Ezekiel Honig's work rides the tender line between abstraction and concrete immediacy. His emotively warm electronic-acoustic music uses a multitude of everyday real-world objects and spaces, tethering to our physical universe while eschewing any concerns of figurative reality. Plastic, metal, wood, and air coalesce with Rhodes, guitar, horns, piano, and other instrumental origins, creating a sound of contrast and contradiction, pairing inviting, fuzzy chords with clunky and dirty mishaps. 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. Honig finds this sense of balance - of past and future, acoustic and digital, a disconnected materiality - by grounding himself in the idea that a sound can be both 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.