Billy Gomberg (b 1979, Chicago) is a musician and video
artist living in Brooklyn, New York. His studio practice
incorporates analog synthesis, digital treatments,
acoustic recordings and custom programming that gives
rise to electronic sound caught gazing at its own
physicality, acoustics in love with their own abstraction.

Billy's debut CD release displays abstract and complex
dimensions of texture and tone that might make more
sense at first on a subconscious level before it will on a
conscious one. Therefore, it is advised to first approach
this music from a pure listening standpoint, free from
preconceived notions of musical structure and form since
it can defy such prosaic logic.

"These tracks are the start of my working toward a more
immediate sound - improvisation w/software, real-time
construction of the sound material and structure, taking
priority. While some material comes from software in
real-time, all other sound was generated by Roland Juno
synthesizers, plus a few tracks incorporate my voice.
Post-production editing and treatment were mostly
employed to find the clearest expression of my
improvisations and shape them into more conventional
'tracks' or 'songs.' When improvising in this style, I do
have a sense of trying to find a 'song,' and letting that
take me somewhere else.

Somewhat more abstractly - where was I when I started
this work - a good portion of this album was started just
after I moved to Brooklyn in 2005.  Risking cliché, this is
raw sound, a discovery of style (or a total lack of it).  I
just make music, it's a space between the listener and
myself. In this way, sound is 'simple' - it's presence as
we listen gives it expression, our listening finds its
language." (Billy Gomberg)

Billy has exhibited or performed in New York, Boston,
Providence, London, Lisbon, Graz, and Zurich to name a
few, plus he was one of the artists featured at the first
and/OAR label showcase event during February of 2009.

A CLOSER LISTEN  (March 2012)
A typical complaint of the young is, “I’m so bored!  There’
s nothing to do!”  The opposite attitude is demonstrated
by Hideki Umezawa, who was inspired to create this
album on a rainy day after hearing “the water pipe
sounds in a college restroom”.  He then proceeded to
experiment with the faucet, eventually adding the
sounds of drainage pipes and glass harp.  This is
atypical behavior, but Hideki Umezawa is an atypical
sound artist.  As Pawn, he creates percussive electronic
stylings from all manner of household objects, and on at
least one prior occasion has used a kitchen sink. 
(Clearly the phrase “everything but the kitchen sink”
does not apply to him.)  He has an obvious ear for the
musical properties hidden in water, and the computer
and harmonica enhancements only serve to highlight the
pre-existing drips and flows.

Suido-Kan is a wet album through and through, but
never a deluge.  At its loudest, it remains merely a
stream.  This enhances the album’s meditative value; it’s
neither as quiet nor as single-toned as one might guess,
and as a result, each of the seven pieces (including a
Tomas Phillips remix) possesses a distinct timbre.  The
album grows more active as it progresses, with “Howling
of Tubes 3″ offering splashes and the droning of what
sounds like prayer bowls, offset by a series of bells and
chimes.  “Howling of Tubes 4″ sounds more like Pawn,
thanks to the glass harp (which is really a xylophone, a
confusion of terms), light electronics and a small
collection of dropped objects; and the second half of the
ensuing track pushes even further into this territory. 
But Unezawa’s closing piece returns to the ambient/field
recording territory of the opening tracks, bringing the
album full circle.  The last three minutes are as soft as a
shimmer.  Phillips’ piece neither adds to nor detracts
from the experience; it serves as an alternate take, but
can’t – and probably shouldn’t – compete with the
originals.  In the end, Suido-Kan is a fine day spent in
hydrogen and oxygen, and a welcome counterpart to
Umezawa’s main body of work. (Richard Allen)
catalog number: moar4
title: Suidô-Kan
format: CD
status: sold out