“...bright and optimistic, bubbling with jazzy rhythms and sparkly orchestral colors...well received with hoots and hollers and enthusiastic applause.” - Frederick Frahm
— Bellingham Herald (on Whatcom Ride)
“...alluring, playful and mysterious.” - Karen E. Moorman
— CVNC Arts Journal (on Hennecker's Ditch Fantasy)
“…an ingenious exploration of how a resonant instrument, the vibraphone, can be enriched through enlargement 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)
“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)
“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)
“Holy Space Rocket Rally Music....how highly futurefied this sounds!”
— The Daily Planet (on Zelgax from Compulse)
“...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)
“The CD opens with ‘Munk Punq Tezilo’ (2014) performed by the Slovenian Ensemble Kompulz, a fine pulsating work. ‘Attractors’ for vibraphone, piano and recorded sounds is something completely different and specially written for the New York-based Iktus Duo. A work built of strange ambient textures; slightly dissonant resonating, and constantly changing movements over a clear-defined framework.”
— Vital Weekly (on Lanes)
“...furious and terriffic. Audience response, quite rightly, was cheer-filled....this piece should gain a healthy performance life. It's an entertainment.”- Peter Jacobi
— Bloomington Herald-Times (on Raptures of Undream)
"I give this a HUGE thumbs up. When I hear stuff like this, it intrigues me and I learn from it. This is one of the best of the year.” - Dereck Higgins (on Greener Grass)
“...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)
“...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)
“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)
“...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)