Live in: Carpi, Italy / Torun, Poland

by Ezekiel Honig

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(this release was originally a hand-packaged double CD in an edition of 50, and came with the text below, which I wanted to share in this format as well, so I am)

My approach to playing live stems from a desire to balance improvisation and structure, to have tools which leave flexibility from set to set, and from moment to moment within the same performance. The material I have to work with is individual sound loops and short mini-structures, so the improvisation grows out of how they are arranged, effected and utilized. There might be a kick drum from
one song, a field recording from another, a melodic tone from another, a peripheral rhythm from another, and so on. This gives me the latitude to put sounds together which may have, but often do not, come from the same song. It allows the opportunity to ignore those prepared ideas from the studio and find new relationships between the pieces, to repeatedly rework elements by treating them as coming from one large pool of material rather than discrete songs.

My aim is for no two sets to sound the same. They may have a similar feel, but are presented differently, with no “set list” and no specific idea of where one will head. It’s a loose means of translating the material, which is based in the original forms, but ends up straying and reacting in a more open-ended fashion. Where it all leads depends on the demands and direction of the moment, my own experience of the space and the people in it – where I am personally at the time of the performance and how listeners react. I am confined by the pieces at hand, but within those limits I am free to play with the possibilities. Because of this approach, practicing becomes more about learning where I left things and the easiest way to retrieve them – the mechanics of finding the right loop at the right time – having enough to work with to allow chance to play a role and for new arrangements to occur with sounds I had forgotten about.

These two sets collectively are a good illustration of the similarities and differences from one performance to another. They were recorded eight days apart, the first on November 13, 2009 in Carpi, Italy, at the Bricolages event, and the second on November 21, 2009 in Torun, Poland, at the Plateaux Festival. Both remain unedited from the live recording, except for the minor revision of lifting the master
volume a bit. There are elements from released tracks as well as from work-in-process, some of which can and will have its final form influenced by the progressions that happen in a live set. They are variations of several songs as well as variations of each other.

- Ezekiel Honig - January, 2010

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released January 18, 2010

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Ezekiel Honig Los Angeles, California

Ezekiel Honig's emotively warm electronic-acoustic music uses a multitude of everyday real-world objects and spaces, tethering to our physical universe. Plastic, metal, wood, and air coalesce with Rhodes, guitar, horns, piano, and other instrumental origins, creating a sound of contrast and contradiction, pairing inviting, fuzzy chords with clunky and dirty mishaps. ... more

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