Jorrit Djikstra: Music for Reeds and Electronics :: Driff (2014)

Jorrit Djikstra: Music for Reeds and Electronics :: Driff (2014)

“As a saxophone player and composer who has integrated electronics in my music for many years, I wanted to experiment with the reed quintet – typically a classical chamber music format – by opening it up with improvisation and electronics… it ended up as a curious assemblage at the intersection of electronic music, noise, free jazz, and modern chamber music.”

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mchtnchts : The Spoiled West and its Freshly Minted Infants :: Already Dead (2014)

mchtnchts : The Spoiled West and its Freshly Minted Infants :: Already Dead (2014)

Kyle Bruckmann & Lance Grabmiller – analog electronics. Cassette (with download card) in a limited edition of 40. Featuring design by Pan Pan/Joshua Tabbia, and texts pilfered from Matt Shears’ 10,000 Wallpapers, Brooklyn Arts Press, used by permission.

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Andrew Raffo Dewar: Interactions Quartet :: Rastascan (2013)

Andrew Raffo Dewar: Interactions Quartet :: Rastascan (2013)

“. . . There are moments in these pieces that explore the tension and interaction between noise and melody, acoustic and electronic sounds, the acousmatic blurring of sound sources, the subversion of the traditional conceptions of foreground and background events, notated structural materials that function invisibly within the music, and improvisations that can be difficult to determine where they lie on the spectrum of fixity and flux. . .”

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Addleds: Mottle :: Weird Ear (2013)

Addleds: Mottle :: Weird Ear (2013)

Addleds explores timbral and textural extremes of distended instrumental technique via improvisation and open-ended compositional strategies. Their music tends towards a brutalist minimalism as informed by the noise underground as by recent developments in the field of free improvisation.

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mchtnchts : .a….i…. :: Onyudo 22 (2012)

mchtnchts : .a….i…. :: Onyudo 22 (2012)

Lance Grabmiller and I have been partners in shudder (with Phillip Greenlief) since 2004, on double reeds and digital electronics respectively. In 2012, we began exploring a duo configuration employing exclusively modular analog electronics. The results have thus far been delightfully nasty, unapologetically invoking our mutual love of old-school industrial crunch. Our opening salvo is available as a FREE DOWNLOAD.

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Baker/Bruckmann/Zerang: Psychotic Redaction :: Multikulti Project 015 (2011)

Baker/Bruckmann/Zerang: Psychotic Redaction :: Multikulti Project 015 (2011)

“. . . if I closed my eyes, I managed a vague, if largely false, memory of being present at a Smithsonian Folkways recording session in some obscure basement in Mumbai or Tunisia. A mad rumba line was twisting insect—like through the cabaret, driven in their frenzy by the rubber mallets and honking legbone flutes of the featured musicians. At one side of the room, a group of Fez-appareled recording technicians could be seen working diligently on some ancient machinery. . .”

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Cube of Force: Book of Vile Darkness :: onyudo 004 (2010)

Cube of Force: Book of Vile Darkness :: onyudo 004 (2010)

“This began as an ill-tempered lowercase/eai duo recording session, and over the course of 3+ years somehow mutated into a snarling, campy hybrid exorcising some long-dormant adolescent industrial dance demons. Avant snobs with a Skinny Puppy skeleton in their closets will be delighted. . .”

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Olivia Block & Kyle Bruckmann: Teem :: either/OAR4 (2010)

Olivia Block & Kyle Bruckmann: Teem :: either/OAR4 (2010)

“. . . Clatter and scrapes derived from highly amplified, unidentifiable sources give the music a bracing tactility, and a meticulous sound mix suggests three-dimensionality. The constantly changing array of foreground activity and subtly morphing environments produce a gripping suspense that complements the stunning tonal palette.” (Peter Margasak, Downbeat)

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Pink Mountain (s/t) :: Sickroom 054 (2009) 2xLP + CD

Pink Mountain (s/t) :: Sickroom 054 (2009) 2xLP + CD

Various post-avant spectrums toyed with but tossed out the window for rock, except what exactly is rock? One man’s Sabbath is another man’s Butthole Surfers. One is feeling Floyd while another is feeling DNA & yet another thinking mid period Crimson & another early period Crimson & then someone is somehow thinking James Tenney… The verite m.o. of the first album is forgotten – this thing expands freely in four dimensions, becomes massive. There is no hope for this music – it’s impossible.” (Sickroom press release)

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EKG: Electricals :: another timbre 16 (2009)

EKG: Electricals :: another timbre 16 (2009)

“Eerie, spacious, electronic and other odd sounds are carefully placed upon clouds of silence, drifting or floating in the air. Static, quiet yet effective spurts, analogue synth fragments, music concrete snips, all well crafted and selectively placed.” (Bruce Lee Gallanter, Downtown Music Gallery)

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Bleaks: Haste, Error :: Wodger 02 LP (2009)

Bleaks: Haste, Error :: Wodger 02 LP (2009)

“Thick, analog-synth black-hole dronisms and metallic percussive clatter meld with assorted reeds—all swimming in the deep end of 1980’s industrial/improv sprawl. . . This is not noise as it is currently understood. Rather, Bleaks ravage with precise subtlety and a surgical moodiness that is frankly unsettling.” (Wodger press release)

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EKG & Giuseppe Ielasi: Group :: Formed 105 (2006)

EKG & Giuseppe Ielasi: Group :: Formed 105 (2006)

“Composed of microscopic electronics, floating brass instrument tones and prepared/tabletop guitar events, Group — paradoxically — rocks. . . The music is quiet but not undemanding, careful listening yielding subtle vistas and engaging sonic environments. . . The pieces arise, unfold and then depart with a stately logic all their own. . . Group is a fine example of the kind of genre hybridisation that typifies early 21st century music. (Bruce Russell, The Wire)

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Bruckmann/Dafeldecker/Hauf: Wane :: Formed 102 (2006)

Bruckmann/Dafeldecker/Hauf: Wane :: Formed 102 (2006)

“…these are musicians whose sense that conscious restraint can be enablng is coupled with a deep concern for sonic content… Their music is gradual and relatively stark. . . There’s an air of serious investigation taking place – close attention to elements combined, interacting and mutating. The sounds carry weight and are made to matter. It’s sound-led music, but the musicians are making the right choices, and from that Wane acquires its quiet intensity.” (Julian Cowley, The Wire)

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Pink Mountain: (s/t) :: Frenetic 023 (2006)

Pink Mountain: (s/t) :: Frenetic 023 (2006)

“Pink Mountain improvise with impunity through anguished prog-metal, squalling jazz-rock, and the agitated, gnarled-to-hell dirges that pocked the weirder end of SST Records’ catalog. Pink Mountain’s self-titled CD is a bracing ordeal, portending an overwhelming live show.” (Dave Segal, The Stranger)

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Gaping Maw :: Archive 20 (2006)

Gaping Maw :: Archive 20 (2006)

“…this pair of improvisations sound like AMM plugged into a stack of Marshall amps, a monstrous Metal/free jazz-inspired meltdown that goes beyond the usual industrialised churn by experimenting with different modes of expression. Gaping Maw spark off each other with all barrels blazing, constantly projecting and reflecting back ideas as the volume of their improvisation intensifies or subsides into a shrouded, echoing drone state.” (Edwin Pouncey, The Wire)

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LOZENGE: Undone :: Sickroom 028 (2005)

LOZENGE: Undone :: Sickroom 028 (2005)

“…a clattery, distorted racket… Cheap organ and synthesizer, clanking percussion, clobbered drums and cranked-up bass work up stop-start patterns that sound like progressive rock locked in a dank boiler room…. Every so often, someone howls a line like “What are we waiting for?” amid the din, or the music switches to a sardonic oom-pah. All the lurching and buzzing is invigorating and hilarious, unless you’re prone to motion sickness.” (John Pareles, New York Times)

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EKG: No Sign :: Sedimental 041 (2005)

EKG: No Sign :: Sedimental 041 (2005)

“EKG is capable of a langorous lyricism while in other cases this tendency is willfully crushed and ground down into a gritty landscape of fine-grained glass and silt. Open and inviting tones draw the listener in at the same time tenser noisy outbursts work to alienate. Tightly controlled grainy textures splutter to life and dissolve into hovering drones. The sequencing can be jarring, but the effect is of an irregular pendulum’s swing – a fevered and woozy oscillation through tension and release.” (Steve Rybicki, fakejazz.com)

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EKG: Object 2 :: Locust Music 24 (2003)

EKG: Object 2 :: Locust Music 24 (2003)

“. . . a set of six austere, slow moving soundscapes in keeping with the prevailing tendency in new improvised music to move away from rapid-fire interplay towards territory more traditionally associated with contemporary classical and electronic music. . . patient exploration of the microtonal and micro-timbral inflections of long-held tones, which combine with Karel’s plaintive trumpet and the grainy analog electronics, blasts of white noise and crackling static to create music of an extraordinary intensity which richly repays repeated listening.” (Dan Warburton, Paris Transatlantic Magazine)

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Grand Mal :: barely auditable 1234/Pax recordings (2003)

Grand Mal :: barely auditable 1234/Pax recordings (2003)

“…a bright-toned yet challenging suite of snippets, as far from standard improvisation blowouts as it is from patience-draining Austrian angst. Which is to say, no quarter is given the eardrums, yet good humor carries the day… A disc to return to again and again, impressive for its lofty levels of extended virtuosity, but even more for its improvisations-each showing its own beautiful kind of composure.” (Tom Djll, Transbay)

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LOZENGE: Mishap :: Sickroom Records 012 (2002)

LOZENGE: Mishap :: Sickroom Records 012 (2002)

“Lozenge are too unruly to be indie rock, too sensible to be grindcore and too damn good to be unjustly heaped into the overcrowded and underappreciated pigeonhole that is noisecore… Lozenge’s world is one where beer-barrel polkas slam headlong into caterwauling prog-metal and improvisational jazz riffs.” (Jason Jachowiak, Splendid)

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