A New York City native, and founder/label manager for the Anticipate and Microcosm labels, Ezekiel Honig’s idiosyncratic brand of electro-acoustic music nestles into a comfortable space between techno, house and ambient - using them as reference points from which to stray, rather than as steadfast frameworks. On his newest album, Surfaces of a Broken Marching Band, Honig constructs his music out of an almost incidental assembly of materials, editing and processing them into a whole which adopts the shards as if they always belonged. Drawing on the rich history of musique concrete, he incorporates a material nature into his sound by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. The low hum of a pad and ground skimming percussion noise play off brightly distended piano chords, thick, wheezing horns, and widespread constellations of re-pitched guitar. Playing with looping and lateral progressions alike, softly chugging 4/4 rhythms built from the rattle of metal, wood and plastic barely nod towards muted slow-motion techno, while reworked structures retain his characteristically warm, textured sound. In this manner, Honig delves into electro-acoustics with a sensibility that includes elements of clearly defined genres, while allowing those definitions to quickly dissipate, opening the spectrum to sounds from crowded parties in cavernous spaces, subway stations, the interiors of an airliner and other geographic departures.