$45.00 – General Admission
*plus applicable service fees
Tickets are also available service charge free at The Fox Theater’s Box Office (located on the 19th street side of the theater) on show dates and on Fridays from noon – 7:00pm.
Migration is an album that, behind its poised structures and dreamy textures, is built out of turmoil. Simon Green, over more than a decade and a half, has come from humble beginnings as an eclectic DJ in Brighton, on the English south coast, to being one of the world’s biggest electronic acts. This in turn left him essentially rootless and without a real place to call home for almost three years as he toured his previous album The North Borders around the world. Pieced together and composed on the road, then taken into various studios to add the many brilliant instrumentalists and vocalists who add to its richness and complexity, Migration is the sound of a world in flux. Where some can find the itinerant touring lifestyle draining and confusing, for Si it became a chance to observe micro and macro –local and global – aspects of 21st century life, to connect them to his own emotional experiences, and to remind himself that this dizzying world is still made up of real people’s individual stories.
In all of that, it has become, perhaps, an album for our times. We live in a period of sometimes terrifying uncertainty, where all too often people are tempted to retreat into their own shuttered-off realities, or to seek easy answers in shouted slogans and false promises. Migration, on the other hand, is an embrace of uncertainty and contradiction, and most importantly of all, even though its scope is epic, it is full of conviction that small ideas, questions, doubts, and stories really matter. Blissful it may often be, but escapist it isn’t. Along with the likes of Caribou, Floating Points, Four Tet and Flying Lotus, Si is flying the flag for modernist music that can be both widely accessible and exploratory, that can reach those arena-sized audiences yet still touch individuals deeply and specifically on emotional and intellectual levels. From all that turmoil, he has provided a timely reminder that artistry, introspection and a gentle, personal touch still have value and power in a difficult world.
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.
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.
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.
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.