Ezekiel Honig
Location: New York, NY
Website: http://www.ezekielhonig.com/
Bio: 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 ... (more)
music. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable space between techno, house and ambient - 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. His music is one of contrast and contradiction, combining minimal, abstract tendencies with a core of timeless harmonics - pairing fuzzy chords with clunky and dirty "mishaps."
Following an incremental shift through a number of critically acclaimed releases, Honig's work has been featured in The Wire (UK), XLR8R (USA), The Village Voice (USA), De:Bug (Germany), Textura (Canada), Flavorpill/Earplug (USA), Time Out New York (USA), Spex (Germany), Urb (USA), TRAX (France) and many other publications worldwide. His personal musical movement has been directly linked with the development of the Anticipate and Microcosm labels. Spending as much time on curatorial activities and label management as he does on his own music production has afforded Honig a unique viewpoint from which to work, and informs his activities in multiple stages of the musical process, as well as offering him the chance to collaborate with other artists.
In addition to his studio releases and label work, Honig performs live consistently, and, in this setting, strives to push beyond the boundaries of the recorded material. His improvisational approach combines loops and elements from various songs with on-the-fly arrangements, editing and effects. Viewing the recorded material as a constantly shifting body of work leaves space for serendipitous moments and leads to each set being an individualized rework, referencing and reprocessing itself. As a result of this flexibility to tailor sets to the environment, Honig's performances have
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