Using the loop as more of a tool than a rule, Ezekiel Honig's emotively warm electronic-acoustic music nestles into a comfortable, shared space between melodic, event-driven ambient, muted techno, textural downtempo, and slowmotion house. Using these genres as reference points from which to stray, Honig uses everyday objects and spaces amidst processed instruments, tethering to our physical universe while eschewing any concerns of figurative reality. Plastic, metal, wood, and air coalesce with Rhodes, guitar, horns, and piano, creating a sound of contrast and contradiction, pairing inviting, fuzzy chords with clunky and dirty mishaps. Honig finds this sense of balance - of past and future, acoustic and digital, abstraction and concrete immediacy - by grounding himself in the idea that a sound can be a representation of infinite stories, emotions, possibilities, and simultaneously be just a sound to be used in a work of audio.
After more than a decade of releasing music - on both his own Anticipate and Microcosm imprints as well as like-minded labels such as Type, Unfoundsound, and Other People - in 2014 Honig completed his first book, Bumping Into a Chair While Humming: Sounds of the Everyday, Listening, and the Potential of the Personal, an exploration of the sonic potential in everyday objects, spaces, and interactions. With a focus on the benefits of a strong listening practice and the search for a personal soundscape, Honig took steps towards formalizing methods he has exercised instinctually in his own sound productions.
Whether it is curating a body of work by other musical artists, creating visual art, scoring a film, developing an online curriculum for sound production, or writing a book on his sonic philosophies, Honig's directive has always been centered in connecting threads, on using sound as a focal point that allows spilling out into various disciplines.