mix for Spool’s Out

thanks to Tristan Bath for inviting me to contribute to his long-running series of tape broadcasts!

Playlist and blurbs below….

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Billy Gomberg is a NYC-based musician. He utilises traditional & modern synthesis alongside myriad recordings and instrumentation. He aims to pull the physical and the abstract together. He has released music for the likes of Students of Decay, Dinzu Artefacts, Constellation Tatsu, and more.

For this week’s show, Billy’s compiled a mix defining his personal sound world, plus recorded a recent live performance at The Spectrum in New York.

email // tristan@spools-out.com
tweet // @SplsOut

Pre-Play
Helm – Fog Variations II (from Rawabet, Alter)

Billy Gomberg’s Playlist:
Jerman/Barnes “Occluded” (from Karst, Astral Spirits)
New York Review of Cocksucking “Side A” (from Such Sweet Shame, Copy For Your Records)
Michael Flora “Xi” (from Xi, Sympathy Ltd)
Angelo Harmsworth “Untitled” (from Japanese Whisper, Angoisse)
Ryan Loecker, “Untitled” (from Split, Lillerne Tapes)
Sofia Ozdravovna, “Scenes By The Sea, Scenes From Every Land” (from Housewife At The End Of The World, AudioVisualAtmosphere)
Hainbach, “Noise, Rising” (from Cello Pattern, Limited Interest)
Lea Bertucci, “The Cepheid Variations” (from All That Is Solid Melts Into Air, NNA Tapes)
Anne-F Jacques, “Side A” (from Welcome, Electricians, Dinzu Artefacts)
Olli Aarni, “Lofoten 8.7.2016” (from Veslä, self-released)
Billy Gomberg, “Live at Spectrum, April 29 2017

Transition in Cassette Gods

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:
http://cassettegods.blogspot.com/2017/05/billy-gomberg-transition-c30-dinzu.html

Transition in The Quietus

Good company in Tristan Bath’s Spool’s Out column at The Quietus:

In comparison, Brooklynite sound artist Billy Gomberg’s offering on Transition is a relatively peaceful affair. Deeper listening reveals layers of hidden meaning, and in my own case, no small amount of terror. This is incredibly abstract music though, and one wonders how much the translucent, vaporous meaning is in the ear of the beholder. The single piece on side A seems at first to blend together various field recordings to create a strange new, third location. Distant industrial clatter or public transport noises soon turn out to be Gomberg’s own tones summoned from goodness knows where, and the collage then segues from place to place as it travels onwards. The two shorter pieces on side B are no less mysterious. Whether the overall effect is peaceful of terrifying is perhaps up to you to decide – either way it’s an absorbing trip to take.

http://thequietus.com/articles/22079-dale-cornish-dinzu-artefacts-yearning-kru-eiderdown-records-me-claudius-cassette-tape-review

Transition in Foreign Accents

Insightful and concise writeup from this PDX-based blog:

The electro-acoustical ebb and muffled field recordings of Billy Gomberg’s Transition have a quiet intensity to them that feels preparatory to something. A few minutes into the closing section on side B, and you might feel very specific images coming to mind: early morning in the industrial part of town. The faint hum of generators. Distant trucks passing. These are soundscapes for low light and empty streets. It’d be redundant to just call this “drone”, when really, its stirring, mind-manifesting mixture of tones and field ambience makes it a zoney sonic portrait. It barely matters how it was achieved– its organization is all of a piece, the collected moments seamlessly melding together. Reminds me a little of the minimal, diffuse calm conjured by the likes of Andrew Chalk, Christoph Heemann, David Jackman (Vacant Lights, one of his releases as Organum, particularly comes to mind), all those other characters. Highly unique and highly recommended.

(New Album Review) Billy Gomberg- Transition

Dusted on Transition

Insightful words from Bill Meyer at Dusted:

“Removal, addition and space all come to mind while listening to these three pieces, which collectively run just under half an hour.
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The sounds all seem to be coming at you from a great distance, so that to engage them you have to project your attention outwards. But at the same time they rise and fall in a cadence reminiscent of breathing exercises, and the piece induces a similarly calm state. This simultaneous evocation of in and out of body experiences speaks to art’s power to transform perception and the moment, and in doing so becomes a reminder that nothing needs to stay the same.”

full review below… Continue reading