Lozenge

With an instrumentation of electric accordion, analog synthesizers, bass, and four-handed junkyard percussion, the music of LOZENGE flails in the perimeters of postpunk rock excess. While active in Houston from 1992-94 and in Chicago from 1996-2003, the constant core membership of Bruckmann, Kurt Johnson, Philip Montoro, and Mark Stevens (once augmented by the now dearly departed John Robbins and occasionally joined by the very-much-alive Boris Hauf) carved out an idiosyncratic aesthetic of sensory overstimulation, poly-/a-/hyper-rhythmic propulsion, labyrinthine black humor, and tooth-rattling timbral density. In performance, LOZENGE aspires to the transformative joy of extreme energy expenditure and collective self-immolation. Let the record state that LOZENGE, despite being enfeebled old men currently dispersed across the United States, will reconvene for performances at the drop of a hat, provided said hat is filled with such means as to make the venture logistically viable and economically sustainable. LOZENGE’s third and fourth albums remain commercially available through Sickroom Records.