Wilderness And Luxury bandcamp album image

Wilderness And Luxury (CS/digital, Dasa Tapes, 2022)

Wilderness And Luxury is my first album of creative music since 2018’s Beginners, and like last year’s Fraufraulein tape Solum, feels to me like creative practice and language catching up with my life in California. In other ways, I hear materials that I’ve been working with for years finding new expressions and clarity.

As ever, a poetry of personal language and public topographies, a potential for our inner language and responses to find a relationship together. A reckoning of the distance between people, shaped by our engagement with the world around us. Over the past 4 years of my life, I began to understand this topography as wilderness and luxury.

Similar to how Solum brought into relief the required changes of our relocation on how Andy & I create collaborative music, the materials and processes we have stuck with, and those that have lost connection, or are in ways unavailable to us right how, Wilderness And Luxury is my language changed. I think all of the electronic material was recorded on the floor of our bedroom in February and March of 2020, with headphones, over the low vibration noise of the large kitchen exhaust fan, above our ceiling, from the restaurant below our apartment.

The sunrise will flood our windows, we can see the trees from the same view, and on clear nights the colors of sunset reflect onto the city to our east. The sound of recycling and compost trucks wakes me most mornings, but the bus stops at the far end of the block are not as insistent. Climbing the small hill that crests our street, the mountains are visible across the bay. I spent a lot of time over the past two years out in this topography with our child, just going where we go and seeing what we see. The trees and the water is so close, a city has laid itself through and upon this, then wrapped itself with the same trees and water.

The selection, editing, mixing and sequencing of what has become Wilderness And Luxury took place mostly through the spring and early summer of 2020, with small adjustments as I lived with this work. Some of the field recordings are from our time in California, some are archival.

If you are not into bandcamp, or paypal, or venmo, or money, please hit me up and I will get you music.

Recent mentions in Dusted!

My recent tape Beginners and digital collection of live recordings both get some words out of Bill Meyer at Dusted:

Billy Gomberg is no beginner. He’s been releasing music of his own and with Fraufraulein, a duo with Anne Guthrie, for nearly a decade. And the sound sources he uses on this tape are familiar ones — electric bass, urban field recordings, synthesizer and hand-manipulated objects. Even so, it feels like something new is happening here. Gomberg’s music has often seemed to stretch away from the listener, luring you to follow it through virtual expanses of space and time. Now it seems closer at hand, the sounds like sunning fish just under a pond’s surface. They’re simultaneously more recognizable and more processed that what he’s played in the past, creating a discreet reality that never quite loses its mystery no matter how often you play it.  (link)

In his summary of his Voting Rights Day shopping on Bandcamp, Bill found my bundle of live sets to defy his “not quite a physical object” rule:

Well, there go the rules. This DL-only compilation of concert performances by one of my favorite ambient recording artists of recent years shows that the carefully wrought, ultra-deep atmosphere of his recent cassettes is no fluke. (link)

 

We Need No Swords on Beginners

We Need No Swords comes back with a take on Beginners:

‘Beginners’, from San Francisco’s Billy Gomberg, is prime Dinzu. An artist who draws from different experimental and underground musicking practices – ambient drift, electroacoustic composition, improvisation, and so on – Gomberg has amassed a pretty decent-sized discography over the past few years, with releases on Another Timbre, Strange Rules, Marginal Frequency and others (the muted clonks of 2016’s ‘Slight At That Contact’ are a favourite round these parts). This is Gomberg’s second outing for Dinzu Artefacts, following on from last year’s ‘Transition’, and it amps up the fusty, fuzzy eerieness this time around to produce a creeped-out soundscape that’s up there with Jandek’s ‘Ready For The House’ in terms of skin-prickling spookiness. Here, muffled clunks and bangs merge with queasy, sustained tones, with ambient hum and tape hiss providing an uncomfortable translucent sheen. Everything sounds disconcertingly out of phase, as if bleeding through from a parallel dimension, the everyday life of ghosts captured accidentally by a hapless field recorder. EVP via the Tascam DR-40. Sonic ectoplasm in the Zoom. Most eye-popping of all is ‘Seeing The Sequel First’, where a plangent chorus of clangs plays out against a backdrop of subdued growls and murmurs, like some wraith gamelan playing lullabies for the beasts of the abyss.

Beginners in Tiny Mix Tapes

A walk through the zone from Jason C at Tiny Mix Tapes:

Where Slight At That Contact was the crumbling, desolate urban hellscape right before your eyes, Beginners is what remains: darkness, stretches of silence, lingering pulses of the grid, a sonic mirage of hope beyond the bleakness. It may all be a dream, a blurred memory we experience in real time, or on repeat, with a haunting, inescapable sense of déjà vu.

read here for the full writeup or click through below:

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Beginners in Tabs Out

Tabs Out covers Beginners and the rest of this batch of tapes out now from Dinzu Artefacts:

Gray Lee writes about Beginners:

A sonic playground of organic tactile sensations. Eerie air moves through hollow tunnels filled with unusual fragments of forgotten lives. Quiet inspections of abandoned possessions take place in shadowed dusty alcoves. Unseen breezes sway aluminum sculptures in filtered sunlight. Is this recording for beginners, who are just starting to explore a hidden world? Explore that world yourself, and you may begin to know.