Deep Blue and Public Works Present:
Lee Burridge (All Day I Dream / Get Weird- UK)
Rooz (Deep Blue), Bo (Deep Blue/Disco Knights), Ben Seagren (DISTRIKT/ Stereo Productions), Atish (Listed / Househeads), Brian Bejarano (As You Like It)
161 Erie Street
San Francisco, CA, 94103
Doors 9:30 PM (event ends at 4:00 AM)
This event is 21 and over
Lee Burridge (All Day I Dream / Get Weird)
A collection of emotive, melancholic, dreamy house and techno that's fun to dance to
Rooz (Deep Blue)
Rooz is a DJ, promoter, and major advocate of underground electronic music in San Francisco. Rooz is known for his late night trippy house and techno sets at underground warehouse parties across SF. With regular residencies and appearances at San Francisco’s house music nightclubs since 1999. You can catch Rooz opening for underground house and techno artists like Marco Carola, Loco Dice, Stacey Pullen, Dubfire, Derrick May, Derrick Carter, Matthias Tanzmann, Radio Slave ... at night clubs across the US.
Bo (Deep Blue/Disco Knights)
San Francisco based Producer / DJ. Resident DJ at Disco Knights, ZERO NYC, Do Not Sit, Deep Blue monthly in SF at PublicWorks, Great Northern, Monarch, Audio. Co-founded Deep Blue Events 11 years. Also help produce the Disco Knights BurningMan camp. More recently in 2015, partnered up with good friend and mentor, Lee Burridge, to help produce the All Day I Dream events in San Francisco.
Ben Seagren (DISTRIKT/ Stereo Productions)
Standing at the forefront of the ever-growing West-coast house &
techno movement in the US is Ben Seagren – DJ, Producer, and visionary
contributor within the Burning Man community.
Ben is best known for his dual roles as co-founder and resident DJ of
DISTRIKT recognized as the staple party experience of the Burn for its
reputable artist roster, beautifully positive crowd experience and
definitive, cutting edge sound. Playing host and DJ to well over
30,000 guests every year during one magical week in the desert, it
comes as no surprise that Ben and his DISTRIKT moniker continue to
entertain thousands of fans and followers all over the world.
Dominating San Francisco’s house & techno scene for over a decade with
long-term residencies at both award-winning Ruby Skye (2003-2009) and
legendary End-Up (2004-2015), Seagren’s impeccable taste and
undeniable talent earned him the respect of even the most
discriminating of techno aficionados- fans and peers alike. With a
passion for connecting like minded souls on the dance floor and the
continued support from a loyal fan base, Ben is propelling himself to
new heights as one of the sonic architects behind tech-house’s most
While traveling constantly between Los Angeles and San Francisco, Ben
regularly plays events up a down the California coast at Public Works,
Audio, Spin, Avalon & Sound and has held court at Ayslum After-hours
in Honolulu, Flash & uHall in DC, Output in New York, Heart in Miami
and Nikki Beach Cabo San Lucas, to name a few. He is also constantly
organizing DISTRIKT events while performing over 100 gigs per year in
clubs and festivals across the world. Ben has been a guest performer
at the BPM festival in Playa del Carmen, Lovebox in London, Lightning
in a Bottle, Symbiosis & of course Burning Man.
In 2014 Ben made his debut on world renown Chus & Ceballos label
Stereo Productions. The first release was a remix of a big room banger
“Blowin Minds” by Chus & Ceballos that reached far and wide. It even
got played out by Joseph Capriati at the BPM Festival in Playa del
Carmen. Following up this dance-floor killer he remixed Tony Dee’s
track "Back in the Dancefloor" on his latest Burn EP with Oscar L. Ben
just finished up another remix on Stereo called “Black Rock City”. The
original track was produced by Chus and Ceballos right after their
first experience at Burning Man. It is an honor for Ben to remix this
track 2 years later for a festival that is such a huge part of his
life. Black Rock City will be released in the upcoming months so keep
an eye out!
Brian Bejarano (As You Like It)
Nicknamed "Briski" by his father (pronounced Bri-skee), Brian Bejarano worked beyond a casual encounter with sound in Dallas, England, and San Francisco, taking a deep dive into the dark pool of music to feed the emotional, soulful and spastic sides of his adult nature. His young journeys drew him to throw and attend undergrounds and house parties; to buy and listen to psychedelic rock jams and Wicked tracks (beginning with Jeno, Garth, Thomas, Markie and Doc Martin; all bearing an indelible imprint on him); to scoop old-school tapes of '90s mixes that hoisted the shimmy at his smaller shindigs as he rounded out his sound.
But Bejarano’s desires propelled him headlong into every aspect of the business: DJing, producing and promoting. As a DJ, he established a residency at Dallas’s Velvet Hookah, was a part of his own re:body project that threw shimmery and artful disco parties all over San Francisco, and finally became a resident of West Coast collective, As You Like It. In the promotion sphere, he promoted and played an assortment of disco and house parties in Dallas that included guests like Doc Martin and Egyptian Lover. He also rocked sensational SF parties including Art Department and Linkwood at the now defunct wilderness-preserve-turned-sound-hive, the Compound, to fill the void of genres being spotlighted by the venue at the time.
Fast-forward to 2011’s tail end/2012’s cusp, his focus shifted more to sound development, production and travel (in both North America and abroad). The young rebel-turned-analyst had nurtured his reckless anima into a captivating concentration of musical mandates, resulting in awesome creative tangents previously unimagined.
"Dance music is always changing, with everything," he says. “We're all in our own worlds, and this music is where it all collaborates. It allows us to drop our problems and commune like our more tribal selves. As things keep changing, the movement in the scene has such a fresh, intellectual and international bent to it that it lets us express some things that words can't. It is a good spirit, and it can get twisted with distractions, but it encompasses the open-ended love of young and old, classic and momentous. It is the incredible vehicle of our passions or the prison that thwarts us."
"What I'd prefer it be," he continues, "is for the music to be an ability to go deep into the woods--our ways of telling the story in those light to darker tones, where even hostility cuts not as deep as an insult, but drives us toward a soft place where we see our nature and tell a story about it. I try to create a space where driving moods in a charismatic fashion is welcome; piecing the ups and downs askew in a way that cuts through the bullshit. An antithesis to perfection, it pushes you through to a new realm, deep into frozen, treacherous areas to reactivate them."
"It’s the rush" he says. "So let's party.”