Gideon Broshy is a composer, pianist, and producer from New York City. He builds clouds and swarms from sharp figures, using improvisation, synthesis, and MIDI. His music attends to the strange and prolific seam between self and world — where people meet the social in a tangle of connections.
As a composer and producer, he’s worked with artists like Sō Percussion, Roomful of Teeth, Matt Evans, and Wendy Eisenberg. As a pianist, he’s performed on NPR and at Carnegie Hall. His interdisciplinary work includes projects for dance, theater, film, and installation, at venues like the Yale University Art Gallery and with directors like Kali Davis and Jaime Sunwoo. Work in 2025 includes his debut album Nest, a residency at Millay Arts, and an experimental rock project. He studied music and sociology at Yale, the London School of Economics, and Juilliard.
Questions and Answers
3 FACTS
From Kathleen Stewart’s Ordinary Affects:
1: The self “channels what’s going on around it in the process of its own self-composition.”
2: Everyday life is “lived on the level of surging affects, impacts suffered or barely avoided.”
3: The ordinary “is a drifting immersion that watches and waits for something to pop up … little worlds, bad impulses, events alive with some kind of charge.”
11 QUESTIONS
1. What is the biggest inspiration for your music?
The erratic rhythm of everyday experience.
2. How and when did you get into making music?
I started playing classical piano at age 5. Around 16 I started playing in bands, tinkering with synths, and making electroacoustic music.
3. What are 5 of your favourite albums of all time? (yes we know it is difficult).
Mark Fell, Multistability
John Luther Adams, Four Thousand Holes
Keith Jarrett, The Köln Concert
Phoenix, Wolfgang Amadeus Phoenix
Elton John, One Night Only
4. What do you associate with Berlin?
Improvisation, noise, pulse.
5. What’s your favourite place in your town?
Naumburg Bandshell in Central Park. You’ll find roller skaters, giant soap bubble slingers, drum circles, opera singers. It’s hilarious and incredible.
6. If there was no music in the world, what would you do instead?
I studied sociology in school. In addressing the basic questions of social life, social theory invites us to give form to something abstract and interstitial in experience — much like music.
7. What was the last record/music you bought or listen?
Dialect, Under~Between.
8. Who would you most like to collaborate with?
Sam Shepherd (Floating Points).
9. What was your best gig (as performer or spectator)?
Green Day on the American Idiot tour, when I was 11.
10. How important is technology to your creative process?
It’s foundational. Much of my material comes from playing games with MIDI — stretching and contorting it, shuffling it around, looking for serendipitous combinations.
11. Please tell us more about the development of your new album “Nest”?
I generated this material through improvisation, synthesis, and MIDI in gestural fragments, thrown together into textural swarms and organic forms. The impulse was to make something very wild and free, but also precise and intricate — stitched together from discrete parts, blooming into complexity organically.
