The Four Pillars Appearing | 2017
"I have never heard piano and electronics joined in such complete symbiosis and to such organically singular effect. ... All elements converge to create one of the most important contributions to recorded piano music of at least the past 20 years."
"Le moindre petit changement de rythme, l'introduction d'une seule note supplémentaire dans les nombreux clusters bourdonnants et martelés, chaque évènement est un bouleversement de l'ordre. Chaque nouveauté, si minime soit elle, explose tout l'espace, forme une nouvelle mélodie, dévie le bourdon de manière abrupte, et c'est toute la forme de la pièce qui change. Mais surtout, à un niveau moins formel, cette écoute révèle une beauté incroyable."
"Though it might seem that a clear separation would exist between the acoustic and the electronic elements, the lines between them blur during the performance in a way that intensifies the music's hallucinatory effect. There are times, in fact, where the combination of overtones and electronic treatments is so powerful it begins to evoke other instrument associations."
NY Times: A Single Note | 2017
"As is sometimes the case with outwardly unvaried Minimalist music, the texture emerges from the overtones, the frequencies that sound above fundamental notes (in this case, those seven Ds on the piano). Mr. Gibson’s electronic design for the piece highlights these naturally occurring acoustic phenomena, making their ghostly quality more easily perceived."
I Care If You Listen | 2016
I Care If You Listen | 2016
"Gibson's work engages with rhythms and temporality existing outside of our socially-constructed rhythms, offering a glimpse of time outside of time."
This Feeling of Eternity | 2016
"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
"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."
Apparitions | 2015
"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."
"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
"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
"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
"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
"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
"(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
"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
"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."
"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."