fraufraulein ties two Facts together (digital, Erstwhile/amplify 2020, 2020)

Invited by Jon Abbey of Erstwhile Records to participate in his Amplify:Quarantine online festival of releases, Anne & I present two briefs pieces in ties two Facts together.

a note from Jon:

“4/14/20, 53rd piece/s.

for obvious reasons, almost every piece so far has been solo, with the only exception the stellar long distance English blind overdub duo, check that one out if you missed it.

so here we have the first live duo entry, from fraufraulein, the longtime couple of Billy Gomberg and Anne Guthrie. both are well established on their own, but their duo is in its own area, comfortable yet challenging, relaxing yet unpredictable, always a pleasure to see/hear perform or to listen to their recordings. this is their first released work as a duo since moving from Brooklyn to SF in 2018, and I can’t wait to dive in.

very happy to present “ties two Facts together”, two pieces recorded on March 31 and April 7.”

and a note from us:

“words: waiting for the restaurant downstairs to close (takeout only means they now shut down the exhaust fan at 9pm instead of 10pm), yet also staying quiet ourselves so as not to wake the kid, leading to small and simple sounds. clearer moments from a few nights this week”

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

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.