Time to usher in a new wave of slow music. From Brooklyn via False – this is Billy Gomberg.

The opening moments of False Heat are deep – the kind of bass that you can feel in the pit of your stomach. A single held note that slowly evolves as if moving through fog. Although this album is made up of two side-long tracks, each of these seem to be broken up into distinct movements.

Around 9 minutes into False Heat Pt 1 more notes appear from the background hiss reminiscent of a time stretched fog horn before slowly, ever so slowly falling backwards forever into the mist. the entirety is a static cloud held aloft by its one note foundation.

False Heat Pt 2 is, by comparison full to the brim. It has chords and distortion and even hints at melody in its first few minutes. But it’s around 6 minutes in when the deep notes return that the beauty really arrives and everything else suddenly seems so fragile. By 10 minutes things are starting to crumble around me as the distortion gradually builds ushering in yet more bass – I don’t know where he gets it from, but he has a lot of it. This slow, timeless build does eventually, sadly come to an end. At which point I go back to the start.

Billy Gomberg was I have to say, a name I had not heard before, but it’s a name I fully intend to find out more about as this album is by far the best dark ambient/drone/call-it-what-you-will album I have heard in a long time.

Mastered by James Plotkin
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