Brian Olewnick on False Heat

Brian Olewnick reviews False Heat, lovingly applies yet more food metaphors to my work:

Gomberg’s music, to the extent I’ve encountered it, has always been overtly engaging, almost too much so, like an irresistible candy that you initially chide yourself for enjoying its excess sweetness but, dammit, it’s good and you eventually come to realize the faint bitter strains that give it its power. In that sense, he often reminds me of Fennesz in his prime. “False Heat” is no exception. Released on LP (I heard a digitized version), we have two sides of Gomberg’s electronics. Side A, which I think is a real-time improvisation, opens with a hyper-low tone, splaying into several layers of varying pitches, textures and wobbliness, all in an interwoven, multi-thread drone. At heart, the elements are not uncommon at all but the placement is very fine, the choices made just right. I’ve been (for the umpteenth time) looking at Eggleston a great deal recently and the “normalcy” of his photos–not normal at all–seem to have some resonance with this music. Talk about sweet, Side B’s opening drone is chocolate salt water taffy. It unspools slowly, the piece taking on a hazier character than the first, with some welcome sour tones slicing through the molasses. Much of the second half of the work is infused with sounds very reminiscent of throat singing–visions of David Hyke’s Harmonic Choir thrust themselves to the foreground but, sweet as this music is, it has none of the saccharine quality of that ilk. A sensuous bath, well worth the subsequent trip to the dentist.

http://olewnick.blogspot.com/2013/10/devin-disanto-tracing-boundary-task.html