“. . . 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 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.
“. . . 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)
“. . . 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.