Solo | Leader | Composer Discography

Kyle Bruckmann & Tim Daisy: Loop Languag...

Kyle Bruckmann & Tim Daisy: Loop Languag...

Kyle Bruckmann: oboe/English horn, electronicsTim Daisy: drums, marimba, glass bowls, percussion Relay Digital 012 All compositions by Kyle Bruckmann/BMIRecorded at Experimental Sound Studio, Chicago, IL on October 21st, 2019Recorded by Alex InglizianMastered by Myles...

Draußen ist Feindlich (self-released) 2020

Draußen ist Feindlich (self-released) 2020

Solo oboe/English horn and/or analog electronics Released on Bandcamp, May 1st 2020 Ten (unedited, un-overdubbed) solo improvisations. An audio sketchbook of a month that wasn't. I essentially swore off the purist "solo improv album" several years ago, unable to...

Triptych (tautological) (2020) Carrier

Triptych (tautological) (2020) Carrier

A Spurious Autobiography for John Barth (live electronics version) An Extruded Introversion for Blixa Bargeld A Spurious Autobiography for John Barth (oboe/English horn version) A Fuzzy Monolith for James Turrell Carrier 050 " . . . fine, acerbic, hugely colorful . ....

Degradient: Dear Everyone (2017) Not Two

Degradient: Dear Everyone (2017) Not Two

Not Two 955-2 - double CD 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...

Dana Jessen: Carve (2017) Innova

Dana Jessen: Carve (2017) Innova

“. . . 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. . .”

sfSound: collected works | collective work (2...

sfSound: collected works | collective work (2...

“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. . .”

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.

stunp: Gebrauch (2015) Onyudo

stunp: Gebrauch (2015) Onyudo

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.

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

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

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.

stunp: Uncle Monkey EP (2015) 530Techno

stunp: Uncle Monkey EP (2015) 530Techno

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...

Wrack: …Awaits Silent Tristero’s ...

Wrack: …Awaits Silent Tristero’s ...

“…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)

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

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

“. . . 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)

Two Electronic Ephemera for Fidelity-Constrai...

Two Electronic Ephemera for Fidelity-Constrai...

“. . . 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.

On Procedural Grounds (2012) New World

On Procedural Grounds (2012) New World

“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)

Wrack: Cracked Refraction (2012) Porter

Wrack: Cracked Refraction (2012) Porter

“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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