. This is confessional electronic pop, poetic and intimate, yet driving. Wiesenfeld doesn't always sing ― the next song, "Maximalist," uses vocal samples with a more brusque hip-hop beat ― but his laptop-pop feels expressive the way that folk or rock or emo-anything can. Cerulean is more of a cohesive statement of feeling than a collection of tracks. It wouldn't even be ridiculous for Wiesenfeld to include a lyric sheet with his albums (and in fact, we might ask that he does).
On another side of the scene is the music S.F. producer Brendan Angelides makes as Eskmo. Basically heavy, dubsteppy electronica with vocals, the best Eskmo productions feel like deep, subtly shifting canyons of sound. His massive bass structures are speckled with shotgun blasts of tiny clicks, staticky asides, and small variables in rhythm, rewarding close listening while sometimes inspiring dance. Where Angelides stands out from other producers is by infusing his own voice into this maelstrom. The idea has a lot of potential for enlivening the repetitive, monochrome slam of dubstep. But the vocals on Eskmo's self-titled debut are more ornamental than essential ― often, they will consist of a single spoken phrase repeated through different effects. They fit well into his soundscapes, but certainly aren't words you'd quote to a lover ― or anyone else, for that matter. Partly as a consequence of this, much of Eskmo's debut fails to rise beyond expertly made, kinetically inspiring background music.

Then there is what's been labeled "witch house," as practiced by the infamous trio Salem and S.F. denizen Christopher Dexter Greenspan, who records under the name oOoOO. It's unclear what instruments he uses live, but the result is sludgy, gloomy electronic pop with vocals, both his own and others'. Thankfully this music doesn't come across as intentionally obnoxious like Salem's. Greenspan is an admirer of mainstream pop and R&B, even covering Lindsay Lohan's "I Live for the Day." So here, vocals are vital ― in fact, most of the instrumentation on oOoOO's self-titled EP feels like grinding, panoramic background landscapes for the contorted lyrical expressions of darkly longing lovers. This is quite different from Baths or Eskmo, but it's still semirepetitive music built largely out of synths and drum machines (and possibly laptops) in which emotional communication -- not dancing -- is the focus.

The challenge is translating all of this to the live sphere. Because while club-inclined fans won't balk at the guy onstage only pressing buttons during a concert, others will want to see a "real instrument" played when they aren't dancing. This issue could determine how quickly the diverse field of laptop-pop practitioners finds a mass audience outside the club. (And by adding more live instruments to their shows, many of these artists already have.) But it won't change the fact that they're making some of the most forward-looking music out there.

Eskmo performs with oOoOO, Blackbird Blackbird, and DJG on Thursday, March 3, at the Independent. 9 p.m., $15; www.theindependentsf.com.
Baths performs with Braids and Gobble Gobble on Friday, March 4, at Rickshaw Stop. 8:30 p.m., $12; www.rickshawstop.com.
oOoOO — in addition to his Thursday appearance at the Independent — is a resident DJ at "120 Minutes," which happens this month on Friday, March 4, at the Elbo Room. 10 p.m., $5-$10; www.elbo.com.

Quietus Interview with Brendan Angelides, aka Eskmo

2011-02-02T13:14:00.001-08:00

Keith Pishnery talks to Brendan Angelides, aka Eskmo,
about his debut album on Ninja Tune

In over ten years of writing and producing forward-thinking and emotionally complex music, 2010 was probably Brendan Angelides' busiest and most prolific year, culminating with a self-titled Eskmo album for Ninja Tune last October.

After hearing mid-90s post-funk experimentation from Primus and breakbeat kings The Prodigy, Angelides quickly starting learning how to write and produce music. Starting out with a simple Miracle keyboard, four-track recorder, and bass guitar, he graduated to a Roland keyboard to record his first CD, Machines On Task, while still in high school.

After backpacking through the UK, he heard the new and burgeoning music coming out of Fabric and began composing all new breakbeat songs for labels such as Vertical Sound, Downbeat, and Cyberfunk. It was during this time that he first journeyed to the city that would become his home, San Francisco. Previously from Connecticut, he found the culture of art and music combined with a gorgeous landscape too inspiring to pass up.

His remix of Bibio and 2009 self-release Hypercolor presented a bright and unique take on the experimental electronic beats circulating the globe and landed him releases on Planet Mu, Warp, as well as gigs on Mary Anne Hobbs BBC Radio 1 show and for Flying Lotus' Brainfeeder sessions.

After shopping his latest work around to various labels, Ninja Tune will release his new album just as he embarks on an international tour. We caught up with him just as he was finishing preparing for the first dates with Bassnectar.

From following your Twitter, San Francisco appears to be a big part of your work. What is it about the city that inspires you so much?

Brendan Angelides: There is a certain kind of buzzing compressed energy in San Francisco that I haven't felt in other places. But aside from the city itself, the landscapes, culture, music, food, quirkiness and open ended creative vibe here is what really creates a spark for me.

You hail from Connecticut, and I wonder if the more nostalgic and wistful elements in your music recall your time on that other coast?

BA: Yeah, absolutely. All of my family also lives out on the east coast still so any nostalgic bits definitely point east. Even something as simple as fall time out there has a huge emotional resonance for me.

Speaking of another location, last year you did the Colorbrain Mix for Flying Lotus' Brainfeeder label and your music fits in with the Los Angeles beat scene centered around that label. What do you think about the music being produced among that community and how you relate to it?

BA: It's great to see such a bubbling, creative community thriving down there. Sonic boundary pushing is always something I've been excited to see happening no matter the form. To see such support for each other from the individuals making it happen is awesome, and really shows you how community helps nurture growth. I don't really consider myself apart of any particular scene but to have the helping hand there is a great feeling.

Your music seems so based in nature and your video 'Cloudlight' has a very organic feel to it. Could you talk about your music's relationship to nature?

BA: I just draw my music from the parts of my life that are inspiring me the most at the time - nature being a huge one of those that's always a part of my focus. I've noticed my sound has shifted since I started playing these festivals in the woods or having been surrounded by redwoods. I don't really think about it much, it just feels right.

What is your writing and producing process like?

BA: I have a dedicated studio in downtown San Francisco where I've been doing all my work for the past two years or so. I've gone through various phases in terms of the logistics, but creatively I just take direct life experience and try to plop it into the sound. Sometimes it works, sometimes I keep it to myself. 10 years ago it was all hardware and synths, and it's moved to mostly software based now. I write everything in Logic. For my live shows I use Ableton, mics, a Novation keyboard, Trigger Finger and some percussive stuff.

Ninja Tune released your self-titled debut album. How did that relationship come about?

BA: I had been a fan of Ninja from being introduced to Amon Tobin's work years ago. Then Bonobo, Coldcut, Funki Porcini, then later Daedelus, The Bug, Jaga Jazzist and some others. Amon introduced me to Jeff from Ninja one night when King Cannibal was playing in town. I happened to be shopping the album to a couple of labels at the time, so I sent it to him. Going with Ninja seemed to be the best option for me for a number of reasons so I decided to move forward with them. So far they have been great.

Many of your previous productions have vocal elements in them, but the new album seems to feature your voice a lot more, which gives the music a very personal atmosphere. How did you approach the lyrics and vocals on the album?

BA: I had been slowly moving towards incorporating more vocals into my music and taking this next big step just felt right. I was working on writing more poetry because it was a part of me that I loved that got left behind because of diving into the electronic world since high school. That combined with a serious yearning to have people hear my singing and it just all fit together. Any lyric topic is game for me just like the music, so it's been liberating just combining it all.

Aside from releasing music on Planet Mu and Warp in the past year, you've also released music on your own Ancestor label with Amon Tobin as Eskamon. How did you team up with him?

BA: Amon and I connected in 2008 when I opened for him at an event called Yuris Night which was held at a NASA space centre with shuttles and everything. I started sending him material and we gradually started chatting more. He had moved to the Bay and we started hanging more and started to see lots of similar approaches to writing music. We took a low stress, no boundaries approach to writing the first song 'Fine Objects' and basically just let whatever flow out. The tune was based around chunks of field recordings and so the name, graphic art and method of releasing the sounds to the public all fit into the idea. He was a huge inspiration of mine back in the day, just as much as Aphex Twin, Primus or Tom Waits so it's been an honor to work with him.

How did your collaboration with him work? Are there more releases with Tobin to come?

BA: We just met at his studio. I brought my laptop, a hard drive, field recorder and some gear and went to town. We plan on working on more after I finish this chunk of touring and he finishes up his next album.

Eskmo and Eskamon aren't your only projects, though. Are you still producing music under the name Welder? Are there any releases on the horizon?

BA: Welder is definitely still there, just has been mostly on hiatus aside from a few key shows this past year. I needed to focus on one persona at a time as it wasn't helping either of them to focus on both at the same time. I'm starting to work on a new Welder album now. Welder is another end of the musical spectrum for me and is super therapeutic. There is no way I could leave him behind.

What can people expect from your live shows?

BA: For the live show I use the gear I mentioned above and always play my own material or remixes I've done. I like to hit various tempos and moods and I'm always doing something up there with sounds I've made to keep pushing myself. For this tour I've incorporated more vocal and looping percussive bits which really opens it up and creates an interesting energy. I haven't been inspired by djing my own tracks in forever so pushing the live element of my show is what keeps it fresh for me.

Lowpass Television Interview feat. ESKMO

2011-01-05T12:21:00.000-08:00

Check out the latest "Lowpass Television Interview" featuring MUSIC2 Artist "ESKMO" below.

Tour Photos: Eskmo Live in Japan

2010-12-14T10:39:00.000-08:00

ESKMO - "Come Back (Lorn Remix) on XLR8R's Top Downloads of 2010

2010-12-13T10:38:00.000-08:00

Well, now you know what held the places between numbers 26 and 50 in the year's top downloads, as chosen by the readers of XLR8R.com. So today we share with you your own best of the best, numbers 1-25. (And yes, we're sure that Jimmy Edgar is indeed worthy of the number one and 20 spots, and that it has nothing to do with a bunch of pervs Googling "Hot" "Raw" "Sex" and unwittingly ending up on XLR8R.com.)

25. Tiefshwarz "Home feat. Daniel Wilde"
24. Salem "King Night"
23. Robot Koch "Devil Drums (Alex B Remix)"
22. Todd Edwards "I Might Be (Joy Orbison Remix)"
21. Flight Facilities "Crave You ft. Giselle (Version 2)"
20. Jimmy Edgar "Hot, Raw, Sex (Instra:mental Remix)"
19. Loops Haunt "Huarache (NastyNasty Edit)"
18. Mount Kimbie "Field"
17. Asura "Silver Trees"
16. Themselves "You Ain't It (Lazer Sword Remix)"
15. M.A.N.D.Y. vs. Booka Shade "Donut (Gui Boratto Remix)"
14. Magnetic Man "I Need Air (Redlight Remix)"
13. Telefon Tel Aviv "Lengthening Shadows"
12. Eliot Lipp "GoldenEye"
11. Eskmo "Come Back (Lorn Remix)" (Free Download Below)
10. Four Tet "Angel Echoes (Caribou Remix)"
9. Onra "Long Distance (feat. Olivier Daysoul)"
8. Andreya Triana "Lost Where I Belong (Flying Lotus Remix)"
7. Alex B "You and I Both Know"
6. Jori Hulkkonen "I Am Dead (CFCF Remix)"
5. Caribou "Sun (Midland Re-Edit)"
4. Gyptian "Hold Yuh (Major Lazer Remix)"
3. Aloe Blacc "I Need A Dollar"
2. The Glitch Mob "Drive It Like You Stole It"
1. Jimmy Edgar "Hot, Raw, Sex"

ESKMO - "We Got More Video" Official Video

2010-12-13T10:30:00.000-08:00

From: ninja000 | 95,513 views in just 3 days

Official video for 'We Got More', taken from the album 'Eskmo' on Ninja Tune.

Video directed by Cyriak Harris: http://www.cyriak.co.uk
Additional footage of Eskmo by http://trevortraynor.com &
http://duganoneal.com

Download the "We Got More Video" for FREE below:

The album 'ESKMO' is available on 2LP/CD/Download from the Eskmo.com website:
http://www.eskmo.com

Eskmo Photos from Vancouver Show by GetGrounded.tv

2010-11-18T11:05:00.000-08:00

Eskmo featured on GetGrounded.tv - Check out some of the stills taken while filming Eskmo killing it last night at the event in Vancouver.

Keep your eyes on Grounded TV for his interview.

Originally posted on GetGrounded.tv

Eskmo - iDJ Bubblin Under Feature

2010-10-25T08:39:00.001-07:00

PHOTOS: Eskmo Live @ Electrowerks in London!

2010-10-19T15:55:00.001-07:00

Photography by Burton/ventphoto.com

Photography by Burton/ventphoto.com

Photography by Burton/ventphoto.com

To view the entire gallery on Electrowerks Flickr Profile, click here!

BBC Review of "ESKMO" (Ninja Tune) Album

2010-10-13T14:15:00.000-07:00

BBC Review: ESKMO ALBUM

A hotter property than that chilly moniker might immediately imply. - Adam Kennedy 2010-10-07

In both the US and UK, the west coast has geographically wrestled control of an ever-expanding universe billowing from the post-dubstep mushroom cloud. This side of the Atlantic, Bristol edges ascendancy. The latest to step up to the plate from an already regal line of Californian kings, meanwhile, is San Francisco-based soloist Brendan ‘Eskmo’ Angelides.

There are certain touches of déjà vu here. Large swathes of 1990s electronica shifted attention away from aiming crosshairs solely at the dancefloor with not dissimilar sonic results. Yet in blurring divides between man and machine, Angelides’s subtleties take this self-titled debut album at least partially striding into the unknown.
Opening gambit Cloudlight forges a distinctive modus operandi, pitching electrifyingly enveloping production in perfect tandem with Angelides’s own mechanised vocals. The influence of one early Eskmo supporter, nomadic soundscapist/labelmate Amon Tobin, is audible inside 15 seconds, spindly eggshell-cracking static snaking across otherwise virgin land.

It’s not all plain sailing toward fresh territory, however: for one, it’s tricky to ignore that We Got More’s weirdly propulsive grind owes an industrial-sized debt to the misanthropic atmospherics of Nine Inch Nails. And with We Have Invisible Friends (Washed Mix), Angelides nods somewhat reverentially toward influential dubstepper Pinch’s underwater dancehall, dragged under by its relentless house-evoking currents.
There are more obscure resemblances, too. Anybody familiar with instances where Canadian breakcore enfant terrible Venetian Snares has taken a microphone to his ordinarily instrumental hell-storm may see parallels in Become Matter Soon, For You.

Gladly, Angelides’s disturbingly disconnected vocal slant fares rather better as the record progresses. Gold & Stone builds to a menacingly murky lollop, refractions of harmonic lyrical light permeating the darkness. That’s followed by My Gears Are Starting to Tremble, a skeletal concluding vignette stark enough to warrant renaming to My Ears Are Starting to Tremble.

Angelides may not make good on the initial promise of Cloudlight’s fearless boundary pushing across the album’s entirety, then. There is, though, sufficient mind-melting invention here – prior reference points or otherwise – to render Eskmo a hotter property than that chilly moniker might immediately imply.

To view original BBC Music Review of the "ESKMO" Album, click here.

Learn more about the album and how it came to be @ eskmo.com

ESKMO Album Review - The Mix Tape

2010-10-11T09:48:00.000-07:00

"Throughout the record the bass is deep and warbly and the drips and clanks and crunch of found sound that Eskmo injects into each song makes for a chameleon like soundscape that will keep you, the listener, engaged from start to end. With all the layers of sound Eskmo weaves into this record ranging from disconnected ghostly samples and skittery unpredictable synths to his own haunting vocals that paralyze it would be very easy to feel overwhelmed and turn your ears and brain right off.

That won't happen with this record. Eskmo is a masterful producer who knows how to find balance between the avant garde and the traditional.

Eskmo puts on a great, great live show too. I was able to catch him at this years Decibel Festival and the deep grooves and odd sound groupings found on the record were translated beautifully to the live setting. The beats and thumps emanating from the stage crawled inside my body, embedded themselves in my veins and it was impossible not to sway and bounce to the music. Another great thing about the Eskmo live set that made his performance stand out from the rest was that Brendan actually sang live on top of his inventively dreamy beats which added a nice human element to the music which isn't found at some electronic shows. "

Read full ESKMO album review by The Mix Tape here.

Press Coverage Highlights: ESKMO Album (Ninja Tune)

2010-10-10T22:10:00.000-07:00

ALARM Magazine: Print feature completed in July running in October issue (S. Morrow)
AOL Spinner: Full Album Listening Party
Confirmed for week of 10/12 (M. Spinella)
Better Propaganda: Song Recommendations

Brooklyn Vegan: Video Post, Album Details http://www.brooklynvegan.com/archives/2010/09/cinematic_orche_1.html

Clash Music: MP3 post

http://www.clashmusic.com/feature/track-of-the-day-89-esmko

CMJ.com: Album news + Tour Date post

http://prod1.cmj.com/articles/display_article.php?id=193048229

Culture Bully: Video Post #2

http://www.culturebully.com/eskmo-lands-bones-music-video

Culture Bully: Video Post http://www.culturebully.com/eskmo-cloudlight-music-video

Drowned In Sound: Video Post

http://drownedinsound.com/in_depth/4140930-this-weeks-singles--06-09-10

Epoch Times: Album Review

http://www.theepochtimes.com/n2/content/view/43811/

FACT Magazine: Interview confirmed Answers turned in and being edited (K. Pishnery)

Future Sequence: Album review

http://www.futuresequence.com/article/review-eskmo-debut/

Independent UK: Mention in "New Bands making all the right noises"

Indie Shuffle: News item + track post http://www.indieshuffle.com/eskmo-cloudlight-2/#!

KEXP Blog: Seattle show review

http://blog.kexp.org/blog/2010/09/25/decibel-festival-2010-flylo-and-friends-neumos-923/

LimeWire: Album review

http://blog.limewire.com/posts/50942-eskmo-eskmo-ninja-tune/
Miami New Times: show review
http://blogs.miaminewtimes.com/crossfade/2010/09/last_night_bassnectar_vibesqua.php

Nashville Scene: Pick - click here for review

Okayplayer: Album review

http://www.okayplayer.com/reviews/new-reviews-2010/eskmo-2010093011848/

Pitchfork: Album review

http://pitchfork.com/reviews/albums/14680-eskmo/

Pitchfork: Link to Album stream

http://pitchfork.com/news/40232-hear-new-lps-from-marnie-stern-lil-wayne-bowie/

Pitchfork: Mention in Decibel Festival News Brief

http://pitchfork.com/news/39890-frightened-rabbit-cover-the-national/

SF Guardian: Interview & coverage confirmed (M. Krimper)

SF Weekly: SF Ninja XX show announcement

http://blogs.sfweekly.com/shookdown/2010/09/ninja_tune_announces_free_20th.php

SF Weekly: Video Post http://blogs.sfweekly.com/shookdown/2010/08/watch_eskmos_cloudlight_from_u.php

Textura: Album Review

http://www.textura.org/reviews/eskmo_eskmo.htm

The Bay Bridged: Review + MP3 post: click here for post

The Stranger: Decibel show pick

http://chicago.timeout.com/articles/clubs/89490/ninja-tune-turns-20

URB: Eskmo podcast

http://www.urb.com/2010/10/04/eskmo-12-minute-mini-mix/

WFMU: Featured (2x) on DJ/Rupture's show

http://wfmu.org/playlists/shows/37480

XLR8R: Lorn remix post

http://www.xlr8r.com/mp3/2010/09/come-back-lorn-remix

XLR8R: MP3 post & review
http://www.xlr8r.com/mp3/2010/09/come-back

Confirmed Coverage:
Afromonk: Single Review
http://afromonk.com/2010/09/eskmo-cloudlight-come-back-ep/
A Heart Is A Spade: Video Post

http://www.aheartisaspade.com/2010/10/06/eskmo-debuts-new-video/

AltSounds: Album Review

http://hangout.altsounds.com/reviews/122451-eskmo-eskmo-album.html

Another Rainy Saturday: Decibel pick

AtDawnWeRage: Review/Vid Post http://atdawnwerage.com/?p=113
Bama Blog: Posted Lorn Remix
Beatnik Online: Video Post http://www.beatnikonline.net/uncategorized/video-eskmo-cloudlight

Black-Thought: Video Post
Bnsk: Video Post

Cause = Time: MP3 post

http://causeequalstime.com/2010/10/friday-remixes-53/

Cephalopop: Album review preview

http://cephalopop.com/2010/09/updates-in-case-you-were-curious

Chase Space: Video Post

Chris Yap: Video Post

Collect Me: Video Post

Consequence of Sound: MP3 post

http://consequenceofsound.net/2010/10/01/mp3-mixtape-friday-mixtape-cxxiii/

Create Digital: Decibel Show Review + video post

http://createdigitalmusic.com/2010/10/01/db-log-day-two/

Creative Loafing: New release pick + stream post

http://dancefever5000.wordpress.com/2010/08/12/video-eskmo-cloudlight/
Dance Rules the Nation: Album Review

Daniel Bonavita: Video Post
http://post.danielbonavita.com/eskmo-cloudlight

Daps N Sounds:http://www.dapsnpounds.net/2010/09/eskmo-cloudlight-video.html

Dslmag: video post

Edmonton Journal: Show Announcement

http://prod1.cmj.com/articles/display_article.php?id=193048229

Electronic Beats: Review/Vid Post
Emo of the Day: Video Post

http://emooftheday.blogspot.com/2010/10/20100913-eskmo-cloudlight.html

FIlthy Beats & Treats: MP3 post

http://www.carminepfilthy.com/2010/09/eskmo-come-back.html

Frequency: Video Post http://www.frequency.com/video/eskmo/229392?raw=true
The Gateway: Album Review

Get Hype Collective: Video Post

God Is In The TV: Track review

http://www.godisinthetvzine.co.uk/content/content_detail.php?id=4668&type=Singles

Head Underwater: Video Post

http://www.headunderwater.com/post/1255931425/eskmo-cloudlight

Hello Vegetables: MP3 Post + SF show pick

http://hellovegetables.com/2010/10/04/floating-and-floating-and-floating/

Indie Rock Reviews: Video Posts + tour dates

http://www.indierockreviews.com/2010/09/eskmo-cloudlight-music-video/

KeepUpOnGiving: Video Post

http://keepupongiving.blogspot.com/2010/09/eskmos-new-single.html

LA Friendly: MP3 Post

http://www.lafriendly.net/2010/09/eskmo-color-dropping.html

Like Dub Step: Video Post
Limonadier: Video Post

http://limonadier.blogspot.com/2010/10/eskmo-lands-and-bones.html

Low Riders Collective: Video Post

Music OMH: Album review

http://www.musicomh.com/albums/eskmo_0910.htm
Mxdwn: Tour Announcement

http://www.mxdwn.com/2010/09/21/news/eskmo-announces-album-release-fall-tour/

Neon Tape Deck: Review/Vid Post http://neontapedeck.com/?p=400
Oh Snap!: Video Post http://ohsnapohsnap.blogspot.com/2010/08/eskmo-cloud-light.html
Organized Grime: MP3 track review

http://www.organizedgrime.net/index.php/tag/eskmo/

Outline Music & More: Video Post

Paris DJs: Album Preview http://www.parisdjs.com/index.php/post/Eskmo-Eskmo
Phoenicia Assoc.: Video Post http://wearephoenicia.com/educate/?p=2367
Pinboard: Video Post http://pinboardblog.com/2010/09/new-video-eskmo-cloudlight/

Pixelatique: Mp3 post

http://pixelatique.com/2010/09/13/eskmo-come-back/

Red Threat: Video Post

http://redthreat.wordpress.com/2010/10/05/eskmo-land-and-bone/

Sabotage: Post

http://www.iwantsabotage.com/2010/09/eskmo.html

Seattle Show Gal: Video Post

Skvot-Pop: Video post

Sonicerightnow: Album review

http://sonicerightnow.blogspot.com/2010/09/eskmo-eskmo.html

Stop Play Rewind: Video post

http://stopplayrewind.blogspot.com/2010/09/eskmo.html

Stu's Oily Blog: Preview post

http://stusoilyblog.blogspot.com/2010/09/eskmo-album.html

Sublogic: Video Post http://sublogic.fm/2010/09/eskmo-cloudlight/
Taking Tiger Mountain: Video Post http://takingtigermountain.com/archives/1694
The Line of Best Fit: Album Review

http://www.thelineofbestfit.com/2010/09/eskmo-eskmo/

Trevor Traynor: Album Announcement
Truants: Lorn Remix Post

http://truantsblog.com/2010/10/03/sundays-best-pt-ii/

Tunes That I Like: Video Post

http://tunesthatilike.blogspot.com/2010/09/eskmo-cloudlight.html

Ughog: MP3 Post http://ughog.com/2010/09/10/wake-up/

Viking Says: Video & Widget Post

http://vikingsays.blogspot.com/2010/09/eskmo.html
We Like It Indie: Video + MP3 post

Wet Paint: show review
http://freshwetpaint.com/blog/09/23/bassnectar-in-gainesville-with-eskmo

Vast Arts: Video post

http://vastarts.co.uk/blog/archives/119

You'll Soon Know: MP3 post

http://youllsoonknow.us/post/1111225952/eskmo-come-back

Zikkir: "What Should I Buy This Week?"

http://zikkir.com/it/63810

Eskmo 12 Minute Mini-Mix (Free Download)

2010-10-05T08:57:00.001-07:00

As one of the hottest young guns on Ninja Tune, San Fransico-based producer Brendan Angelides, aka Eskmo, is one of the leading lights guiding the 20 year old label into the future of electronic music. This 12-minute mini-mix features some of the highlights of the massive Ninja Tune XX box set, combining new acts with veteran artists offering all original tracks and remixes for 2010.

Eskmo - 12 minute dj mix for Ninja Tune (free download) by Eskmo

Tracklist:

1) Floating Points Ensemble “Post Suite”
2) Daedelus “LA Nocturn”
3) Amon Tobin: “Lost and Found”
4) Long Lost: Woebegone (Flying Lotus’ Like Woe Remix)
5) Spank Rock: “Tell Me What It Look Like” (Todd Edwards Remix)
6) Roots Manuva: “Witness (1 Hope)” (Slugabed Remix)
7) Anti Pop Consortium: “Volcano” (Four Tet Remix)
8) Dorian Concept: “Her Tears Taste Like Pears”
9) Shuttle: “Lion”
10) Offshore: “Jen At The Station”
11) Jaga Jazzist: “Toccata” (Grasscut Remix)

New Album Release "ESKMO" (Ninja Tune) OUT NOW

2010-09-21T16:20:00.000-07:00

New Album Release:
"ESKMO" (Ninja Tune)
Release Date: October 4th, 2010

OUT NOW on iTunes: 2 Week Exclusive

Ninja Tune's Latest Signing: Eskmo

Welcome, Ninja Tune’s latest signing: the one and only Eskmo, AKA Brendan Angelides, a native of Connecticut now based in San Francisco. Widely heralded within the community as one of the most original of a new wave of electronica artists, his eponymous debut album for Ninja Tune finally offers Eskmo a canvas broad enough to create his first masterpiece. Embracing and exploring glitch, dubstep and R’n’B, and layering his own ethereal vocals into the dreamy mix, it’s a fine showcase for everything that has made Eskmo such a whispered-about talent.

Album Release Info

For his new album entitled "ESKMO" (Ninja Tune), Brendan has abandoned the strictures of making tracks for the dancefloor and the strictures of the 12” single format, and followed his visionary muse. “Before Warp and Planet Mu I kind of fell into the game of making tracks to get released on smaller dance labels, having to cater to ‘dance’ formulas,” he explains. “Over this past couple of years, I feel I’ve let go of that, and just writing the songs I want to write. I got back to what excited me about making electronic music when I started out, creating these little universes with sound and writing songs.”

The album was, he says, written over a six month stretch “in the middle of a whole bunch of personal relationship-type stuff, a lot of deep life-experience type stuff happening that helped the music just bleed out of me. I just poured all those feelings into the music, it’s very cathartic. I allowed myself to let go of DJ structure -- it’s not a ‘dance club’ album, because that kind of stuff hasn’t inspired me in years. This is the first full body of work where I’m singing all over it, and allowing myself to get over that furlough of expression has been really liberating.”

The first release on the label following Ninja Tune’s 20th Anniversary box set signals a brave new chapter for this artist, and for electronica itself. Dreamy, haunting, full of ghostly funk and inventive sonics, Eskmo serves up electronica with a most human heart.

Tracklisting:

1) Cloudlight
2) We Got More
3) Color Dropping
4) The Melody
5) You Go, I See That
6) We Have Invisible Friends (Washed Mix)
7) Become Matter Soon, For You
8) Moving Glowstream
9) Starships
10) Communication
11) Siblings
12) Gold & Stone
13) My Gears Are Starting To Tremble

Listen or purchase now, exclusively on iTunes

GET A FREE MP3 Download of "Come Back" by Eskmo:

www.NinjaTunexx.net | www.Eskmo.com

To view the full ESKMO Album Press Release, click here.