Heavy Objects in Syg.ma

recent posting on the Russian site Syg.ma, touched up google translation:

The duo Fraufraulein continues to cultivate the territories of the electro-acoustic-field recordings-ambient. Formally, we can refer to their activities in the North American underground, specializing in experimental Improv, intelligent noise electronics and other areas, which widely bloomed in the early teens, but after several very successful (subjectively) releases many musicians did not understand where to go and whether to continue what has already been played. Many took under the wing of Erstwhile Records , sub-label ErstAEU , which publishes this very new American something there.

But here Billy Gomberg and Anne Guthrie – from among those who have decided to develop consistently found at that time. Released last year via Marginal Frequency, this album only confirms the fact that these musicians have found their niche and develop it thoroughly. The students are offered a new portion of field recordings, seasoned with playing instruments and objects. Both tracks on the tape evolve slowly, musicians revel in the sound and try to “incorporate” into the surrounding sound to the maximum, if you do not follow the music, it’s easy to miss or confuse which sounds are Guthrie’s horn, Gomberg’s bass, and where something from the street shows up accidentally. Listening to all this is surprisingly nice, tin this music there are no surprises and sharp twists, capable of expanding the focus of the listener’s attention in another direction.

Musicians only show and pay attention to everyday life, some simple joys, simple sounds and every familiar noise of streets and home life. It seems that all this is done easily and simply, is not it? No not like this. Holding this state is worth a lot, because it’s too tempting to play more than necessary, and thereby pull the blanket over yourself, demonstrating the ego, and not working for a common whole of music. Both can be avoided. It is worth remembering that the music of Guthrie and Gomberg still remains playful / improvised, and not thought out in advance / compiled. And I think that now it’s time to say about Fraufraulein: the sound of this duo has taken shape.

original text here:
https://syg.ma/@musicworm/fraufraulein-heavy-objects-marginal-frequency

A Changed Meaning on AGB’s 2017 list

“Gomberg has an average of about 2 releases a year for the past 10 years and while everything I’ve heard is fantastic, A Changed Meaning is certainly one of the best things he’s done, it’s super soft, light & airy, although not very bright, there’s a pervasive gloom settled just beneath the surface, and I’m amazed at how dynamic this record is without resorting to drastic volume changes.”

drone through the drone list here: http://www.antigravitybunny.com/?p=11317

Fluid Radio explores heavy objects

Nathan Thomas explores ideas of space and environment on Heavy Objects and Giovanni Lami’s Hysteresis work:

“Lami and fraufraulein approach the problem of how to respond musically to environmental sounds in very different ways, but the results are equally intriguing. The differences are pointed to by the titles they use: ‘Hysteresis’, a word denoting a system that incorporates some lag, delay, or history dependence, refers to process; ‘when we evaporate’ names the intention to actually evaporate into the environment, including a time and a voice to place the emphasis on affect. Translating into the language of the visual arts, you could call Lami’s technique a sort of live, instantaneous cut-up or collage, while fraufraulein mobilise the desire, often expressed in the annals of art history, to step through the canvas and into the painting.”

full writeup below:

Giovanni Lami / fraufraulein

 

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Brian Olewnick on Heavy Objects

A rare missive from Brian Olewnick’s woodsy retreat:

How nice to have some new Fraufraulein! Anne Guthrie (French horn, objects) and Billy Gomberg (electronics, bass guitar) have a special way of creating all-but-casual soundscapes from found materials and horn snippets, often subtly underlined by Gomberg’s essentially melodic take on things. There’s a relaxed feeling, walking speed, but extremely observant, choosing sounds with a balance of care and nonchalance. There’s a sense of a pure field recording that happens to contain musical elements as part of the environment, as when the (I think) small horn burps bubble to the surface about 12 minutes into ‘One of Us Always Tells the Truth’; very engaging. Firecrackers in the street begin side two, ‘When We Evaporate’, sharing space with muffled bass plucks and soft, wistful horn lines, all soon blending with the general, urban ambience outside the window. More small explosions, as though recorded on July 4th or Chinese New Year, airplanes passing, distant radio. Toward the end, the bass becomes a bit more insistent, even establishing a rhythm, Guthrie’s horn wafting atop, a very fine coalescing of all that’s transpired before. Excellent work all around, a real treasure. More, please.

Heavy Objects in Dusted…

the word from Bill Meyer at Dusted:

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.