Discography

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

Posted by on Apr 6, 2014 in Discography, solo-leader, Wrack | 0 comments

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

…a musical phantasmagoria inspired by the novels of Thomas Pynchon

Kyle Bruckmann – oboe, English horn
Jason Stein – bass clarinet
Darren Johnston – trumpet
Jeb Bishop – trombone
Tim Daisy – percussion
Jen Clare Paulson – viola
Anton Hatwich – bass

Singlespeed Music

“Former Chicagoan Kyle Bruckmann has always balanced radically different aesthetics, including unhinged but carefully structured aggression in his old “rock” band Lozenge (where he played electric accordion and keyboards) and thought-provoking abstraction in EKG, his long-running duo with Ernst Karel (where he augments his primary instrument, the oboe, with electronics). That diversity has continued to grow since Bruckmann moved to the Bay Area in 2003—for the past week I’ve been basking in a few of his recent albums, including 2011’s Psychotic Redaction (Multikulti), a collection of corrosively visceral, snake-charming improvisations with Jim Baker and Michael Zerang, and last year’s Technological Music Vol. 1 (Entr’acte), whose electroacoustic solo experiments collide oboe and English horn with analog-synthesizer noise and keyboard patterns in exercises as energizing as they are intellectual. On 2012’s On Procedural Grounds (New World) he combines many of these approaches, playing oboe against Matt Ingalls’s clarinet on “Cell Structure” and using rigorous composed material to provoke high-level improvisation on the title track, which features an expanded version of his long-running Chicago-based quintet, Wrack. That group typically consists of Bruckmann, drummer Tim Daisy, bassist Anton Hatwich, bass clarinetist Jason Stein, and violist Jen Clare Paulson, but for this concert it’ll be enhanced by North Carolina trombonist Jeb Bishop (a former Chicagoan as well as a former member of Wrack) and Bay Area trumpeter Darren Johnston. Wrack is currently supporting what might be its greatest achievement: . . . Awaits Silent Tristero’s Empire (Singlespeed Music), 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. I can’t wait to hear what new places this seven-piece lineup takes the material live.” —Peter Margasak, Chicago Reader

More context here.

…Awaits Silent Tristero’s Empire, by Kyle Bruckmann and Wrack, is made possible with support from Chamber Music America’s 2012 New Jazz Works: Commissioning and Ensemble Development program funded through the generosity of the Doris Duke Charitable Foundation.

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

Posted by on Jan 28, 2014 in collaborator, Discography | 0 comments

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.

Already Dead Tapes & Records 108

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

Posted by on Dec 20, 2013 in collaborator, Discography | 0 comments

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

Andrew Raffo Dewar – soprano saxophone, compositions
Kyle Bruckmann – oboe, English horn, electronics
Gino Robair – percussion, electronics
John Shiurba – electric guitar

Rastascan

“The ‘Interactions’ series of compositions explore a range of possibilities using an assortment of strategies in notation and performance. 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. . .”

Addleds: Mottle :: Weird Ear (2013)

Posted by on Oct 9, 2013 in collaborator, Discography | 0 comments

Addleds: Mottle :: Weird Ear (2013)

Kyle Bruckmann – oboe/English horn
Tony Dryer – contrabass
Jacob Felix Heule – percussion
Kanoko Nishi-Smith – koto

Weird Ear

Available as a hand-painted cassette in a limited edition of 120, and/or as a digital download.

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.

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

Posted by on May 7, 2013 in Discography, solo-leader | 0 comments

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

Kyle Bruckmann – oboe, English horn, analog synthesis, malfunctioning organs & electric piano

Entr’acte

“Blindfold on, gun to head, I would put Technological Music, Vol. I squarely in the lineage of ‘live electronic music’. It’s got the flickering, asymmetrical pulses and the pungent, acidic timbres eating through the mix. It’s got the feel of organically developing systems that David Tudor explored with his neural networks. It’s got the jerry-rigged electronics and intuitive drive of David Behrman’s compositions. It’s got noise-drenched forms of Keith Fullerton Whitman’s forays into live modular synthesis. Even the track titles give off the metallic whiff of the experiment: Motion Study, Four Investigations of a Dubious Premise, Pulse Matrix, Knobs.

Except there’s not much ‘live’ on Technological Music and there is less ‘electronic’ than you think. Much of the record is actually sourced from Kyle Bruckmann’s oboe and English horn. Sure, he adds in some analogue synthesis, a malfunctioning electric organ and a piano. But how he got from these ingredients to the shuddering, sludgy low end and zombie drum-machine beats of Four Investigations of a Dubious Premise IV, a piece that is closer to some creeping, early-1980s industrial crawl or Wolf Eyes circa Burned Mind, is a bit of a mystery. Especially when he doesn’t actually use a drum machine anywhere on the record.

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? We know acoustic instruments can sound like electronic ones and vice-versa. We know our ear plays tricks on us and that shrewd musicians can exploit those illusions.

The irony of the title Technological Music, Vol. I suggests Bruckmann might be making some kind of a comment on technological fetishism. On one level it might well be that, but considering that Bruckmann has deeply mined analogue electronics on other projects, particularly in EKG, his duo with Ernst Karel, much more than simple contempt drives this release. Contempt, as an organizing musical concept, isn’t all that interesting, anyway.

No, Bruckmann’s achievement is more than a stunt. It’s not just a love letter or a piss-take. He’s telling us to make creative use of our resources, whatever they happen to be, encouraging us to work against our limits. Bruckmann himself has plenty of instrumental technique and compositional chops, so his capacity is much larger than most, but the message remains: Don’t do the obvious. Make up down and down up. Challenge people’s perceptions. Technology is old as well as new, but it’s never about the technology, new or old, anyway — it’s about what you do with it. That’s been said before, but it’s worth saying again.”

Matthew Wuethrich at Dusted

 

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

Posted by on May 7, 2013 in Discography, solo-leader | 0 comments

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

Way back in 2006, I was just beginning to get my home recording act together. These pieces were among the first things I completed, and have been stranded ever since – in part because they’re unusually harsh outliers, but also because I’ve always felt they worked best as a stand-alone pairing. I also hear them as 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). Just as I was ready to give up on them ever seeing the light of day, enter the very sporadic label-of-love Greengage Sounds. What could be more absurd than releasing them now? Well, how about releasing 30 of them on unstable, sonically compromised lathe-cut vinyl?? With three different art-print covers courtesy of TX analog drone pioneer Rick Reed? Collector-bait alert!

Get yours here. A rather significantly high playback volume is recommended.

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

Posted by on Mar 28, 2013 in collaborator, Discography | 0 comments

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

Kyle Bruckmann & Lance Grabmiller – analog electronics.

Lance 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. This is our opening salvo, available as a FREE DOWNLOAD from Onyudo.

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

Posted by on Apr 16, 2012 in Discography, solo-leader, Uncategorized, Wrack | 0 comments

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

Kyle Bruckmann – oboe, electronics
with:
SFSOUND (Matt Ingalls – clarinet, bass clarinet; John Ingle – alto saxophone; Gino Robair – prepared piano: Benjamin Kreith – violin: Tara Flandreau – viola; Monica Scott – cello; Kjell Nordeson – percussion)
WRACK (Tim Daisy – percussion; Anton Hatwich – bass; Jen Clare Paulson – viola; Jason Stein – bass clarinet)
ROVA SAXOPHONE QUARTET (Bruce Ackley – soprano; Steve Adams – alto; Larry Ochs – tenor; Jon Raskin – baritone)
and Tim Perkis & Gino Robair – live electronics

Compositions for improvising chamber ensembles with electronics. Cell Structure and Tarpit feature sfSound Group; the title piece features Wrack and Rova Saxophone Quartet with Tim Perkis and Gino Robair. Orgone Accelerator is a stereo realization of a work for 8-channel sound diffusion.

New World Records

“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 along with Ernst Karel, to name just a few of his forums. Through all of these settings, working with the notoriously finicky oboe and analog synthesizers, he has managed to carve out a distinctive approach, balancing a formalist sense of structure with a spontaneous sense of group interaction. Bruckmann’s new release, On Procedural Ground, is a great place to hear how all of this comes together.

“Cell Structure” kicks things off with the ragged shudder of analog synth dropping back to reveal layers of breathy sputters and hisses of oboe and Matt Ingalls’ clarinet. From there, the piece evolves as the two play tag-team across sets of de-tuned intervals torn through with clangorous shards of electronic rumble and grit. The tensions build between raw electronic timbres and quavering reed tones, skirling cries that sound almost like sine waves, and agitated activity that moves with jump-cut precision. The half-hour long title piece which follows is almost orchestral in contrast. Here, Bruckmann deploys his group Wrack (viola, bass, clarinet, bass, and percussion), Rova Saxophone Quartet, and live electronics courtesy of Gino Robair and Tim Perkis across a score that moves from sections of pointillistic abstraction to coursing, full-tilt stomp. What makes this work so well is how attuned Bruckmann is to the ensemble; he’s clearly structured the piece around the specific voices and playing strategies of the members as well as an ear toward how to combine the core ensembles in constantly changing sub-groupings. This is all cast against the active field of live electronics, again, playing the textures of acoustic instruments and pure electronic tones off of each other with canny effectiveness, though this time, featuring some blistering solos, particularly from the Rova crew.

“Orgone Accelerator” takes “Cell Structure” a step further; this time bringing electronics to the foreground and coloring the throbbing, shuddering fields with wafts of oboe and English horn. Composed for “8-channel sound diffusion,” the stereo recording still manages to capture a sense of being engulfed in the waves of thrum and glitch shot through with spatters of key clicks, reed pops, and cracked double-reed overtones. The recording wraps up with “Tarpit,” another ensemble piece, this time featuring sfSound, a group of like-minded composer/improvisers Bruckmann began working with when he first moved to the Bay-area in 2003. Here, the oboist is joined by Ingalls on clarinet, John Ingle, on alto sax, Gino Robair on prepared piano, Benjamin Kreith on violin, Tara Flandreau on viola, Monica Scott on cello, and Kjell Nordesen on percussion and electronics. For this piece the musicians are grouped in various pairings, floating deconstructed melodic threads over unstable, layered planes of drones. The group revels in the malleable intersections of activity and stasis to create a piece of slowly unfolding richness as events constantly sparkle through the hushed dark, harmonic cushion, building to a lush full-on density shot through with buzzing detail. While no single release provides a definitive look at Bruckmann and his music, this is a damn fine place to start.
–Michael Rosenstein, Point of Departure

This video is an excerpt from the premiere performance of the title piece, 10/1/10 at the Community Music Center in San Francisco. A playlist with the complete performance can also be viewed here. (No great shakes, mind you: a stationary camera from the balcony, but hey, it’s History.)

Wrack: Cracked Refraction :: Porter 4061 (2012)

Posted by on Feb 5, 2012 in Audio, Discography, solo-leader, Wrack | 0 comments

Wrack: Cracked Refraction ::  Porter  4061   (2012)

Kyle Bruckmann – oboe, English horn
Tim Daisy – percussion
Anton Hatwich – bass
Jen Clare Paulson – viola
Jason Stein – bass clarinet

Porter Records

“The unusual front line of Kyle Bruckmann’s Wrack—viola, oboe, and bass clarinet—gives the quintet a narrow timbral range, but it uses wriggling, high-intensity counterpoint to create an exhilaratingly bright, multilayered sound. As Bruckmann says in the liner notes of the group’s forthcoming third album, Cracked Refraction (due from Porter Records on February 21), “I take perverse glee in using the wrong tools for the job.” 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—on “Exacerbator,” for example, Jen Clare Paulson’s acidic viola slashes against the grain of a charging unison pattern from Bruckmann’s oboe and Jason Stein’s bass clarinet. 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. The intensity can be pretty relentless, which makes the occasional quiet passage—like Paulson’s lyrical, almost hushed solo on “Notwithstanding,” accompanied by light percussion and pointillistic bass—hit just as hard emotionally as the wind players’ most furious barrages.” (Peter Margasak, Chicago Reader)

listen


Exacerbator

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

Posted by on Feb 5, 2012 in collaborator, Discography | 0 comments

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

Jim Baker – ARP 2600 synthesizer
Kyle Bruckmann – suona, raita, electronics
Michael Zerang – drums

Multikulti Project

“. . . 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. . .”

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

Posted by on Feb 4, 2012 in collaborator, Discography | 0 comments

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

David Rothbaum – contralto clarinet, analog electronics, prepared piano
Kyle Bruckmann – oboe, English horn, analog electronics, digital editing

onyudo

A particularly counterintuitive collaboration. 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.

Available as a FREE DIGITAL DOWNLOAD.

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

Posted by on Feb 4, 2012 in collaborator, Discography | 0 comments

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

Olivia Block – field recordings, piano, reed organ, editing & mixing
Kyle Bruckmann – oboe, English horn, suona, accordion, field recordings, editing & mixing

either/OAR

“At the heart of the four-part suite is Block’s immaculate field recordings, which often cast nature as an ominous, harrowing presence, combined with Bruckmann’s massed double reed lines (ranging from upper-register multi-phonics to rugged acoustical beating). Yet there’s much more going on. 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)

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

Posted by on Feb 4, 2012 in collaborator, Discography | 0 comments

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

Kyle Bruckmann – analog synthesizers, double reeds
Sam Coomes – keyboards, guitar, bass, voice
Gino Robair – drums, keyboards, violin
Scott Rosenberg – saxophones, contrabass clarinet, bass
John Shiurba – guitar, bass, violin

Sickroom Records

“Five musicians from separate planets lock themselves in a studio for a few days & let her rip. 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)

EKG: Electricals :: another timbre 16 (2009)

Posted by on Feb 4, 2012 in collaborator, Discography, EKG | 0 comments

EKG: Electricals :: another timbre 16 (2009)

Kyle Bruckmann – oboe, English horn and/or analog electronics
Ernst Karel – trumpet and/or analog electronics

another timbre

Composed primarily of electroacoustic studio and live recordings from a 2007 East Coast tour. Hermetic, immersive, elegaic meditations on misapplied technology, human frailty, and the very grain of sound.

“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. We rarely if ever hear something that sounds like an oboe or trumpet, not that it matters when the outcome is this mysterious and engaging.” (Bruce Lee Gallanter, Downtown Music Gallery)

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

Posted by on Feb 4, 2012 in collaborator, Discography | 0 comments

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

Kyle Bruckmann – analog electronics, oboe, English horn, mijwiz, drum, other drum, piece of metal
Jeremy Lemos – oscillators, pedals
Steve Silverstein – electronics, guitar

Wodger 02

“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, perhaps bringing to mind the work of Factrix or early Maurizio Bianchi. 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)

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

Posted by on Feb 4, 2012 in collaborator, Discography, EKG | 0 comments

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

Kyle Bruckmann – oboe, English horn, analog electronics
Ernst Karel – trumpet, analog electronics
Giuseppe Ielasi – electronics, guitar, piano, etc.

Formed

“Composed of microscopic electronics, floating brass instrument tones and prepared/tabletop guitar events, Group — paradoxically — rocks. It’s an object lesson in the inherent breadth of vision made available by the contemporary melding of acoustic instruments and electronics. . . 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. . . The players evidence an informed knowledge of a range of musical styles, reflecting their mix of conservatory training and broad experimental practice. Their repertoire of sound sources and collaborative strategies is diverse and engaging. Group is a fine example of the kind of genre hybridisation that typifies early 21st century music. (Bruce Russell, The Wire)

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

Posted by on Feb 4, 2012 in collaborator, Discography | 0 comments

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

Kyle Bruckmann – oboe, English horn
Werner Dafeldecker – guitar, percussion
Boris Hauf – synthesizers, baritone saxophone

Formed

“…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: pulsation and sustained tones from Hauf’s synthesizer; an undulating drone from Dafeldecker’s guitar or steady ringing and chiming like a ceremonial gong; precise microtones and gradations of timbre expressed from Bruckmann’s reeds. 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)

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

Posted by on Feb 4, 2012 in collaborator, Discography | 0 comments

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

Kyle Bruckmann – analog synthesizers, double reeds
Sam Coomes – keyboards, guitar, bass, voice
Gino Robair – drums, keyboards, violin
Scott Rosenberg – saxophones, contrabass clarinet
John Shiurba – guitar, bass, violin

Frenetic

“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)

Gaping Maw :: Archive 20 (2006)

Posted by on Feb 4, 2012 in collaborator, Discography | 0 comments

Gaping Maw :: Archive 20 (2006)

Kyle Bruckmann – minimoog, electronics, suona
Kurt Johnson – bass guitar, double bass, electronics
Tatsuya Nakatani – drums, percussion

Archive

“…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)

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

Posted by on Feb 4, 2012 in Audio, Discography, solo-leader, Wrack | 0 comments

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

Kyle Bruckmann – oboe, English horn
Tim Daisy – percussion
Anton Hatwich – bass
Jen Clare Paulson – viola
Jason Stein – bass clarinet

482Music

“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. . . Historically, attempts to combine classical music with jazz often tend toward the programmatic and cerebral. Bruckmann’s writing sounds wholly organic and natural. With Intents & Purposes, he delivers an album rich with tricky contrapuntal writing, bolstered by unusual arrangements and intricate interplay. Whether Wrack qualifies as free jazz, chamber jazz or some other hybrid is irrelevant: this is music made by artists unafraid of genre constraints.” (Troy Collins, All About Jazz)

listen


The System Cannot Withstand Close Scrutiny (excerpt)


Slippery Disciplines (excerpt)


Intents & Purposes (excerpt)


Further Ado (excerpt)

 

LOZENGE: Undone :: Sickroom 028 (2005)

Posted by on Feb 4, 2012 in Audio, collaborator, Discography, Lozenge | 0 comments

LOZENGE: Undone :: Sickroom 028 (2005)

Kyle Bruckmann – accordion, minimoog, organ, oboe, voice
Kurt Johnson – bass
Philip Montoro – metal percussion, drums
Mark Stevens – drums

Sickroom Records

“LOZENGE, a four-man band from Chicago, makes 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)

listen


CHICKNSHIT (excerpt)


EYETEETH


STUMBLOR (excerpt)

EKG: No Sign :: Sedimental 041 (2005)

Posted by on Feb 4, 2012 in Audio, collaborator, Discography, EKG | 0 comments

EKG: No Sign :: Sedimental 041 (2005)

Kyle Bruckmann – oboe, English horn and/or analog electronics
Ernst Karel – trumpet and/or analog electronics

Sedimental

“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 (as when the largely open “Days” collides with the claustrophobic “Hours”), but the effect is of an irregular pendulum’s swing – a fevered and woozy oscillation through tension and release.” (Steve Rybicki, fakejazz.com)

listen

gasps & fissures :: 482Music 1027 (2004)

Posted by on Feb 4, 2012 in Audio, Discography, gasps and fissures, solo performance, solo-leader | 0 comments

gasps & fissures :: 482Music 1027 (2004)

Kyle Bruckmann – oboe, English horn, suona, and mijwiz
(with Kurt Johnson, double bass)

482Music

“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. Gasps & Fissures inhabits the areas in between these territories, not straddling them so much as existing deep in the cracks, where many wouldn’t even think to look. 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)

listen


Rasps & Fractures (excerpt)


Gaps & Fictions (excerpt)


Exponential (excerpt)

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

Posted by on Feb 4, 2012 in collaborator, Discography, EKG | 0 comments

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

Kyle Bruckmann – English horn, suona and/or analog electronics
Ernst Karel – trumpet and/or analog electronics

Locust Music

“. . . 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. . . as much a landmark of the genre as the highly acclaimed releases on Jon Abbey’s Erstwhile label. Bruckmann has in recent times preferred to downplay his dazzling virtuosity on the double reed instruments in favour of 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)

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

Posted by on Feb 4, 2012 in Audio, collaborator, Discography | 0 comments

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

Kyle Bruckmann – oboe, English horn, suona
Ernesto Diaz-Infante – acoustic guitar
John Shiurba – electric guitar
Karen Stackpole – percussion

“An unusual ad-hoc grouping, with Chicagoan Bruckmann horning in on a nest of Bay Area experimenters. Grand Mal is 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)

listen

Purchase CD or digital downloads securely HERE.

Wrack :: Red Toucan 9323 (2003)

Posted by on Feb 4, 2012 in Audio, Discography, solo-leader, Wrack | 0 comments

Wrack :: Red Toucan 9323 (2003)

Jeb Bishop – trombone
Kyle Bruckmann – oboe, English horn
Tim Daisy – percussion
Kurt Johnson – bass
Jen Clare Paulson – viola

Red Toucan

“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)

listen


Gearshifts & Parentheticals (excerpt)


Mitigating Factors (excerpt)


Elegy for a Boiled Frog (excerpt)


Extenuating Circumstances (excerpt)

LOZENGE: Mishap :: Sickroom Records 012 (2002)

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LOZENGE: Mishap :: Sickroom Records 012 (2002)

Kyle Bruckmann – accordion, minimoog, oboe, voice
Kurt Johnson – bass
Philip Montoro – metal percussion, drums
Mark Stevens – drums
with Boris Hauf, tenor saxophone, and Chuck Falzone, guitar

Sickroom Records

“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)

Six Synaptics :: barely auditable 333/ertia creations 02 (2002)

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Six Synaptics :: barely auditable 333/ertia creations 02 (2002)

Kyle Bruckmann – minimoog and live processing
Scott Rosenberg – alto, tenor and sopranino saxophones, flute, contrabass clarinet
Michael Zerang – multiple percussion

“The music builds up a head of steam, but it never reaches a point where a predictable continuity of momentum is achieved. Instead, it feasts on irregular movements, serrated edges, and explosive outbursts of sound that are the product of the imaginative minds of the players.” (Frank Rubolino, One Final Note)

listen

Purchase CD or digital downloads securely HERE.

 

Myles Boisen & friends: New Millenium Orchestra :: Limited Sedition 027 4xCDR (2002)

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Myles Boisen & friends: New Millenium Orchestra :: Limited Sedition 027 4xCDR (2002)

Myles Boisen, Matthew Brubeck, Kyle Bruckmann, Lara Bruckmann, Erik Carter, Graham Connah, John Finkbeiner, Larry Ochs, Dan Plonsey, Gino Robair, John Shiurba, Dave Slusser, Matthew Sperry, Karen Stackpole, Ron Thompson

Limited Sedition

A two-day music improvisation event supervised by Myles Boisen 12/31/00 & 1/1/01; Bruckmann’s inclusion is the fruit of his pre-move reconnaissance mission to the Bay Area.

EKG: Shift or latch :: Crank Satori 3″ CDR 008 (2001)

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EKG: Shift or latch :: Crank Satori 3″ CDR 008 (2001)

Kyle Bruckmann – English horn and analog electronics
Ernst Karel – trumpet and analog electronics

Out of print, but available from the EKG website as a free mp3 download.

and :: Musica Genera 001 (2001)

Posted by on Jan 31, 2012 in Discography, Other, solo-leader | 0 comments

and :: Musica Genera 001 (2001)

Kyle Bruckmann – oboe, English horn, suona, raita
duo improvisations with:
Jim Baker – synthesizer
Jeb Bishop – trombone
Gene Coleman – bass clarinet
Fred Lonberg-Holm – cello
Scott Rosenberg – contrabass clarinet
Weasel Walter – percussion
Michael Zerang – multiple percussion

Musica Genera

“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)

listen

LOZENGE: Doozy :: Toyo 02 (2000)

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LOZENGE: Doozy :: Toyo 02 (2000)

Kyle Bruckmann – accordion, minimoog, oboe, voice
Kurt Johnson – bass
Philip Montoro – metal percussion, drums
John Robbins – electric viola, tenor saxophone
Mark Stevens – drums

“The cross-pollination of punk and improvised music has opened various new avenues of exploration..Lozenge has charted a similarly twisted path that leads through art rock and the territory inhabited by Japanese eclectic extremists the Boredoms and Omoide Hatoba… Doozy is a messy, frenetic, supercharged pack of tracks… Bruckmann, Johnson, and saxophonist and electric violist John Robbins make an effectively and purposefully clunky front line, barreling through occasional odd meters, fuzzy garage riffs, and menacing prog-punk pronouncements…” (John Corbett, Chicago Reader)

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

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

Kyle Bruckmann – oboe, English horn, suona

“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. These 13 untitled improvisations aren’t exercises: in each one of them, the improviser uses many techniques, varies moods and captivates. . . Entymology is an enchanting experience that expands the possibilities (and the comprehension) of the double reed family. Strongly recommended.” (François Couture, All-Music Guide)

Purchase CD or digital downloads securely HERE.

LOZENGE: Plenum :: Farrago 07 (1995)

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LOZENGE: Plenum :: Farrago 07 (1995)

Kyle Bruckmann – electric accordion, voice, synthesizers, oboe, English horn
Kurt Johnson – electric bass, contrabass
Philip Montoro – metal percussion
Mark Stevens – drums

“…Then there are other other bands that take a far-fetched musical idea (like mayhem, for instance), aggressively fart around with it for a few months, play about two live gigs, break up, disappear and then a year later, when individual band members may already have tenure in hell for all anyone knows, hawk up a gob of indispensable racket such as Plenum – which, besides being a band-described “mannerist exercise in manic self-deprecation,” is also the greatest example of unaffected sonic artiness to see daylight in Houston since I can’t remember when.” (Brad Tyer, Houston Press)