Eros and the Eschaton: Rooted and Ready

    Eros and the Eschaton goes big beyond the Springs, but its roots run crazy local.

    Photo by Cameron Moix

    Sitting on a downtown patio during a warm fall day, it’s clear the members of Eros and the Eschaton are at the beginning of something major.

    Two of the musicians, 31-year-old singer Kate Perdoni and 27-year-old drummer Alex Koshak, are consuming drinks in the sun and enthusiastically recapping recent developments, which include the formerly two-person outfit—Perdoni with partner Adam Hawkins—increasing to a full-fledged fivesome. Koshak himself is a former drummer for The Flumps, not to mention the founder of the DIY, concert venue WVRMHAUS that he operates out of his downtown home. Ryan Spradlin, formerly of El Toro de la Muerte, and Mitchell Macura complete the group.

    The band is primed to begin recording again after 2013’s well-received Home Address for Civil War, planning to fill the last months of 2015 with writing. This means foregoing any performances in order to record up to 15 new songs in Hawkins’ custom, home-based studio in Colorado Springs, Right Heel Music.

    “We have a lot of good attention in Denver,” says Koshak of the group’s current momentum. “And we have the new songs, and we have the new band members and the Billabong [deals].” Oh yeah: Eros, helped by its famed indie label Bar/None Records, has lent its gauzy-hooked, heavy-reverbed, dream-pop sound to videos for Billabong, Fox Racing and others. That sound has brought comparisons to artists including labelmates Yo La Tengo and Brian Eno, the latter revered by the band.

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    It’s early in the recording process, but some improvements to the Eros sound are already obvious.

    “It’s going to be like our last album on steroids,” Perdoni says. “Because we recorded [the last album] with, like, a RadioShack microphone and my practice amp that I’d had since I was 16.”

    But this hits Perdoni while debating the band’s sound (Doom pop? Noise pop? Shoegaze isn’t quite right either):

    “Maybe that’s a difference,” she says. “With this record, I think the vocals are going to be a lot more forefront than they’ve ever been.”

    If that’s not enough to keep Perdoni busy, the tall and tattooed front woman with a journalism degree makes up for it by producing television commercials for Rocky Mountain PBS, helping the public record music at Library 21c, writing for various online outlets and running a quarterly, month-long training for citizen radio journalists out of the Tim Gill Center for Public Media, a series she created.

    “I’m so busy—I’m like the busiest person,” Perdoni says with a laugh. “I’m beginning to question my sanity because I’m really just wanting to work on music all the time.”

     

    by Bryce Crawford

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