new cassette on Marginal Frequency – new domestic improvisations from Anne & I.
thanks to Tristan Bath for inviting me to contribute to his long-running series of tape broadcasts!
Playlist and blurbs below….
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 // email@example.com
tweet // @SplsOut
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
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:
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.
Transition on tonight’s dimension-bending Spool’s Out…