Screendeath on MODA

So, Screendeath's brand new track is now exclusively available on MODA. You can pick it up from these stores:

itunes

Beatpot

HMV


Various: Moda Volume 1 (Complete Set) by itsmodamusic

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. 

Screendeath on MODA

So, in case anyone missed it last week you can catch a preview of Screendeath's upcoming track on the MODA spring compilation with a short interview up on the MODA homepage

And for any Londer's, you can catch the man himself at XOYO this Saturday with Mylo, Aeroplane, Clouds, Jaymo & Andy George and Tom Starr.

MODA Spring Compilation

MODA have finally unveiled details and the tracklisting for their forthcoming Spring Compilation.

Released on 23rd May it will feature exclusive Screendeath material alongside artists such as Para One, Fenech Solar, Monarchy, Villah Nah, The Shoes, His Majesty Andre Foamo, The 2 Bears and more.

Details can be viewed HERE

SHOW REVIEW: Eskmo and Beats Antique

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