Borges Music: Kyle Bruckmann
- At October 07, 2021
- By Great Quail
- In Borges
0
Kyle Bruckmann
(b. 1971)
Kyle Bruckmann is an American composer and oboe player. Born in Connecticut, he studied oboe under Robert Atherholt at Rice University in Houston. In 1992 he formed Lozenge, an experimental industrial band partially inspired by the Boredoms. Serving as frontman, Bruckmann also played oboe, keyboards, and electric accordion. He describes their music as a blend of “sensory overstimulation, poly-/a-/hyper-rhythmic propulsion, labyrinthine black humor, and tooth-rattling timbral density.” After a period of hiatus while Bruckmann earned his master’s degree at the University of Michigan, Lozenge reformed in Chicago. In 1999 Bruckmann established the experimental group EKG with electroacoustic musician Ernst Karel. Although most of their work involves the electronic manipulation of wind instruments, EKG also plays the music of composers such as Anthony Braxton and Morton Feldman. In 2002 Bruckmann formed Wrack, a jazz ensemble dedicated to performing his own avant-garde compositions. A year later he moved to San Francisco, where he’s an active member of the Bay Area music scene. In 2016 Bruckmann formed Degradient, an electrified free-jazz ensemble with members of the Fred Frith Trio.
Kyle Bruckmann is no stranger to literary inspiration, and his works have made reference to Henri Michaux, Donald Barthelme, John Barth, and Thomas Pynchon.
Borges-Related Works
Hrönir (2002)
A free-jazz piece with a name borrowed from “Tlön, Uqbar, Orbis Tertius.” Described below.
Moondling (2002)
Another experimental piece named after “Tlön, Uqbar, Orbis Tertius.” Described below.
Recordings
Bruckman | Rosenberg | Zerang: Six Synaptics
CD: Six Synaptics. Barely Auditable Records BAR 333 (2002)
Purchase: CD [Bandcamp]
Online: Bandcamp
Track Listing
1. Gristle-Glisten (7:49)
2. Knistern; Prasslen (8:16)
3. Hrönir (4:57)
4. Sparks/Spewn (6:55)
5. Shards (Strewn) (8:08)
6. Moondling (8:25)
Musicians
Kyle Bruckmann—Minimoog & live processing.
Scott Rosenberg—alto, tenor, & soprano saxophones, flute & contrabass clarinet.
Michael Zerang—multiple percussion.
In 2002 Bruckmann teamed up with Scott Rosenberg and Michael Zerang to produce Six Synaptics, an suite of electro-acoustical improvisations. Two of these pieces were named for imaginary words in Borges’ story, “Tlön, Uqbar, Orbis Tertius.”
“Hrönir”
The first piece, “Hrönir,” takes its name from the Tlönian word for a “secondary object” accidentally called into being:
Centuries and centuries of idealism have not failed to influence reality. In the very oldest regions of Tlön, it is not an uncommon occurrence for lost objects to be duplicated. Two people are looking for a pencil; the first one finds it and says nothing; the second finds a second pencil, no less real, but more in keeping with his expectation. These secondary objects are called hrönir and, even though awkward in form, are a little larger than the originals.
The third track on the album, “Hrönir” starts quietly, a clarinet peeping and squeaking until it encounters Random Acts of Percussion. Things become more disjointed, even comical, but the sounds are too discrete to merit the description “cacophony.” Electronic manipulations are kept to a minimum: occasional glimmers of processing or a flirtatious kiss blown from the Minimoog. Although Bruckmann claims to have added the title post hoc, Borges’ notion of hrönir, “awkward in form,” the “accidental children of distraction and forgetfulness” is cheerfully apt: one can easily imagine each colorful sound as a Tlönian pencil popping into being, each serving to “exaggerate the flaws of the original.”
“Moondling”
The second Borges-inspired track is “Moondling,” taken from a discussion of Tlönian grammar: “The Moon rose over the sea would be written hlör u fang axaxaxas mlö, or, to out it in order: upward beyond the constant flow there was moondling.” We begin with a low electronic drone, punctuated by brass cymbals, bells, gongs. Reed instruments began to speak, exotic—and chaotic—birds stirring to life under the, ah…mlö. As the brass percussion becomes more insistent, so do the reeds, and soon we’re in full Albert Ayler mode, the saxophone gibbering manically over a flailing drum kit while the electronics soar to an ionic whistle. The trio reaches a frantic peak, then backs down immediately, the fading drone illuminated by a few shimmers of retreating brass.
Both pieces are fairly representative of Six Synaptics as a whole. Admittedly, this kind of experimental jazz is not for everyone; but there’s a sense of humor that animates these improvisations, and it’s obvious everyone involved is enjoying making their virtuoso racket.
Additional Information
Kyle Bruckmann on Spermatikos Logos
Bruckmann’s Pynchon-inspired suite, Wrack…Awaits Silent Tristero’s Empire, is reviewed on The Modern Word’s Thomas Pynchon site. It’s an excellent album, very much worth a listen.
Kyle Bruckmann Homepage
The official Web site of Kyle Bruckmann.
Kyle Bruckmann Facebook Page
Kyle Bruckmann maintains a Facebook page.
Kyle Bruckmann Bandcamp Page
You can browse, hear, and purchase Kyle Bruckmann’s music on Bandcamp.
Kyle Bruckmann Wikipedia Page
You can read more about Kyle Bruckmann on Wikipedia.
Kyle Bruckmann Discog Page
Collects album covers and information on Kyle Bruckmann’s releases
“Lozenge”
Chicago Reader, 27 April 2000. John Corbett discusses Bruckmann’s industrial group
Author: Allen B. Ruch
Last Modified: 30 August 2024
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