Relentless Voice
Rupert Estanislao
Rupert grew up in Quezon City, Project 7. migrated in Vallejo, California, where thousands of working class Filipinos have settled.
There he met Loi Fajardo, and in 1995, they started jamming in a friend’s garage. Loi and Mike chose the name “Eskapo” after watching the movie by that name. Not only did they like the political reference, but it also had the word “ska” in it, and they were playing ska punk at the time.
In 1999, Loi and Max’s (He joined the band as the drummer in 1996.
) father allowed them to build a practice space at their home. They invited Guitarist Bruce Webb to come play with them. The lineup consisted of Rupert on vocals, Loi and Bruce on guitar, Luke (Former Exit Wounds guitarist) on bass, and Max on drums.
Rupert also began to branch out into spoken word at this point. Once he became known on the Oakland poetry scene, Eskapo got invited to perform during a poetry event. After that show, their friend Golda told them about Pinoisepop, the Filipino American music festival held at Bindlestiff Studios in San Francisco. Pinoisepop introduced them to the Greater Bay Area Filipino American market, and the rest was history
Eskapo gave Filipinos a voice, and gave us a reason to be proud of being Filipino. They sung/screamed songs in Tagalog. They sung/screamed songs about Philippine culture, history, and politics. They engaged in community organizing around social justice issues. They were all extremely likable people who made all of Filipino culture cool, and in a genuinely conscious way. They were the antithesis of the Bebot embarrassment, emphasizing pride in their culture rather than reinforcing negative stereotypes in an attempt to prove assimilation.
Eskapo began playing extensively, They even played at the famous Gilman a lot back in the days from 1995-2001.
Then came the legendary 2009 tour of the Philippines, when the band crisscrossed Luzon with 17 people (including members of a band named Toxic Orgasm) smashed into a van...on top of equipment. No one had to ride on the roof or cling to the outside, but it was a tight fit that was both eased and exacerbated by a seemingly endless supply of tuba. They played 8 shows in 12 days.
They were also surprised by the warm reception they received wherever they went, and notes that most of the Philippine bands they played with sung in English. He believes that being the American band that sung in Tagalog was a big reason for their popularity.
the Eskapo story itself betrays the lie that America is the land of milk and honey. Maybe it is a better life, and a place worth escaping to for some, but not for all. For far too many, America is a place where people struggle against tall odds just to survive. Filipinos, in particular, have found all sorts of ways to do just that for more than a century.
in around 2013 In addition to singing/screaming in Bankrupt District, Rupert has also co-founded Aklasan records, which deals exclusively in Philippine and Filipino American hardcore and punk rock music, is working on a documentary film chronicling Filipino Americans in hardcore and punk,.
Since 2015 this force has been channeling a relentless playing style that has captured the balance of anger and action. Their raw and rhythmic approach is fueled by cutting vocals that scream their stories, struggles, and community drive. ANINOKO abrasively dispatch their energy in their native tongues – bridging the two worlds together with fast and fierce dissonance.
In 2015, Rupert started a new band called Aninoko.
and since, this force has been channeling a relentless playing style that has captured the balance of anger and action. Their raw and rhythmic approach is fueled by cutting vocals that scream their stories, struggles, and community drive. ANINOKO abrasively dispatch their energy in their native tongues – bridging the two worlds together with fast and fierce dissonance.
ANINOKO, meaning “my shadow,” carry the fiery spirit of 80s punk and hardcore, destroying barriers between audience and performer. They share their history and shape the moment with true energy. They are furious, yet full of hope – shouting in the face of Imperialism in this digital age of the Filipino diaspora. There is a classic approach to their method, and this four-piece communicates their style with a raucous temper that pushes forward an alert and aggressive sound.
April 2020, ANINOKO was scheduled to come home and play 2 a date gig in Manila and Davao, sadly just in time as Pandemic hits.
*btw Rupert also is in a Melodic Punk band called Toxic Culture
sources:
https://filipinodisruptors.blogspot.com/search/label/Aklasan%20records
https://www.ethospine.com/aninoko/
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