A New York City native, and founder/label manager for the Anticipate and Microcosm labels, Ezekiel Honig concentrates on his idiosyncratic brand of emotively warm electronic-acoustic music. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable, shared space between muted techno, melodic, event-driven ambient, textural downtempo and slowmotion house - using them as reference points from which to stray, rather than as steadfast frameworks. Drawing on the rich history of musique concrete, Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. Using the sounds of plastic, metal, wood and air in collaboration with Rhodes, guitar, horns, piano and other instrumental origins, his music is one of contrast and contradiction, combining minimal, abstract tendencies with a core of timeless harmonics - pairing inviting, fuzzy chords with clunky and dirty "mishaps."

Ezekiel Honig - A Passage of Concrete - Anticipate 013
released March 17, 2017 - 12" vinyl / digital

You can pre-order A Passage of Concrete, now, on 12" vinyl or digital.

Melancholic, warm, pensive, with a sombre wonder for everyday experience, A Passage of Concrete ebbs and flows across an electroacoustic narrative of fragmented memory tethered to the present moment, unravelling movement, location, distance in a story that cares about place as both texture and emotional notation. Sounds from crowded streets, parks, empty apartments, and high-ceilinged spaces all fit into Honig's music on equal footing with kick drums, household percussion, saturated piano, and stretched-out horns. Steady rhythms embed themselves in gauzy melody, playing with ideas of various 4/4 genres while slowing things down a few notches. Honig doesn't fit his sound neatly into these categories but carefully considers the influence on his musical experience and direction.

Honig heavily utilizes field recordings that have been edited into both atmosphere and instrument, main character and supporting background. He believes wholeheartedly in the idea of the world as sample material, in taking the sound in one's environment (whether that is a daily immediate one or a momentary travel) as a potential step towards personalization. While using digital tools as the means of arrangement, editing, and processing, all the building blocks - the sounds - originate outside the machine.