The first thing I notice when chatting to Jimmy Vallance and Tom Howie of Bob Moses is the sheer enthusiasm both have for what they’re doing. To be expected perhaps so early on in their musical journey but none the less infectious, when one listens, delving into each segment of their story which has fallen into place, allowing a synchronization of talent, which was inextricably connected way before any studio time would occur.
Howie starts off telling me about the humble beginnings, which presided the journey of the duo, sharing the same school, unbeknownst to one another in Canada. Things could have been very different, but for a similar musical drive to learn and achieve. Chasing the beat, the dream to produce and make music took both to New York as Vallance explains how a chance encounter at an inconspicuous store started off a relationship, both a friendship and one of a creative type. Both discovered each had similar tastes in music “Grunge and Hip hop” being two prominent genres that influence the work of the twosome and it was that, which helped build an initial rapport. Through such a chance friendship, studio time quickly became inevitable as both tried to piece together what they wanted to do production wise, yet strangely finding similar drives, ideas and sounds. Howie mentions how through a huge degree of experimentation, practicing and working as co-producers on a few tracks helped form the inception of Bob Moses, “When it just clicked”.
Both mention and attribute the positive influence of the label and label mates of Scissor + Thread on their early development. Working with the label during studio time was key, giving them a taste and creative process which forged tracks that combined dark atmospheric house with melodic hooks. A precursor to later things, no doubt. This so called darker variety of house, was broody, but with a depth that really helped start off Bob Moses and where they wanted to go production wise. Such development and ongoing improvements would inevitably result in some excellent bodies of work being created in the form of 2012’s ‘Hands to hold’ and 2013’s ‘Far from the tree’. Both embody the formula which Bob Moses have taken in their own unique direction, check out the tracks, ‘far from the tree and ‘all I want’ to get an idea of the process, with Howie’s vocals and Vallances dark instrumental production working excellently together.
When I ask about the transition and influences which helped forge their latest offering ,their debut LP ‘Days gone by’. Lyrically, heartbreak and angst seem commonplace, life experiences that have played a part in the development and vernacular of the guys no doubt in previous moments. Emotive dance, carrying poignant lyrics is something that is becoming more and more prevalent in electronic music , James Blake and Darkside spring to mind when looking for comparable contemporaries of Bob Moses. With ‘Days gone by’, Howie’s lyrics and the general production is more refined and generally feels more polished than previous offerings, touring inevitably comes up as a really influential topic that helped with the process.
The influence of touring can’t be understated states Valance, “one of the best parts of touring can be the feedback process that comes with dropping a track worked on in the studio, seeing what works, what the crowd gets, and sometimes what it doesn’t”. This helped create each track with a live crowd in mind. Utilizing each gig to ascertain what the audience wants, is something which really gives the album legs electronically, with a greater chance the production could have potentially got lost in the atmosphere of its own concept, eased by the intense baptism each track would have got while touring. It’s a record that can bring the emotive, multi faceted elements of the duo out and can transition seamlessly from dark electronic ballad, to club anthem with relative ease, due to the understanding cultivated through studio time with one another and ultimately through gauging their fans tastes.
Chatting about their fans and their growing popularity, which continues to gain more and more traction, brings about an anecdote from Howie, which encapsulates the underground scene so excellently. Howie talks about at the beginning, which isn’t that far long ago, being called by a young Irish promoter who wanted to book the act, bear in mind Bob Moses was relatively unknown in Europe at the time. Hearing their sound had reached a base in Ireland, was humbling and quiet scary, in the sense that project had become relevant very quickly. Eventually arriving over to play a late night basement bar called Pacinos, the boys were blown away by their fans bellowing out each track, met by rehearsed choruses and lyrics, and a familiarity and love that the boys highlight as one of their fondest memories on tour.
Like most acts on the scene, the road can be relentless, but each seem like they are hungry for it, playing impromptu Boiler Room parties in Israel and lately an epic set in in the desert for Burning man over the last few months. Hearing how genuinely humble and grateful the two are for their current position, listening to their excitement for their record to be heard and liked by as many who are willing to take the chance is refreshing, a side of electronic music sometimes not seen as productions stem from the facelessness of Soundcloud and Discocogs. Emotive with depth and talent, Bob Moses brought together by the sometimes foolish chances of life, have something tangible to offer, and long may it continue.
Words by Danny O’Sullivan.
Bob Moses play Dublin’s Button Factory on the 14th of November.