Degradient: Dear Everyone :: Not Two (2017)

Degradient: Dear Everyone :: Not Two (2017)

DEGRADIENT Kyle Bruckmann oboe, English horn, electronics, composition Aram Shelton alto saxophone, clarinet, bass clarinet Jason Hoopes electric bass Jordan Glenn percussion   with Weston Olencki, trombone; and 99 readers, featuring Danishta Rivero, Eugene S. Robinson, and Theresa Wong   …and text from Dear Everyone, by Matt Shears (Brooklyn Arts Press, 2016), used by...

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Dana Jessen: Carve :: Innova (2017)

Dana Jessen: Carve :: Innova (2017)

“. . . a contemporary improvised bassoon sonata, with an elastically-scaled virtual wind ensemble made up of composer/oboist Kyle Bruckmann’s multiply recorded oboe and bass oboe forming the backdrop for Jessen’s elegant solo lines. . .”

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sfSound : collected works | collective work (2015)

sfSound : collected works | collective work (2015)

“Over the past decade, sfSound has explored the territory between the concert hall and the experimental music underground. sfSoundGroup, the organization’s performing ensemble, is a fluid collective of multi-faceted interpreters and composer/performers dedicated to innovative collaborative work. . .”

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Splinter Reeds: Got Stung (2015)

Splinter Reeds: Got Stung (2015)

The debut album from Splinter Reeds, featuring six new and recent works by composers Marc Mellits, Erik DeLuca, Ryan Brown, Kyle Bruckmann, Ned McGowan and Jordan Glenn.

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stunp : Gebrauch :: Onyudo (2015)

stunp : Gebrauch :: Onyudo (2015)

stunp is the moniker under which Kyle Bruckmann produces technological Gebrauchsmusik not overtly hostile to potential dancefloor applications. While stunp tracks share many aesthetic characteristics, formal concerns, and generative processes with other projects most notably including the ongoing Technological Music series, they alone unapologetically employ genre-appropriate means of production, and as such are specifically optimized for social dancing contexts.

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Technological Music Vol. 2 :: Entr’acte (2015)

Technological Music Vol. 2 :: Entr’acte (2015)

A series of calculated disasters wherein compositional intent is exercised to varying degrees before and/or after the moment of performance. The Irreproducible Results are single-pass, unedited improvisations featuring borrowed gear configured to maximize complexity and minimize predictability. The remainder are heavily edited constructions utilizing detritus of the aforementioned experiments, with the Pulse Matrices continuing a game of formal telephone begun on Vol. 1.

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stunp: Uncle Monkey EP :: 530Techno (2015)

stunp: Uncle Monkey EP :: 530Techno (2015)

stunp is the moniker under which Kyle Bruckmann produces technological Gebrauchsmusik not overtly hostile to potential dancefloor applications. While stunp tracks share many aesthetic characteristics, formal concerns, and generative processes with other projects most notably including the ongoing Technological Music series, they alone unapologetically employ genre-appropriate means of production, and as such are specifically optimized for social dancing contexts....

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Wrack: …Awaits Silent Tristero’s Empire :: Singlespeed (2014)

Wrack: …Awaits Silent Tristero’s Empire :: Singlespeed (2014)

“…Wrack is currently supporting what might be its greatest achievement: . . .a four-part suite inspired by the novels of Thomas Pynchon. Bruckmann embeds fast-flying tropes and melodies from classic jazz in his shape-shifting compositions—a kind of nod to Pynchon’s referential gamesmanship—and Wrack negotiates the tricky tunes with its usual breathless precision, adding a satisfyingly off-kilter swing and infectious sense of fun that I’ve never heard from the ensemble before.” (Chicago Reader)

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Technological Music Vol. 1 :: Entr’acte (2013)

Technological Music Vol. 1 :: Entr’acte (2013)

“. . . So if we read Technological Music as impressive mimicry or as high-level homage, either way we have to stop and ask: What’s the point? Haven’t we already hashed out this debate? . . . Bruckmann’s achievement is more than a stunt. It’s not just a love letter or a piss-take. . .” (Dusted Magazine)

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Two Electronic Ephemera for Fidelity-Constrained Playback Medium :: Greengage Sounds 003 (2013)

Two Electronic Ephemera for Fidelity-Constrained Playback Medium :: Greengage Sounds 003 (2013)

“. . . unusually harsh outliers . . . oddly stuck in time, channeling a panicked late-Bush era Zeitgeist (the aetheric intrusions transmitted through my Z-vex pedal are, if I’m not mistaken, the ravings of a radio shock jock regarding Fidel Castro’s stepping down).” Lathe-cut 7″, ltd edition of 30.

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On Procedural Grounds :: New World Records 80725-2 (2012)

On Procedural Grounds :: New World Records 80725-2 (2012)

“Any attempt to pin down Bay area musician Kyle Bruckmann is a study in futility. Here’s someone who jumps from collective improvisation to the skronk-rock of the group Lozenge to jagged compositional forms for improvisation with his group Wrack to electro-acoustic explorations with his duo EKG . . . ‘On Procedural Ground’ is a great place to hear how all of this comes together.” (Point of Departure)

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Wrack: Cracked Refraction :: Porter 4061 (2012)

Wrack: Cracked Refraction ::  Porter  4061   (2012)

“The onetime Chicagoan started Wrack as a jazz-oriented project, but over time he’s come to focus more and more on jagged themes, unwieldy time signatures, and tricky pinpoint interplay (a la Anthony Braxton), all played with the postpunk energy of his old band Lozenge . . . Drummer Tim Daisy and bassist Anton Hatwich make for a whirlwind rhythm section, and when they buckle down and play hard they sometimes seem to splinter the front line with their momentum as they signal the rapid-fire shifts in Bruckmann’s knotty, episodic compositions.” (Chicago Reader)

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Wrack: Intents & Purposes :: 482Music 1050 (2006)

Wrack: Intents & Purposes :: 482Music 1050 (2006)

“Bruckmann effortlessly occupies the space between jazz and classical music, generating movements of somber reflection one minute, turbulent intensity the next. From Morton Feldman-esque minimalism to Charles Ives-like bluster, Wrack has few equals. . . ” (Troy Collins, All About Jazz)

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gasps & fissures :: 482Music 1027 (2004)

gasps & fissures :: 482Music 1027 (2004)

“Gasps & Fissures’s microscopic constructions are meticulously built from some of the music’s smallest bits. . . Bruckmann’s classical and jazz influences are stripped down and dissected, resulting in music that’s as much electronic as it is either of the aforementioned styles. . . Like a slide of single-celled organisms bursting to life under a microscope, this album finds flourishing life in the most unexpected of places.” (Adam Strohm, Dusted Magazine)

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Wrack :: Red Toucan 9323 (2003)

Wrack :: Red Toucan 9323 (2003)

“Bruckmann’s compositions are a carefully constructed balancing act between a written hybrid of jazz/classical motifs and improvised interplay. These seven compositions (with one non-original) emphasize a dark, reflective sound that thrives on dynamic variance… On Ornette Coleman’s “Lonely Woman”, the ensemble cuts to the core of the piece in perhaps the most breathtaking version of this song ever recorded (after Ornette, of course).” (Jay Collins, One Final Note)

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and :: Musica Genera 001 (2001)

and :: Musica Genera 001 (2001)

“And is a collection of duets pitting his oboe, cor, suona (a Chinese double-reed instrument) and raita against the cream of Chicago improvisors. . . Where Bruckmann’s first album showcased his virtuoso playing, And reveals he’s just as capable of virtuoso listening.” (Dan Warburton, The Wire)

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entymology :: barely auditable: solely responsible 0001 (2000)

entymology :: barely auditable: solely responsible 0001 (2000)

“Entymology could have been only a curiosity, something exotic-sounding for the improv crowd, but it goes beyond that. It so happens Kyle Bruckmann is a seasoned improviser with impressive extended technique and peculiar artistic flair. . . Entymology is an enchanting experience that expands the possibilities (and the comprehension) of the double reed family. Strongly recommended.” (François Couture, All-Music Guide)

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