Brendan Angelides' ear for the weird has served him well. As Eskmo, the former S.F. (now L.A.) resident combed through glitch, dubstep, ambient, and electro-pop aesthetics — not to mention field recordings of snapping branches and clanging cookware — to patch together his 2010 self-titled debut. Language, an Eskmo EP issued last fall, is another testament to his peculiar versatility. The release pushes the icy industrial boot stomp of "1996," the creepy, slithering, patently unsoulful "Soul Music," and the sky-gazing clockwork machinery of "Oh in This World of Dread, Carry On" into one cramped space while credibly pulling off every style swap. Though Angelides is prone to occasional missteps (Language captures his nasty habit of using manipulated voice recordings when they're not needed), he's nonetheless one of the most open-minded and respectable electronica producers active today.