On the first night of Decibel Festival, Friday, my friend Scott Pagano introduced me to one Brendan Angelides. Later that night, much later, during an after hours show, I discovered that Brendan was also Eskmo and Welder. Brendan’s Eskmo set that night turned a yawn-filled early morning into a head-nodding smile fest for Scott and myself. Unfortunately, I missed his Welder set, but was able to set up the following interview later on.

From listening to both of your musical monikers, it sounds as though you are rooted in Drum'n'Bass as a heavy influence for your Eskmo sound. With Welder, on the other hand, you sound steeped in very chill environments. Did Eskmo come first, out of a more dance oriented scene? If not, what was the progression of your sound(s)?

Eskmo came first, but at the time I was just using the name for anything I wrote. It started in 1999 and stayed that way until I officially released my first Welder material in 2006 (Welder: “Vines and Stream” / Cyberset). I had never thought of making a separate persona until I thought about how I wanted to introduce this other style I was writing. The largest influences for the Eskmo persona would be all sorts of techno, 98/99ish era D'n'B and more leftfield stuff like Aphex or Squarepusher. It ended up being Eskmo for the heavier techy stuff, Welder for the more downtempo organic material.

How long have you been in San Francisco? How has the Bay shaped your sound?

I’ve been in SF for a little over 2 years now. I can’t say exactly how it’s shaped my sound but I can say that it has certainly opened me up to a much broader spectrum and more mature way of looking at sound in general. Not to say it’s better,  [grins] but I can look at it from a different perspective now. The amount of diversity in music here is amazing and inspiring in itself.

Speaking of ‘Frisco, do you have a problem keeping cash in your pocket when you go to Amoeba Records on the Haight? That place is a financial deathtrap for me, I always have to put a spending cap on myself.

Yea it’s pretty wicked. I go mostly for the world and ‘odd’ sections of stuff they have there.

Hell, I guess I should ask if you even buy vinyl, or music in any physical format, anymore?

I never buy new CDs, but I buy used ones fairly often. That’s usually folk, indie, world music or jazz. The vinyl I buy is usually from random countries and from random dates. I only get that stuff for quirky little samples or world instruments sometimes. It’s not a habit though for sure.

Do you feel that the digital age (commercially, not creatively) in music has created an even vaster expanse of anonymity between listener and creator with the absence of a physical piece, such as vinyl, to identify with?

Yea that’s certainly true. I’m guilty of it myself in terms of listening to 10 seconds of a track to determine if I like the artist as a whole. I never would have done that when I was 17, but times are changing. Now, if that song I’m playing goes for the whole song, chances are I dig the artist and will check out more and because of the digital age, I can really get into their catalog and see what they are about. But to be honest, I don’t think it’s something you can fight at this point. I think we are just in a transition phase of sorts. There are plus and minus sides to all of this technological leaping and bounding.

Conversely, in what ways do you see the digital age democratizing opportunities for “less visible” artists, such as yourself and many of the others that appeared at Decibel Festival, for instance?

Well it gives lots of people even ground to walk on (to a degree). There is always going to be larger budgets coming from larger PR companies and labels than the average joe, but I’ve seen a number or do-it-yourself indie bands make it quite big within a few years of working hard. That’s awesome.

After seeing Db Fest for three straight years now, I really like the format. How does it work for you? Also, compared to other festival-style gigs you’ve played, how does Db measure up in your opinion?

I thought the format was cool. It was great to see so many people up there making the most of it. It measured up quite well to be honest.

I always like to know what people are listening to (especially if it has an influence on what they create), so, list five albums or artists that are really giving your speakers a workout right now?

Beach House
Fleet Foxes
Scuba
The Residents
Peter Gabriel

Other than having my brain rattled by your after hours Eskmo set, I most recently heard the Bamboo Snow EP from your Welder persona. What’s up for the future?

As Welder, I have a 5 track EP coming out in December called “Chalice Well”. It’s the first release on my digital label for Welder called “Welder Sounds”. For Eskmo, I’ve been working on a full-length album set for next year. Before that comes out I’ve got a number of remixes coming out on various labels for Bar 9, Sub Swara, Blipswtich, Jason Sparks and a couple of others. In the meantime as well I’m hoping to have a couple of releases on my new digi imprint for Eskmo called “Eskmo Sounds”.

Ever considered a collaboration with MF Doom under your Welder mask and the two of you could have a “Masquerade” tour?

Haha, I’m not sure he would be down for it. My stuff has little kids singing in it sometimes and the odd Joseph Campbell quotes. Although, it could work…hmmmm.

The Silent Ballet would like to thank Brendan Angelides for the interview. For further information, see Eskmo.com and Weldersounds.com