MUSIC2 Management

Ghosts Of Venice gives away free edit for Christmas

2011-12-27T08:22:00.000-08:00

Ghosts Of Venice continues with his series of Edits with this take on Le Knight Club (Chedeville & Guy-Manuel De Homem-Christo), after re-working anyone from Shakira to Chromeo to Janet Jackson. A simple touch that puts a modern twist to the 1997 classic and is available to download free from Soundcloud

Exclusive Ghosts Of Venice Interview

2011-11-16T10:13:00.000-08:00

You can now read an exclusive interview with Ghosts Of Venice up on the Hed Kandi Website:

Exclusive Ghosts Of Venice Interview

Ghosts Of Venice' brand new compilation

2011-11-16T10:05:00.001-08:00

Ghosts Of Venice' brand new compilation is exclusive to Hed Kandi's new Classics Volume 2 available now in stores globally as well as through itunes and other online outlets.

Go grab it to check out the mix of exclusive remixes of house classics compiled by the man himself.

Amsterdam Dance Event - MUSIC2 part of two panels!

2011-10-07T12:51:00.000-07:00

MUSIC2's very own Caroline Hoste has been invited to be a Conference Panelist and Moderator at this year's "Amsterdam Dance Event (ADE)".

Groove Armada: A US Road Trip

Conference

Over its fifteen years of existence, ADE’s conference program has come to be recognized as the most important of its kind, making it the ultimate platform for critical dialogue and debate in the field of electronic music. The aim of ADE’s daytime activities is to provide the international electronic music industry with an extensive and all-embracing platform to do business, exchange knowledge and keep up to date on the latest developments and trends of the rapidly evolving global music industry.

How to Score a Hollywood Movie

Conference

This year we invite Andrea von Foerster of Firestarter Music - one of the most creative TV, advertising and film music supervisors around - to curate the fourth annual Composers’ Workshop. In previous years, the images that our participants have been asked to provide music for have come from the world of advertising, but this year we’ve chosen to ask them to find appropriate music for a 90-second film sequence which von Foerster will provide from her latest Hollywood project.

Topics & Speakers

ADE’s conference program features a wide range of the most important and current topics addressing the really big issues within the overlapping worlds that make up the electronic music scene. In the past fifteen years, ADE has featured experts in every topic imaginable, as well as business innovators and thought-leaders from across the globe in order to ensure that the daytime program offers something to everyone involved in the business of making and marketing music.

Amsterdam Dance Event (ADE): Conference

Find out what it's like to be an electronic act at the sharp end - trying to create a ripple in the huge and varied US market - from Groove Armada's manager Dan O'Neill. He will be joined by Chris Smith of Om Records, the San Francisco- based label that has been working with the band on its continuing attempt to develop a winning strategy in America.

Caroline Hoste (MUSIC2 Licensing and Management, US)
Conference Panelist and Moderator

Caroline runs MUSIC2 management and licensing with her partner Gerard Talbot (ex head of Licensing at Astralwerks and Label Manager at Caroline Records). She cut her teeth project managing the world famous Irish band The Chieftains and then started her own company at the age of 21. Caroline brokered the W Hotels Musical Director deal and more recently the pair have worked with brands and shows that include Absolut, Nissan, Breaking Bad, Supernatural and Sol Republic.

To learn more, visit the Amsterdam Dance Event website at: http://www.amsterdam-dance-event.nl

2011-09-20T03:54:00.000-07:00

The remixes for "Without You" are finally in, featuring a huge mainroom version from James Talk & Ridney and excellent dark house groover from Siege. You can pick them up here from Beatport

Eskmo’s Amazing & Exclusive Ninja Tune Label DJ Mix

2011-09-13T11:35:00.000-07:00

Celebrated DJ/producer Eskmo delivers an exclusive, 39 minute mix of legendary electronic label Ninja Tune. Also, check out the exclusive "Music Magnifier by Google" interview with Eskmo Below...

For many record labels, capturing their spirit in a DJ mix would be as simple as laying out the best tracks end-to-end and hitting "record." That approach doesn't really work for London's Ninja Tune label. For one thing, there's the enormous breadth of the catalog.

Founded in 1990 by Coldcut's Jonathan More and Matt Black, Ninja Tune has grown from sampla-delic cut-and-paste trickery and cheerfully faded downtempo to encompass virtuosic turntablism (Kid Koala), acoustic pop (Fink), jazz-oriented projects (The Cinematic Orchestra, Skalpel, Jaga Jazzist), mutant dancehall (The Bug), hip-hop (Roots Manuva) and even indie rock (The Death Set). Just as importantly, most artists on the label might be said to represent a genre of one. What they share is a radically hybrid approach, a lesson learned from London's multi-cultural musical community as well as American pioneers like Double Dee and Steinski.

Given that, it'd be virtually impossible to put together a mix capturing every aspect of the Ninja Tune universe. But Eskmo comes up with a compelling cross section of the label's recent output in his 23-track, 39-minute mix, which has the heft and sparkle and rough edges of a sliced geode. In the spirit of Coldcut's cut-and-paste fantasias such as 1987's "Beats and Pieces," Eskmo goes for a dense collage aesthetic, slicing up his source material and slapping it on like so much soggy, bunched-up papier-mâché. Crunching, corroded hip-hop beats morph into ungainly dubstep juggernauts; it's still dance music, but it often seems calibrated to engage imagined appendages and phantom limbs.

Even if you know the tracks Eskmo selects, you may have trouble teasing them out of the tangle. Fink's folky, melancholic "Worn Shadow" is set against a buzzing, apocalyptic techno-dirge by Lorn. Slugabed's slow, lurching rework of Stateless' "I'm on Fire" is sped up and fed into an even more accelerated version of Toddla T's "Body Good," for an extended passage of frenetic beats and flickering, Chipmunk-style vocals that resemble Chicago's hyperkinetic juke music. Throughout the mix, vocals flit in and out like ghosts, with full verses from Roots Manuva and Thavius Beck alternating with angel choirs and pitched-down groans. (Though uncredited, snatches of Killa P and Flow Dan's raps from The Bug's "Skeng" also wash through the middle portion of the session.) Coldcut have called themselves "bag ladies of sound," and Eskmo's mix captures that same spirit of bricolage at its grittiest and most invigorating.-- Philip Sherburne

You can watch our exclusive interview with Eskmo above. We’ve also provided a tracklist for the mix below. If you would like to purchase any of the individual tracks, head over to the Ninja Tune store.

TRACKLISTING

Eskmo, "Cloudlight" (Ambient P Stretch Mix)
Kid Koala, "Speed of Light" (Space Cadet 10")
Fink, "Warm Shadow"
Lorn, "Ghosst" (SoundCloud)
Stateless, "I’m On Fire" (Slugabed remix)
Toddla T, "Body Good"
Bonobo, "Change Down"
Two Fingers, "Not Perfect"
Eskmo, "Moving Glowstream"
The Bug, "Skeng (Autechre Remix)"
Funki Porcini, "New Dope"
Zomby, "Orchid"
Dam Mantle, "3 Colours"
Bonobo, "1009"
Igor Boxx, "Breslau"
DELS feat. Joe Goddard and Roots Manuva, "Capsize"
Thavius Beck, "Violence"
Coldcut, "Timber"
Two Fingers, "Scott Foster Rhythm"
Speech Debelle feat. Micachu, "Better Days"
DELS, "Hydronenburg"
Daedelus, "Just Briefly"
Amon Tobin, "Journeyman"
The Death Set, "Is It The End Again?"

Source: http://magnifier.blogspot.com/2011/09/eskmo.html

Interview with Miguel Migs on Pulse Radio

2011-08-11T15:06:00.000-07:00

With the release of his third album due out in September James Huxley speaks with one of the true representatives of the deep soulful West Coast sound.

Pulse. Great to hear you are coming back with a new album. How do you think things have progressed, both for yourself and in the scene over the last few years? Do you feel you're approaching the business side of things with putting an album out any differently to say with Those Things or Colorful You.

Migs: It's always been about self expression and being creative. I love and listen to all different styles of music and i really enjoy the process of writing and creating a song. Technology changes and so do styles and trends, but i just try and do what i feel, soul, funk, rock and dub has always been what resonates with me the most, and my music is a result of those inspirations.

How are you feeling about the album? Can you give us a little run through what to expect? I wanted to work with some new artists/vocalists that i had not worked with before, so we reached out to a wide spectrum of singers and the response was great. It was such a pleasure to work with some of these artists that i have been fans of for so long. The result is electronic soul, music that is rooted in soul, dub, funk, disco and dance featuring a wide variety of styles that i enjoy. The album has more of a "listening pleasure" oriented vibe to it rather than a pounding dance floor/club experience. Hopefully people are not expecting it to be a 'clubby' style album cause its not, its more about the songs/vocals and production quality, textures and sounds. that is the way i have always approached making music.

What are your thoughts on this house revival that we're supposedly due? I'm not really sure about whats going on out there these days, I just try and stay true to what I'm feelin and focus on doing what i enjoy while still experimenting a bit, playing music that i enjoy and creating music that i feel. To each his own and we all need to remember to do our own thing and have fun with it.

What are your thoughts on the deep/soulful scene. Certainly in the UK this is something that has either very much gone underground, or is closer to a big room vocal belter genre. How's it for you? It may have gone a bit more 'underground' again, but things are busy as ever, even though the deep/soulful dance music scene is not as outright popular as it once was. There are still so many people that love the more soulful side of music all over the world. It's a new generation and people will explore, experiment and find what resonates with themselves, there is room for it all, hopefully the younger generation can appreciate and enjoy all different styles of 'dance/electronic' music including the deeper/soulful side of things.

What type of crowds do you see? I always notice a very mixed crowd when i tour. I always love to look out and see a crowd of diverse people coming together and enjoying the music, as that's what it's all about, young or old, gay or straight, black or white, hippies or yuppies, t-shirts and jeans or dressed up or whatever! the communal aspect of the music and how it brings all walks of life together is a powerful thing.

Will you be taking the new album on the road? I played in bands for years when i was younger, and although i love performing live with a band it does demand alot of time and practice to do it right, putting a full live show together requires alot of time, work and energy and im not sure if im ready to dive back into a full live project right now. I will never say never, we shall see.

How has being recognized by the Independent Music Awards affected things for you. Do you think it's made any difference in how you've been able to approach making the album? Its always nice to be recognized for your work, but I'm always striving to do something new. Every song and every project is something fresh and on this new album i simply dove into writing a bunch of new songs, and Outside The Skyline is the result this time around.

What influence do you think the west coast has on house? Over all, there is so much creativity and talent in San Francisco and there always has been with food, music and the arts. Part of the influence would be the laid back mentality, easy going life style and soulful approach to the arts in general. People tend to be pretty open minded and that shows.

How is San Fran? Do you find it creatively and in terms of a scene? There is always so much going on in the city, and although it is a very small city you can always find tons of great music happening on any given night, from rock to hip-hop, reggae, techno, DJ's, bands or whatever, there is always a lot going on to choose from.

Can you give us some West Coast tips in regards to producers/DJs or are you generally looking further afield for your inspiration? I find inspiration everywhere and in all types of music...

I thought it was an interesting choice of remixers for the new single, particularly Nav. How does this relate to your sound. Om records is releasing and distributing the album, so we both throw ideas onto the table as far as remixer choices. They had Nav do a remix and it turned out pretty cool, It's nice to have a diverse set of remixes to choose from and a variety of styles. Nav did a sort of classic deep house inspired version, stripped down underground style with a dirty bassline and chopped up vocals. The other remixes on the single showcase various sounds for a nice package.

What's next? Writing more music and more touring. It never really stops!

Outside The Skyline is forthcoming.

Miguel Migs on Pulse Radio

Caroline Hoste feat. "Amsterdam Dance Event"

2011-08-01T08:41:00.000-07:00

How To Crack America

When it comes to breaking out from their home market, many electronic artists tend to consider the US in a very different way to rock and pop acts, for whom the huge territory represents a glittering prize of huge potential. For dance and electronic artists, however, this is often not the case. The US is widely perceived as being complex and largely indifferent to non-guitar-based acts.

It doesn’t have to be that way though, as Sten 'StoneBridge' Hallstrom reveals: “The US has become one of my main markets in recent years, and my Sirius XM show, The Flavour The Vibe has proven to be a very good way to promote music and my brand. I have toured North America for about ten years, and the fanbase is building even though I realize I still have a few years to go before I can say I've cracked it,” he says. “I think the main misconception by people outside North America is that they underestimate the size of the country. There is no national radio, even though satellite radio is growing, so you have to cover all states by touring or have local strategies. Working with an established top artist will of course help cross promote and that can be an effective short cut.”

Caroline Hoste, founder of US-based MUSIC2 management and music licensing agency, represents, several electronic acts. “We are based in North America, as are many of our artists, so breaking the local market is hugely important, as well as the fact North America is the biggest music market in the world at the moment,” she says. “I encourage European artists and managers to put the time into touring the States, which I feel is a crucial part in breaking an act over here because there are huge potential rewards. Making the most out of whatever dates are performed is key, touring to support a release and having press coverage around tour dates are the most obvious ways. The continent is huge, the distances are vast, and to make the most of an artist performing dates across the 24,709,000 square kilometers it inhabits, it only makes sense to extend the artists' performance further than the venue by writing blog posts, posting photographs and anything detailing their experiences and travels. This to me is key "glue" when tackling the behemoth of North America.”

Hoste also emphasizes that fact that electronic music is not played on most mainstream radio unlike Europe, and it is not used as much in visual media. “The cultures within the United States are varied - what works in San Antonio does not necessarily work in Chicago, unlike European countries which I find are reasonably consistent within their borders,” she adds.

Much more about this topic at the ‘How To Crack America’ panel at the ADE conference.

Miguel Migs feat. on Beatportal for Weekend Weapons

2011-07-22T13:44:00.000-07:00

San Francisco’s Miguel Migs teamed up with disco legend Evelyn “Champagne” King for the lead single to his forthcoming album, Outside the Skyline; out this week on OM Records, ”Everybody” finds the Salted Music head doing what he does best, embellishing deep house grooves with elements of funk and R&B, resulting in an organic, hybrid sound that’ll sound as good in the kitchen or the car as it does on the dancefloor.

And as far as the dancefloor goes, a carefully chosen set of remixes give this tune extra legs. Aki Bergen delivers a moody, spacious squarewave workout; Soul Clap put a chugging Italo spin on things; Hardsoul goes for a skippy, high-stepping groove, and Nav Izadi slinks into sultry deep house with cowbell to spare.
As you may know, Migs doesn’t often submit DJ charts—we haven’t had one on Beatport since 2005—so we feel honored that he volunteered to submit a set of Weekend Weapons. Read on for Migs’ selection and comments, and keep your eyes peeled for “Everybody Pt. 2,” featuring remixes from Ghosts of Venice, Vernon & Dacosta and Kid Who, plus still more mixes from Aki Bergen and Hardsoul. Check out “Everybody” here.

Miguel Migs feat. Evelyn Champagne King, “Everybody” [Om Records / Salted Music]

Looking For You

2011-07-05T14:09:00.001-07:00

The Ridney remix of the new Ghosts Of Venice single with The Phantom's revenge & Ridney is now available on Hed Kandi's Taste Of Summer 2011 compilation, which is available here to BUY.

2011-06-14T05:02:00.001-07:00

The Screendeath Remix of The Japanese Popstars "Song For Lisa" is now available HERE exclusively on Beatport alongside mixes from Joris Voorn and Mustang.

Screendeath on MODA

2011-05-26T10:59:00.000-07:00

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

2011-05-26T08:54:00.000-07:00

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.

Screendeath on MODA

2011-05-16T06:46:00.000-07:00

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

2011-05-10T05:19:00.001-07:00

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

2011-05-06T11:40:00.001-07:00

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

MIGUEL MIGS is Joining THE WINDISH AGENCY

2011-04-26T15:04:00.000-07:00

We are very pleased to announce that MIGUEL MIGS is now represented for all bookings in North, Central and South America, Asia and Australia by Brad Owen at THE WINDISH AGENCY - www.windishagency.com

You can send all requests and offers through to Brad via bookings@saltedmusic.com

Miguel's new album with guests: Meshell Ndegeocello, Bebel Gilberto, Freddie Mcgregor, Half Pint, Capleton, Georg Levin, Lisa Shaw, Aya, Evelyn "Champagne" King and Sonny J Mason will be released Fall 2011. Keep an eye out for more news, remixes and a new web site in the upcoming months. Thank you,

Caroline Hoste, MUSIC2 Management
www.music2management.com | www.music2licensing.com

New Release: "A New York Minute" By Nickodemus featuring The Real Live Show, Sadat X, iLLspokinN, Rabbi Darkside

2011-04-25T09:19:00.000-07:00

Listen to "A New York Minute" by Nickodemus featuring The Real Live Show, Sadat X, iLLspokinN and Rabbi Darkside below! Pre-order today. Purchasers will receive a confirmation email at time of purchase and a download link will be sent on the release date: May 1, 2011.

Purchase here!

Wonderwheel Recordings 2011
Digital Release Date: May 1, 2011

"A NEW YORK MINUTE" (Summer of 77 Mix) heads into Hip-Hop territory as a group of hand selected MC's (The Real Live Show, Sadat X, iLLspokinN, Rabbi Darkside) pick a personal story to tell in a NY Minute & pass the mic on to further the story from another perspective.

The production is funky with 70's afro-funk break, organ drops & rapid fire guitar licks- not to mention plenty of shine on the mic from all the MC's involved! The "BARRIO BUMP Mix" offers a more percussive dancefloor swing to the same stories, but in a "Live at the BBQ" fashion!

TRACK LIST:

1- A New York Minute (Summer of 77 Mix) feat The Real Live Show, Sadat X, iLLspokinN, Rabbi Darkside

2- A New York Minute (Barrio Bump Mix) feat The Real Live Show, Sadat X, iLLspokinN, Rabbi Darkside

3- A New York Minute (Barrio Bump Instrumental Mix)

www.nickodemus.com
http://www.wonderwheelrecordings.com

Sound Pellegrino Closes Podcast with the latest Hidden Cat Original

2011-04-20T03:08:00.000-07:00

The lovely gentlemen at Sound Pellegrino have closed of the latest edition of their renowned podcast with the latest Hidden Cat original, which you can check here:

Sound Pellegrino Podcast: Episode 21 OR Download Episode Here (mp3 file)

Ghosts Of Venice - Without You released Worldwide

2011-04-19T09:54:00.000-07:00

Ghosts Of Venice' new single, "Without You" can now be ordered from the likes of itunes and beatport

Labeled as Strictly rhythm's single of the month, this single has been eagerly anticipated and we are very proud to have out now on sale globally through the legendary Strictly Rhythm.

Ghosts of Venice: Single of the month

2011-04-12T11:59:00.000-07:00

Ghosts Of Venice named single of the month in the latest Strictly Rhythm Podcast

"We Got More" (Throwing Snow Remix) + "We Got More" Video

2011-04-07T12:28:00.000-07:00

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

2011-03-25T09:46:00.000-07:00

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

2011-03-18T09:02:00.000-07:00

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

2011-03-14T10:36:00.000-07:00

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

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New Release: "A New York Minute" By Nickodemus featuring The Real Live Show, Sadat X, iLLspokinN, Rabbi Darkside

Wonderwheel Recordings 2011Digital Release Date: May 1, 2011

TRACK LIST:

Sound Pellegrino Closes Podcast with the latest Hidden Cat Original

Ghosts Of Venice - Without You released Worldwide

Ghosts of Venice: Single of the month

"We Got More" (Throwing Snow Remix) + "We Got More" Video

Eskmo Press on CreateDigitalMusic.com

Q/A with Eskmo: Making emotive electronics

ESKMO Included in the Top 100 Acts at SXSW 2011

Wonderwheel Recordings 2011
Digital Release Date: May 1, 2011