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.
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.
“…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)
“. . . 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.