“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)
“…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)
“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)
“…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)
“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)
“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)