Who plays the music and who deals with the baby? New-ish parents Billy Gomberg and Anne Guthrie had to deal with that question as they made Heavy Objects, and that circumstance offers one explanation for the tape’s restraint. While a French horn, bass guitar, digital recorder and synthesizer were all hefted during the recording session, it certainly doesn’t sound like anything heavy was played, let alone dropped. Instead distant environmental recordings negotiate for space with other recordings of hushed in-home activity — the filling of a glass or papers being moved around a table. The musical instruments are heard one note at a time, almost reluctantly, as though whoever was playing them was trying hard not to wake the kid. The result is music well suited to quiet headset listening. Pop the tape in your Walkman or the files in your phone and play them almost subliminally while you shop or stroll, and savor the moment when you can’t tell if the radio or car horn you’re hearing comes from the music or the space you’re traversing. But if you’re easily frightened, you might want to audition side two once in the safety of your home first; I don’t want to spoil the surprise, but there is one sound on it that you’d much rather hear coming from a recording than the street.
new cassette on Marginal Frequency – new domestic improvisations from Anne & I.
I’ve been lax in posting about this mostly b/c we’ve been overrun with activity this summer so here, catch up with this:
Produced between 2016 and 2017, “Video Art for Conditional Malaise” is a tool intended for those suffering from bouts of seasonal depression or general malaise in our modern political climate.
For thirty minutes flowers bloom and float into video feedback ether, set to the experimental-ambient music of Billy Gomberg. For its intended effect, please view using a projector against a large white wall, with the audio set to a louder than usual volume. The goal is full immersion.
Running time — 29:04
NTSC — Region 0
Audio track 1: Original score by Billy Gomberg
Optional audio track: Original score by Billy Gomberg run through VCR tracking errors when recording final cut.
gorgeous, raw analog video manipulations from Rob Feulner. we got to play out with this footage in April and it was a joy. play loud and bright and big.
Amidst an elaborate staging, Ryan Masteller offers this:
Transition is an album that lives up to its name, a drifting, evolutionary signpost marking the passage of time. As befits a Dinzu release, field recordings are processed through effects and electronics, the sounds taking on entirely new identities as they’re filtered through Gomberg’s vision of glacial motion. The tracks are untitled, marked only by the amount of time they fill. And fill they do, as you must pay careful attention to the compositions, allowing them to consume your focus so that you don’t miss a single detail. You could call them drones, but that would be selling them short – there’s distinctive movement in the works, distinctive tones, unearthed emotional stimuli whose raw receptors remind you of events in your life that you’d forgotten. Wisps of memory once again become tactile. You remember who you once were.
Full review at Cassette Gods:
A track of mine is featured on the massive new Sound Canvas 2 compilation from Mikroton Digital.