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press

reviews:

"...an expression of the musician's varied capabilities....One highlight is 'Birovy,' whose complex piano phrasings bring to mind the proto-post-human endeavors of Conlon Nancarrow and whose spacious canvas suggests the spiritual yearnings of Morton Feldman."

-Marc Weidenbaum, disquiet (on Compulse)

"Holy Space Rocket Rally Music....how highly futurefied this sounds!"
-The Daily Planet (on Zelgax from Compulse)

"...alluring, playful and mysterious."
-Karen E. Moorman, CVNC Arts Journal (on Hennecker's Ditch Fantasy)

"...furious and terriffic. Audience response, quite rightly, was cheer-filled....this piece should gain a healthy performance life. It's a entertainment."
-Peter Jacobi, Bloomington Herald-Times (on Raptures of Undream)

"... here we have a window into a community of musicians sharing common interests across specific notions of improvisation, tuning and sharing."
-James Wyness, Fouter & Swick (on Duopoly)

"...the piece proceeded very naturally, constructing a sonic narrative while successfully integrating the diverse compositional strands, often exploring the chaotic points in which the material degraded into 'noise.' The source materials all seemed synthetically generated, or processed as to be practically so, save for the piece’s last, faint minute of actual humans talking, perhaps at a family gathering. This provided a very compelling and effective coda, giving the previous material a satisfying conclusion via this new but somehow related contextual framework."
-Howard Kenty, Array (on Pental)

"Spectral pop music? That is what keeps running through my head while I’m listening to this....Sure some of it is still abrasive, frightening, and surreal, but it is all a little more palatable to the average listener....Songs like 'emphatic res' sound like they could be pushed on Pitchfork. Super goth like and contemporary sounding. Very cool and honestly unexpected....Highly reccommended for an introduction into the world of experimental music."
-Zach Zinn, What's Up! Magazine (on Compulse)

"...bright and optimistic, bubbling wirh jazzy rhythms and sparkly orchestral colors...well recived with hoots and hollers and enthusiastc applause."
-Frederick Frahm, Bellingham Herald (on Whatcom Ride)

"Bruce Hamilton gave unwarranted access to his mouth with the very effective piece Reverie for electric toothbrush and electronics. It sounds like the most absurd concept, but the piece was a sublime fusion of hilarity and beauty. Mahler would have been proud."
-Margaret Schedel, Journal SEAMUS (on Reverie)

"From the Cage / Satie piano stylings of 'Fantasy' with Benjamin Smith to the Krauty fractured electronics of 'Linear 2' with Jukka-Pekka Kervinen we are put into a world of electroacoustic improvisation that is worth getting into... ...an idea of what Bruce is capable of... Definitely worth downloading if you want to expand your musical palate."
-Zach Zinn, What's Up! Magazine (on Duopoly)

"...an inventive postmodern variant on the drum corps, with vigorous tutti passages and intricate contrapuntal interplay. The Houston performers are to be commended for their tight performance of the work."
-Christian Carey, Sequenza 21 (on Raptures of Undream)

"...well constructed and enjoyable."
-Mark Kanny, Pittsburgh Post-Gazette (on Movements)

"an ingenious exploration of how a resonant instrument, the vibraphone, can be enriched through enlargemtent of itself and collaborative sounds from the limitless palette of the computer. To Hamilton's credit, the focus of attention did not shift from the soloist."
-Peter Jacobi, Bloomington Herald-Times (on Interzones)

"...the Church Lady on acid...sometimes parodistic, always very loud and often gorgeously colored. The tape was exceptionally well made, with no audible distortion and a brilliant arsenal of sounds."
-Mike Greenberg, San Antonio Express-News (on Chopel Perilous)

selected interviews:
UnTwelve
what's up! magazine
sequenza 21
cascadia weekly (on BEAF, p. 21)
ImprovFriday Radio podcast (segment starts at 14:00)