Biografie
Bobmo is a young producer who moved to Paris from Bordeaux a couple of years ago. While in high school, with no musical training, he launched a short-lived rap career, making beats on his Playstation (no, really!), spitting awkward tales of murder and woe. Then he got himself a PC and found a new faith when he discovered legendary labels Dancemania and Trax. Promptly signed by Institubes on the strength of an early demo, he's released three widely-played and playlisted singles–Let's Go Bobmo!, To The Bobmobile and 3000% YES–and toured extensively, from small Australian clubs to Dutch mega raves.
It's always easier when people are living stereotypes, real-life equivalents of bad sitcom characters. Then you can just whip out the descriptors and tell the world how too-cool-for-school they are. The thing with Bobmo is that this doesn't work: he's a complex piece of work, a bunch of riddles wrapped in lots of contradictions. With Falling From The Crescent Moon, Bobmo moves to claim the throne: three new tracks and a bonus suite revisiting of one of the boy's greatest tracks: "Rock The" from 3000% YES.
As ever, Bobmo wears his influences on his sleeve: Detroit techno, Miami bass, electro and, most crucially, Chicago house. The funky "Back From the Grave" and the ravey "Turn On Drop Out" show that old idioms can always produce new and exciting sentences: this is clearly dancefloor-oriented, nineties-influenced house music, populated with gasping and woo-ing vocal bits, stabby synths and the occasional siren. In keeping with Bobmo's fascination for all things Turkish, "Arabian Delight" is a mid-tempo journey through idyllic, rosewater-flavored mid-eastern lands. FYI, the 1900 book A System of Medicine, edited by R.C. Albutt, describes an event in 1886 when some students at the University of Cambridge obtained an imported "hashish candy" called Turkish Delight, and fell ill after overdosing on it. Just saying.
One day, Bobmo heard the feathery synths of one of his past glories–"Rock The"–and thought "My work isn't done here" (or something to that effect) and went on to fix up the track by enhancing the bold melodic moves of the original.
Ed Banger's Feadz has been one of our heros since his Bpitch Control days. If you've heard his remix work, you know he loves to totally upend the tracks he takes on, and this one is no exception. He summons a weird, flanging-rich digital storm and lots of percussive interference, in a bid to make dancing an uncertain and unsettling affair. Goon & Koyote's remix is way more sedate, linear even, in a good way. It echoes Bobmo's own revisionist take by upping the melodic mood and punching up the snare game.
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