The first sound on the self-titled album by Eskimeaux is a deep drone that sounds like it’s being played back from a 78 RPM shellac disc. It is soon joined by Gabrielle Smith’s vocals, layered on top with crystal clarity and multitracked harmonies at key lyrical points. Soon, church organ and occasional guitar feedback join in. When the rumbling drone cuts out in the song’s climax, the effect is startling, and yet feels organic and right, putting just the right amount of emphasis on the plaintive vocals detailing a story of escape into a cold night. The effect is a stunningly and appropriate opening to a series of songs musing on change—or the lack thereof. Continue reading →