delicate sen Four Years Later (since. why not)

The trio of myself, Anne Guthrie and Richard Kamerman present this new enough recording on Copy For Your Records.

Here’s what Brian Olewnick has to say about our latest missive:

An unexpected point of reference surfaced in my head while listening to this altogether wonderful new recording by Billy Gomberg (synthesizers), Anne Guthrie (French horn, preparations) and Richard Kamerman (drums, junk, YouTube, Deicide)–I found myself thinking of work done by the pre-Don Moye Art Ensemble, music from 1968-69 in which there’s (to my mind, anyway) a somewhat similar physicality and sense of space. Guthrie’s horn takes on Bowie’s role (about nine minutes into the second cut, she gives vent to a couple of startlingly Bowie-esque bleats), Gomberg perhaps Jarman (even some deep log drum echoes late on the first track!) and Kamerman a combo of Mitchell and Favors on “little instruments” (I can imagine the earlier group using YouTube and even Deicide were they available then). I take it for granted, of course, that nothing of the sort occupied the minds of these three musicians, that’s it’s just a function of this aging listener…Long tones of multiple kind, electronic and horn-generated, the latter sometimes strangled but always poignant, arrayed among a beautifully full yet spacious clatter, the three pieces sustained very ably, never over-meandering. There’s a wealth of great stuff here–repeated surprise as one delightful passage after another surfaces, unexpected but making sense in hindsight. Gomberg’s sensuous tendencies on synth are accommodated here more fully than I’ve heard before, not by simply an opposing stance taken by, say, Kamerman, but by choosing sounds that give those lush layers more weight, even if that element is (I take it) a YouTube instructional video on drawing a rabbit. Needless to say, the same works in reverse and more with Guthrie threading between and above. Roscoe Mitchell meets AMM may be overselling things but this marvelous session does hint at something new, even as it evokes something old. Great work, very exciting.

Billy Gomberg : synthesizers
Anne Guthrie : French horn, preparations
Richard Kamerman : Drums, junk, YouTube, Deicide

Yes, he keeps his neighbors in the bathroom
And they are made of grapes
Two ways to make a basic rabbit

glass-mastered CDs in full color digipacks
edition of 200 copies

Available from the source at Copy For Your Records as well as through ErstDist.

You’re ready.

video for Alex Cobb’s “Oversong”

from “Marigold and Cable” (Shelter Press, 2014)
featuring Maxwell Croy on koto

some music that made 2013

I compile this list throughout the year.  Releases I return to for multiple listens throughout the year stay on the list.

Jürg Frey “unhörbare zeit” perf. Conrad Harris, Pauline Kim, Chris Nappi, others @ Willow Place, Brooklyn

antoine beuger 24 preludes for guitar (edition wandelweiser)

beuger/frey dedalaus (potlatch)

girls names the new life (Slumberland)

eva maria houben lost in dreams – piano works (Edition Wandelweiser) & works for piano perf R Andrew Lee (irritable Hedgehog)

sean nicholas savage other life (Arbutus)

keith rowe/graham lambkin making a (Erstwhile)

Primitive Motion worlds floating by (Bedroom Suck)

rmillis relief (Helen Scarsdale Agency)

Stephen Cornford, Samuel Rodgers boring embroidery (Cathnor)

Danny Paul Grody Between Two Worlds (Three Lobed Recordings)

Raum The Event of Your Leaving (Glass, House)

Eliane Radigue Naldjorlak I II III (Shiin)

Stefano Scodanibbio Reinventions (ECM)

special nepotism category:

anne guthrie/richard kamerman sinter (Erstwhile)

what, I’m not supposed to list this hallucinatory album by my wife and our best friend and frequent collaborator.  come on.

CFYR – another year of extreme and wild output from richard’s Copy For Your Records label.  There’s good chance this kind of thing “isn’t yr kind of thing” but if you think it is you ought to be paying attention.

SOD – most of what Alex Cobb’s Students of Decay has pressed this year would be on the above list, John Davis’ Ask The Dust in particular is the kind of album that I listen to for years.  In a format such as this, I’d be remiss to note that Alex & I are quite good friends, he’s commissioned video works from me, and is releasing Anne’s next solo LP.  That said, this year’s releases by Aquarelle, Ekin Fil, and Secret Pyramid are all really exceptional albums in the realm of “music I listen to.”

new video for False Heat

Watch in HD!

I recently created a new video for material from my LP “False Heat,” issued earlier this year by a small label from Ohio, False. In the time between this records publication and now, I have done a lot of visuals for other musicians, and wanted to revisit this material using the newer techniques and footage I’ve developed.

The visuals were recorded in Sweden & Norway, August 2013, treated in CoGe, edited in Premiere.

Brian Olewnick on False Heat

Brian Olewnick reviews False Heat, lovingly applies yet more food metaphors to my work:

Gomberg’s music, to the extent I’ve encountered it, has always been overtly engaging, almost too much so, like an irresistible candy that you initially chide yourself for enjoying its excess sweetness but, dammit, it’s good and you eventually come to realize the faint bitter strains that give it its power. In that sense, he often reminds me of Fennesz in his prime. “False Heat” is no exception. Released on LP (I heard a digitized version), we have two sides of Gomberg’s electronics. Side A, which I think is a real-time improvisation, opens with a hyper-low tone, splaying into several layers of varying pitches, textures and wobbliness, all in an interwoven, multi-thread drone. At heart, the elements are not uncommon at all but the placement is very fine, the choices made just right. I’ve been (for the umpteenth time) looking at Eggleston a great deal recently and the “normalcy” of his photos–not normal at all–seem to have some resonance with this music. Talk about sweet, Side B’s opening drone is chocolate salt water taffy. It unspools slowly, the piece taking on a hazier character than the first, with some welcome sour tones slicing through the molasses. Much of the second half of the work is infused with sounds very reminiscent of throat singing–visions of David Hyke’s Harmonic Choir thrust themselves to the foreground but, sweet as this music is, it has none of the saccharine quality of that ilk. A sensuous bath, well worth the subsequent trip to the dentist.