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.
super happy to be included in the October ’17 edition of Marc Masters’ great HiBias column for Bandcamp, talking about heavy objects, living with music, being a family…
full text below:
new cassette on Marginal Frequency – new domestic improvisations from Anne & I.
I’ve been lax in posting about this mostly b/c we’ve been overrun with activity this summer so here, catch up with this:
Produced between 2016 and 2017, “Video Art for Conditional Malaise” is a tool intended for those suffering from bouts of seasonal depression or general malaise in our modern political climate.
For thirty minutes flowers bloom and float into video feedback ether, set to the experimental-ambient music of Billy Gomberg. For its intended effect, please view using a projector against a large white wall, with the audio set to a louder than usual volume. The goal is full immersion.
Running time — 29:04
NTSC — Region 0
Audio track 1: Original score by Billy Gomberg
Optional audio track: Original score by Billy Gomberg run through VCR tracking errors when recording final cut.
gorgeous, raw analog video manipulations from Rob Feulner. we got to play out with this footage in April and it was a joy. play loud and bright and big.
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 // firstname.lastname@example.org
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