Get tickets: http://ticketf.ly/18DSQtG
Public Works & in.sight Present:
MATTHEW DEAR (6 hour DJ set) in main room
+ DANIEL BORTZ (suol) extended set in the Loft.
Matt Hubert (in.sight/rollingtuff) opens in the loft.
Matthew Dear bio:
Depending on whom you ask, Matthew Dear is a DJ, a dance-music producer, an experimental pop artist, a bandleader. He co-founded both Ghostly International and its dancefloor offshoot, Spectral Sound. He’s had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he’s made mixes for Get Physical’s Body Language and the Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to none—and he’s just hitting his stride.
Matthew Dear’s 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear’s deep, distinctive vocals, and includes the much-loved single “Dog Days” (voted one of Pitchfork’s Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heaven’s dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed (Q and Mojo magazines), and Dear subsequently began touring with a live three-piece band, Matthew Dear’s Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman’s grace.
Today, Matthew Dear finds himself in a unique position. His highly anticipated third album, 2010′s Black City, is the culmination of years of hard work and experimentation, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. After over a decade of exploring pop’s outer limits, Matthew Dear now inhabits a rarefied corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy. Now is Matthew Dear’s moment, and it sounds like nothing else.
Daniel Bortz bio
It was the mid-’90s, the heyday of techno in Munich-Riem, home to the Optimal and other legendary clubs, when Daniel Bortz stepped into the never-ending, untiring loop of the stoically pumping bass drum. He was born in Berlin in 1981, but shortly thereafter his family moved to Bavaria, where he grew up. For the last 13 years he has been forging his deep beats, grooves and tracks for the club world from his base of operations in Augsburg. And it’s precisely that club world that Bortz has been gracing with his releases for quite some time now, aiming right for its hype-craving g-spot. He got his training as a producer with the Munich label Pastamusik with whom he released his first recording 2007. Since then, he’s been refining his sound between crate digging, house-nostalgia, digitally transferred dance music, sample insanity and a healthy dose of eclecticism.
Be it ‘80s new wave, ‘90s West Coast hip hop, disco or dance mania, Daniel Bortz brings things together that aren’t bound up with realness and schools: He fuses his own world of sound for today’s dance floor, and part of that is bootlegs – dangerously thin ice for a music producer’s reputation. “I get a kick out of hearing an R&B sample in a different guise, in converting my own tastes in music for the dance floor. Bootlegs in particular give me an opportunity to make some of my favourite songs danceable”. His notable re- working of James Blake’s Feist cover “Limit to Your Love” helped people forget the mud and rain of the Fusion Festival 2011; indeed, the Discogs database sample put him out a cool 10,000 euros, making the endeavour pricier than procuring even the rarest of old school tracks to come out of Chicago. Daniel himself can’t really explain why there’s such a buzz around the track, but on both his cuts and his own productions his refined sense of harmony plays a major role: “I work a lot with tunings. It takes a lot of work to make a few harmonic elements fit perfectly together. A lot of people just turn a sample into a loop, but I make sure that even the bass drum and percussion match the tonality of the sampled sounds and harmonise with one another”.
Daniel Bortz has an infallible knack for reducing things down to the nitty-gritty; to constantly limit elements to their bare minimum, even if nowadays ‘minimal’ is considered an absolute no-no. But none of that bothers the Augsburg musician much; he is just as aware of his special status in the close- knit Bavarian scene as he is of the sceptical gloom-and-doom prophecies of Berlin’s music buffs: “Since 2007 I’ve been hosting a monthly party series in Augsburg with Forza Electronica. While being a music producer here has its challenges, I don’t just want to play for those in the know. I like appealing to a mixed audience that doesn’t mind if I occasionally play a slower track or a song by Whitney Houston or Phoenix. I feel very much at home in Bavaria. You’re kind of left to your own devices here, but through that you assume a neutral position. It feels more free and independent than being constantly associated with certain scenes or certain people”. So the MPC guru continues his journey through his very own sound universe, releasing any material he feels is right, and, at the same time, revering his old heroes Matthew Herbert and Daniel Bell. These two old masters likewise shunned scenes and dogmas, an attitude that sets from apart from run-of-the-mill hitmakers, who crank out the next short-lived club hype.
show less
Public Works & in.sight Present:
MATTHEW DEAR (6 hour DJ set) in main room
+ DANIEL BORTZ (suol) extended set in the Loft.
Matt Hubert (in.sight/rollingtuff) opens in the loft.
Matthew Dear bio:
Depending on whom you ask, Matthew Dear is a DJ, a dance-music producer, an experimental pop artist, a bandleader. He co-founded both Ghostly International and its dancefloor offshoot, Spectral Sound. He’s had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he’s made mixes for Get Physical’s Body Language and the Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to none—and he’s just hitting his stride.
Matthew Dear’s 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear’s deep, distinctive vocals, and includes the much-loved single “Dog Days” (voted one of Pitchfork’s Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heaven’s dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed (Q and Mojo magazines), and Dear subsequently began touring with a live three-piece band, Matthew Dear’s Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman’s grace.
Today, Matthew Dear finds himself in a unique position. His highly anticipated third album, 2010′s Black City, is the culmination of years of hard work and experimentation, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. After over a decade of exploring pop’s outer limits, Matthew Dear now inhabits a rarefied corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy. Now is Matthew Dear’s moment, and it sounds like nothing else.
Daniel Bortz bio
It was the mid-’90s, the heyday of techno in Munich-Riem, home to the Optimal and other legendary clubs, when Daniel Bortz stepped into the never-ending, untiring loop of the stoically pumping bass drum. He was born in Berlin in 1981, but shortly thereafter his family moved to Bavaria, where he grew up. For the last 13 years he has been forging his deep beats, grooves and tracks for the club world from his base of operations in Augsburg. And it’s precisely that club world that Bortz has been gracing with his releases for quite some time now, aiming right for its hype-craving g-spot. He got his training as a producer with the Munich label Pastamusik with whom he released his first recording 2007. Since then, he’s been refining his sound between crate digging, house-nostalgia, digitally transferred dance music, sample insanity and a healthy dose of eclecticism.
Be it ‘80s new wave, ‘90s West Coast hip hop, disco or dance mania, Daniel Bortz brings things together that aren’t bound up with realness and schools: He fuses his own world of sound for today’s dance floor, and part of that is bootlegs – dangerously thin ice for a music producer’s reputation. “I get a kick out of hearing an R&B sample in a different guise, in converting my own tastes in music for the dance floor. Bootlegs in particular give me an opportunity to make some of my favourite songs danceable”. His notable re- working of James Blake’s Feist cover “Limit to Your Love” helped people forget the mud and rain of the Fusion Festival 2011; indeed, the Discogs database sample put him out a cool 10,000 euros, making the endeavour pricier than procuring even the rarest of old school tracks to come out of Chicago. Daniel himself can’t really explain why there’s such a buzz around the track, but on both his cuts and his own productions his refined sense of harmony plays a major role: “I work a lot with tunings. It takes a lot of work to make a few harmonic elements fit perfectly together. A lot of people just turn a sample into a loop, but I make sure that even the bass drum and percussion match the tonality of the sampled sounds and harmonise with one another”.
Daniel Bortz has an infallible knack for reducing things down to the nitty-gritty; to constantly limit elements to their bare minimum, even if nowadays ‘minimal’ is considered an absolute no-no. But none of that bothers the Augsburg musician much; he is just as aware of his special status in the close- knit Bavarian scene as he is of the sceptical gloom-and-doom prophecies of Berlin’s music buffs: “Since 2007 I’ve been hosting a monthly party series in Augsburg with Forza Electronica. While being a music producer here has its challenges, I don’t just want to play for those in the know. I like appealing to a mixed audience that doesn’t mind if I occasionally play a slower track or a song by Whitney Houston or Phoenix. I feel very much at home in Bavaria. You’re kind of left to your own devices here, but through that you assume a neutral position. It feels more free and independent than being constantly associated with certain scenes or certain people”. So the MPC guru continues his journey through his very own sound universe, releasing any material he feels is right, and, at the same time, revering his old heroes Matthew Herbert and Daniel Bell. These two old masters likewise shunned scenes and dogmas, an attitude that sets from apart from run-of-the-mill hitmakers, who crank out the next short-lived club hype.
Get tickets: http://ticketf.ly/18DSQtG
Public Works & in.sight Present:
MATTHEW DEAR (6 hour DJ set) in main room
+ DANIEL BORTZ (suol) extended set in the Loft.
Matt Hubert (in.sight/rollingtuff) opens in the loft.
Matthew Dear bio:
Depending on whom you ask, Matthew Dear is a DJ, a dance-music producer, an experimental pop artist, a bandleader. He co-founded both Ghostly International and its dancefloor offshoot, Spectral Sound. He’s had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he’s made mixes for Get Physical’s Body Language and the Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to none—and he’s just hitting his stride.
Matthew Dear’s 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear’s deep, distinctive vocals, and includes the much-loved single “Dog Days” (voted one of Pitchfork’s Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heaven’s dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed (Q and Mojo magazines), and Dear subsequently began touring with a live three-piece band, Matthew Dear’s Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman’s grace.
Today, Matthew Dear finds himself in a unique position. His highly anticipated third album, 2010′s Black City, is the culmination of years of hard work and experimentation, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. After over a decade of exploring pop’s outer limits, Matthew Dear now inhabits a rarefied corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy. Now is Matthew Dear’s moment, and it sounds like nothing else.
Daniel Bortz bio
It was the mid-’90s, the heyday of techno in Munich-Riem, home to the Optimal and other legendary clubs, when Daniel Bortz stepped into the never-ending, untiring loop of the stoically pumping bass drum. He was born in Berlin in 1981, but shortly thereafter his family moved to Bavaria, where he grew up. For the last 13 years he has been forging his deep beats, grooves and tracks for the club world from his base of operations in Augsburg. And it’s precisely that club world that Bortz has been gracing with his releases for quite some time now, aiming right for its hype-craving g-spot. He got his training as a producer with the Munich label Pastamusik with whom he released his first recording 2007. Since then, he’s been refining his sound between crate digging, house-nostalgia, digitally transferred dance music, sample insanity and a healthy dose of eclecticism.
Be it ‘80s new wave, ‘90s West Coast hip hop, disco or dance mania, Daniel Bortz brings things together that aren’t bound up with realness and schools: He fuses his own world of sound for today’s dance floor, and part of that is bootlegs – dangerously thin ice for a music producer’s reputation. “I get a kick out of hearing an R&B sample in a different guise, in converting my own tastes in music for the dance floor. Bootlegs in particular give me an opportunity to make some of my favourite songs danceable”. His notable re- working of James Blake’s Feist cover “Limit to Your Love” helped people forget the mud and rain of the Fusion Festival 2011; indeed, the Discogs database sample put him out a cool 10,000 euros, making the endeavour pricier than procuring even the rarest of old school tracks to come out of Chicago. Daniel himself can’t really explain why there’s such a buzz around the track, but on both his cuts and his own productions his refined sense of harmony plays a major role: “I work a lot with tunings. It takes a lot of work to make a few harmonic elements fit perfectly together. A lot of people just turn a sample into a loop, but I make sure that even the bass drum and percussion match the tonality of the sampled sounds and harmonise with one another”.
Daniel Bortz has an infallible knack for reducing things down to the nitty-gritty; to constantly limit elements to their bare minimum, even if nowadays ‘minimal’ is considered an absolute no-no. But none of that bothers the Augsburg musician much; he is just as aware of his special status in the close- knit Bavarian scene as he is of the sceptical gloom-and-doom prophecies of Berlin’s music buffs: “Since 2007 I’ve been hosting a monthly party series in Augsburg with Forza Electronica. While being a music producer here has its challenges, I don’t just want to play for those in the know. I like appealing to a mixed audience that doesn’t mind if I occasionally play a slower track or a song by Whitney Houston or Phoenix. I feel very much at home in Bavaria. You’re kind of left to your own devices here, but through that you assume a neutral position. It feels more free and independent than being constantly associated with certain scenes or certain people”. So the MPC guru continues his journey through his very own sound universe, releasing any material he feels is right, and, at the same time, revering his old heroes Matthew Herbert and Daniel Bell. These two old masters likewise shunned scenes and dogmas, an attitude that sets from apart from run-of-the-mill hitmakers, who crank out the next short-lived club hype.
read more
Public Works & in.sight Present:
MATTHEW DEAR (6 hour DJ set) in main room
+ DANIEL BORTZ (suol) extended set in the Loft.
Matt Hubert (in.sight/rollingtuff) opens in the loft.
Matthew Dear bio:
Depending on whom you ask, Matthew Dear is a DJ, a dance-music producer, an experimental pop artist, a bandleader. He co-founded both Ghostly International and its dancefloor offshoot, Spectral Sound. He’s had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he’s made mixes for Get Physical’s Body Language and the Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to none—and he’s just hitting his stride.
Matthew Dear’s 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear’s deep, distinctive vocals, and includes the much-loved single “Dog Days” (voted one of Pitchfork’s Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heaven’s dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed (Q and Mojo magazines), and Dear subsequently began touring with a live three-piece band, Matthew Dear’s Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman’s grace.
Today, Matthew Dear finds himself in a unique position. His highly anticipated third album, 2010′s Black City, is the culmination of years of hard work and experimentation, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. After over a decade of exploring pop’s outer limits, Matthew Dear now inhabits a rarefied corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy. Now is Matthew Dear’s moment, and it sounds like nothing else.
Daniel Bortz bio
It was the mid-’90s, the heyday of techno in Munich-Riem, home to the Optimal and other legendary clubs, when Daniel Bortz stepped into the never-ending, untiring loop of the stoically pumping bass drum. He was born in Berlin in 1981, but shortly thereafter his family moved to Bavaria, where he grew up. For the last 13 years he has been forging his deep beats, grooves and tracks for the club world from his base of operations in Augsburg. And it’s precisely that club world that Bortz has been gracing with his releases for quite some time now, aiming right for its hype-craving g-spot. He got his training as a producer with the Munich label Pastamusik with whom he released his first recording 2007. Since then, he’s been refining his sound between crate digging, house-nostalgia, digitally transferred dance music, sample insanity and a healthy dose of eclecticism.
Be it ‘80s new wave, ‘90s West Coast hip hop, disco or dance mania, Daniel Bortz brings things together that aren’t bound up with realness and schools: He fuses his own world of sound for today’s dance floor, and part of that is bootlegs – dangerously thin ice for a music producer’s reputation. “I get a kick out of hearing an R&B sample in a different guise, in converting my own tastes in music for the dance floor. Bootlegs in particular give me an opportunity to make some of my favourite songs danceable”. His notable re- working of James Blake’s Feist cover “Limit to Your Love” helped people forget the mud and rain of the Fusion Festival 2011; indeed, the Discogs database sample put him out a cool 10,000 euros, making the endeavour pricier than procuring even the rarest of old school tracks to come out of Chicago. Daniel himself can’t really explain why there’s such a buzz around the track, but on both his cuts and his own productions his refined sense of harmony plays a major role: “I work a lot with tunings. It takes a lot of work to make a few harmonic elements fit perfectly together. A lot of people just turn a sample into a loop, but I make sure that even the bass drum and percussion match the tonality of the sampled sounds and harmonise with one another”.
Daniel Bortz has an infallible knack for reducing things down to the nitty-gritty; to constantly limit elements to their bare minimum, even if nowadays ‘minimal’ is considered an absolute no-no. But none of that bothers the Augsburg musician much; he is just as aware of his special status in the close- knit Bavarian scene as he is of the sceptical gloom-and-doom prophecies of Berlin’s music buffs: “Since 2007 I’ve been hosting a monthly party series in Augsburg with Forza Electronica. While being a music producer here has its challenges, I don’t just want to play for those in the know. I like appealing to a mixed audience that doesn’t mind if I occasionally play a slower track or a song by Whitney Houston or Phoenix. I feel very much at home in Bavaria. You’re kind of left to your own devices here, but through that you assume a neutral position. It feels more free and independent than being constantly associated with certain scenes or certain people”. So the MPC guru continues his journey through his very own sound universe, releasing any material he feels is right, and, at the same time, revering his old heroes Matthew Herbert and Daniel Bell. These two old masters likewise shunned scenes and dogmas, an attitude that sets from apart from run-of-the-mill hitmakers, who crank out the next short-lived club hype.
show less
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Public Works
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161 Erie Street , San Francisco, CA 94103
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