Press

Randy Gibson and ensemble performing *Apparitions of The Four Pillars in The Midwinter Starfield Symmetry under The 72:81:88 Confluence* at the 2016 Avant Music Festival
Randy Gibson and ensemble performing Apparitions of The Four Pillars in The Midwinter Starfield Symmetry under The 72:81:88 Confluence at the 2016 Avant Music Festival | Photo by Steven Pisano for Avant Media

I Care If You Listen | 2016


Rebecca Lentjes brings historical insight to the Apparitions experience for I Care If You Listen

"Gibson's work engages with rhythms and temporality existing outside of our socially-constructed rhythms, offering a glimpse of time outside of time."

Randy Gibson singing *Apparitions of The Four Pillars in The Midwinter Starfield Symmetry under The 72:81:88 Confluence* in a setting of *Quadrilateral Starfield Symmetry A:L Base 11:273 in The 181 Profusion* at the 2016 Avant Music Festival
Randy Gibson singing Apparitions of The Four Pillars in The Midwinter Starfield Symmetry under The 72:81:88 Confluence in a setting of Quadrilateral Starfield Symmetry A:L Base 11:273 in The 181 Profusion at the 2016 Avant Music Festival | Photo by Steven Pisano for Avant Media

This Feeling of Eternity | 2016


Porter Anderson interviews Randy Gibson for Thought Catalog

"He's been working on Apparitions for seven years. Novelists can relate, speaking of slowing down. His music is ritualistic, spacious, luxuriantly unhurried, intensely focused."

Sound American: The Ritual Issue | 2015


Sound American 11: The Ritual As Questionnaire

"When I moved to New York and began studying with Khan Sahib La Monte Young, I was introduced to an even deeper ritualistic tradition. Khan Sahib teaches in the traditional Guru-disciple manner which he learned from his Guru, Pandit Pran Nath, and which is about so much more than just having a lesson. It’s experiencing the way he does things, the way he thinks about art and life and transcendence."

Randy Gibson, center, and his ensemble performing
Randy Gibson, center, and his ensemble performing "Apparitions of the Four Pillars in The Midwinter Starfield Under The Astral 789 Duet" at Wild Project | Photo by Gaia Squarci for The New York Times

Apparitions | 2015


Corinna da Fonseca-Wollheim talks Apparitions for the New York Times

"The drone consisted of a booming, throbbing sine wave that filled the room along with the aroma of burning incense before the first visitors filed in."

Lana Norris shares her Apparitions experience for I Care If You Listen

"Pitch slowly curled into the air, each note taking minutes like skinny molasses as every musician joined with pristine control. Gibson's mentor, La Monte Young, says that "Tuning is a function of time ... the degree of precision is proportional to the duration of the analysis," and Apparitions of The Four Pillars... indeed gave both the audience and performers the luxury to consider each new interval."

Mounting The Four Pillars | 2014


Textura reviews a performance of Apparitions of The Four Pillars

"The six musicians - Gibson (voice and sine waves), Jen Baker and William Lang (trombones), Drew Blumberg and Erik Carlson (violins), and Meaghan Burke (cello) - collectively generated an hypnotic mass of slowly mutating sound that advanced almost imperceptibly."

Five Questions | 2013


Randy Gibson answers 5 Questions for I Care If You Listen

"there had been these themes running through my work...: repetition, extremely slow tempo, fluidity, unrepeatability; but they were sort of all just in a cloud, floating around with no real direction. La Monte helped to clarify the situation for me, to allow the space for my sounds to be their own."

The Education of Randy Gibson | 2012


Molly Sheridan interviews Randy Gibson for New Music Box

"Out of just intonation, sine waves, extended durations, and close collaborations, Gibson is building a vocabulary for his work that has carried him deeply into a particular sound world alongside a special group of performers who are up for the challenge. "

Circular Trance at the Avant Music Festival | 2012


Bruce Hodges reviews Circular Trance for Seen And Heard International

"I found the piece fascinating. Circular Trance is built on the vocalists' ability to produce pure harmonies that combine with the sine drone, creating a shimmering cloud of sound."

Cage Match | 2012


Randy Gibson and Olivia Giovetti talk John Cage and more

"(I suppose the broader question here is, how did you take what you heard as a young'un by Cage and in turn fuel yourself as a composer?) "

Top Ten in Textura | 2011


Aqua Madora selected as a top ten release of 2011

"Not many recordings include a credit for the piano tuner, but in the case of Randy Gibson's Aqua Madora, it seems entirely appropriate..."

Aqua Madora Released | 2011


Christian Carey reviews Aqua Madora for Sequenza 21

"An aside: I wasn't the only one in the house to be floored by the piece. Our tabby cat, Happy, comes running every time I put it on, and blisses out between the speakers."

Aqua Madora reviewed in Textura

"Appropriate to the title's water allusion, the reverberations produced by the piano's sustain creates an impression of fluidity between the notes played, as if they possess a liquidy dimension that allows them to flow into one another."

Ten Questions | 2011


Randy Gibson answers 10 Questions for Textura

"Once I stopped performing with the dance, and in other works without any sort of time constraints, my work got longer, but also found its natural rhythm."

The Third Pillar in London | 2010


Scott McMillan reviews a live performance for The Liminal

"a moment of relative calm, of stillness, and of pleasingly soporific and mind-emptying purity... This was no fast forward, just a long, slow slide into nothingness."

Analog Apparitions Released | 2010


Aquarius goes deep

"two half hour epic swaths of deeeeeep rage like dronemusic, the sound constantly evolving and mutating and subtly shifting, from ethereal hazy shimmer to thick reverberating metallic buzz, a gorgeously expansive dronescape"

Boomkat issues a heavy machinery warning

"these compositions are concerned with the just-intonation and "purity of sine waves in complex prime-harmonic relationships" which sounds incredibly intimidating, but is actually quite beautiful, if you've ever succumbed to the work of La Monte Young, or felt your chakras quivering while listening to the likes of Eleh. The experience is ritualistic and enveloping and shouldn't be undertaken while operating heavy machinery."