PRESALE SOLD OUT. Tickets available at the door, arrive early.
Can you say DREAM LINEUP?
Public Works Presents:
Bob Moses (Domino Records)
Eduardo Castillo (Habitas)
Rachel Torro (Public Works)
in the main room
+ Tara Brooks (Listed/Subtract Music/Desert Hearts) ALL Night in the Loft
This will sell out quickly.
Bob Moses Bio
We gotta keep pushing, gotta keep pushing through. It’s gotta mean something to you.
Occupying the fertile ground between organic band land and an all-electronic production project, Bob Moses draw on the two poles to vividly resonate across both. A duo with an individual name, Tom Howie and Jimmy Vallance’s musical endeavor plays with this kind of duality all over their debut album Days Gone By.
“We were never happy just making music on guitars,” says Tom Howie of the organic-electronic sound of Bob Moses, the Brooklyn-by-way-of-Canada duo he formed with partner Jimmy Vallance. “Our live show combines what a DJ does with a rock band,” Vallance adds. “Everything flows together in a continuous mix for the dancefloor, but it’s all our own original music, with live vocals and guitar. Then again, we came out of a scene that was trying to change what dance music is – that pushed beyond the expected sonic spectrum.”
Initially connecting in high school back in Vancouver, the two went their separate ways – Howie to Boston’s Berklee College Of Music, Vallance to the commercial dance charts producing big room floor fillers. After moving to New York City separately only to serendipitously bump into each other in a carpark and discover that they each had studios across the street from each other in Red Hook, the call was made to get together to try and jam something out. “We booked a couple days to write at my studio for fun, and by the end of the week, I told Tom, ‘Come live at my place and let’s do this every day’”, Vallance recalls. It made sense that the name of their project paid tribute to the city in which it was birthed, and so in homage to Robert Moses, the urban planner behind iconic New York landmarks like Shea Stadium and the Brooklyn-Queens Expressway, Bob Moses was anointed.
Invigorated by the now legendary scene that surrounded the illegal underground warehouse parties that were going down in New York championing a new wave of house and techno crews (including those connected to the Marcy Hotel and Resolute), Howie and Vallance were encouraged to dive in deep following a performance with Francis Harris’ Frank & Tony project in 2012, for which they’d been ghostwriting hooks. “We didn’t think much of it until we played Marcy with Frank & Tony in 2012,” Howie recalls. “Tom sang live to the tracks we’d written, and people went insane! We’d never expected that reaction, which made us think we were on to something,” Vallance says. “We woke up the next day thinking ‘We have to become our own act.’ We came up with the songs for our first EP, Hands to Hold, and Francis agreed to put it out.”
While their introduction to dance music may have come in the genre’s traditionally communal setting, it’s Days Gone By’s potency in solitude that marks it out as a debut album worthy of deeper scrutiny. A sound palette that combines the elegantly icy with an indelibly human touch, its Cologne techno rhythms in the bottom, the elegant otherly distance of Detroit in the middle, and an unmistakably earthly, almost jazzy textures in the top end, anchored by Howie’s softly suggestive voice that doesn’t dominate, but instead plays out as another instrument in an alluring mix.
Alternating between brooding dancefloor burners and moments of reflective, downbeat repose, Days Gone By is a record that’s not in a rush to get to its destination, preferring to subtly, slowly seduce rather than sway and swagger into submission, weaving a rich spectrum of sensation over the course of its twelve tracks.
The opening track Like It Or Not perfectly exemplifies the Bob Moses approach. A stark introduction of piano and voice departs into a propulsive, off-kilter house rhythm, before breaking right back down and riding out on a heady conclusion of vocal harmony, before the first single,Talk, spins a deceptively catchy vocal melody over jacking bass and foreboding ambience. Slinky, sinewy and imperceptibly catchy, Too Much is a grower in the shape of a guitar-led deep house Trojan horse. Tearing Me Up resurrects the oft-overlooked schaffel rhythm to deadly effect, a slow-burning, gyrating epic of tortured love that simmers without ever boiling over, while the title track unfolds in waves of repetition over almost seven hypnotic minutes, a melancholy slice of cathartic release and a worthy album centerpiece. Gentle rhodes chords and a loping heartbeat drum pattern marks Writing On The Wall as one of the record’s more vulnerable intermissions, and Here We Are closes out proceedings with a lush, melancholy acoustic guitar-led lament, a touching glance in the rearview.
The balance of man and machine is a delicate dance that Bob Moses have realised with their debut, and Days Gone By is a dazzling exploration of discreet, personal moods that engages and eventually engulfs, tastefully coalescing dance music’s giddy rush with more timeless, introspective song craft. Borrowing from both but slaves to neither, as a result the record is equally effective headphone listening as it is deft club euphoria. Days Gone By reveals Bob Moses as masters of their art.
Eduardo Castillo Bio
Eduardo Castillo has been described in many ways but the one of the best depicts precisely what his musical offerings are all about..."musical enchanter".
Eduardo's mission when he plays, always, is to become a storyteller from beginning to end. Every record he plays has a very important intention. The music in his selections does not just fill time, it weaves in and out with dynamic and texture. The music and his improvisational live remixing are brush strokes on a canvas that once he's reached the end, will look like a world of realism and fantasy all in one. He's a master at layering the musical with the technical and the surreal with the real.
Eduardo always leaves an indelible mark with his style and impeccable understanding of his environment.
Eduardo Castillo has released on the groundbreaking Crosstown Rebels label and is the founder of the infamous VOODOO and GYPSET events from Los Angeles.
Eduardo's music on his soundcloud page http://soundcloud.com/eduardocastillo or visit http://eduardocastillo.com
Tara Brooks Bio
In late 2007, when Tara Danielle Brooks put her first needle on a record, she had neither idea nor expectation that her passion for music would soon become her life-long career. She learned on vinyl using her natural ear for music. Through this route, she escaped into the sounds that helped her discover a new meaning to life. Experiencing magical nights at parties & festivals in Southern California, Tara discovered the power to be moved & touched by electronic dance music, causing pure enlightenment. She’s a self-taught deejay who found her destiny: To express creativity through music.
Tara's passion turned into an addiction, landing her gigs from all over So Cal, Vegas, Miami, New York, internationally, & more. She's opened/closed for many including Plastikman, Art Department, Thugfucker, Green Velvet, James Zabiela, Victor Calderone, Eric Prydz, Erick Morillo, Joseph Capriati, Alan Fitzpatrick, The Martinez Brothers, etc. She plays for Insomniac, The Bpm festival, Wmc Space Miami, Drais LV/LA, Marquee Day Club, & fills her year with Burning Man fundraisers, decompression's & a packed dj schedule on the playa. She describes Burning Man as "The he most magical, phenomenal, twisted experience of my life, & i've never felt an energy so beautiful before."
Her heart lies in techno, tech house, deep house, & older progressive, open minded & moved by a more underground sound & feeling. Influences include John Digweed, Art Department, Tennis, Victor Calderone, Lee Burridge, Joseph Capriati, Richie Hawtin, Pig & Dan, Los Suruba, Guy Gerber, Gaiser, Tube & Berger, Hernan Cattaneo, Audiofly & others like minded. Known for powerful drops, driving rolling baselines, beautiful emotional melodies, & deep & techno with a dark groove while still uplifting, she focuses on sounds that have the ability to touch the soul.
Dedicated & addicted to production, she hopes to move you with her sounds, taking you on a special journey, touching u so deeply.
Rachel Torro Bio
Rachel Torro is carving out a unique space in the San Francisco House Music scene with an aesthetic that draws from her adventurous musical background. Her musical passion has been influenced by artists like Radiohead, Pink Floyd, Led Zeppelin and LCD Soundsystem. She combines a mature breadth of taste with a youthful playfulness colored by her post-adolescent history of psychedelic rock revelry. Her song selections weave a voice that is all her own–minimal, deep and tech house sensibilities build upon and support each other in a grounded but intricately textured experience. In addition to sharing the stage with staples like Atish, Hot Since 82, Lee Burridge, Luca Bachetti and Nico stojan, Rachel is the resident DJ and musical director for Morning Glory SF, an early morning, pre-work conscious dance party.