brettworks

(Around 2002, when I was doing research for my dissertation, I saw Ezekiel Honig perform in a tiny bar on the lower east side. There were probably fifteen people at the set. At the time, performing electronic music using just a laptop and Ableton Live was a novel kind of musicianship. Honig’s music was built out of tiny samples of field recorded everyday sounds, exemplifying the “microsound” aesthetic. I was struck by the music’s gentleness: instead of blasting the listener, it invited one into its intimate world of small sounds. “Broken Time Can Go In Many Directions” continues this minimalist approach on a larger scale, building something quietly epic.)