The Lab

The Lab is a nonprofit experimental art and performance space located in the Mission District of San Francisco.

Kyle Bruckmann’s DEGRADIENT: Dear Everyone

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8:00pm Doors / 8:30pm Music
$15 Guests / Free for Members
Reserve Seats: member login or guest registration

DEGRADIENT
Kyle Bruckmann – oboe/English horn, electronics, composition
Aram Shelton – alto saxophone, clarinet, bass clarinet
Jason Hoopes – electric bass
Jordan Glenn – percussion

with guest vocalists DANISHTA RIVERO and EUGENE S. ROBINSON

DEGRADIENT is Oakland-based oboist and composer/performer Kyle Bruckmann’s long overdue first venture as bandleader of a Bay Area ensemble. Gleefully colliding elements of free jazz, fried electroacoustic noise and dark prog within a Creative Music framework, DEGRADIENT adds a significant chunk of heavy to Bruckmann’s signature gimmicks of jittery polyrhythmic clatter, formal complexity, slapstick humor, and all-around sensory overload.

DEAR EVERYONE is an electro-acoustic, avant-hybrid scramble through the textual brambles of Matt Shears' poetry. The premiere of this concert-length exercise in excess is made possible through the Musical Grant Program, which is administered by the San Francisco Friends of Chamber Music, and supported by the Heller Foundation, the Hewlett Foundation, and San Francisco Grants for the Arts.

The ALBUM – all 87 minutes & 2 CDs of it –  is COMING SOON on NotTwo.

“A couple years ago, I got obsessed with the brain-fuddling poetry of my friend Matt Shears. Tickled by the idea of delving into an aesthetic (and social) world just as esoteric and hopelessly niche as my own, I told him I wanted to do something with his work; he started feeding me drafts of what has now just been published as Dear Everyone by Brooklyn Arts Press. The maddeningly recursive and encyclopedic text, which early reviews pegged as “pitched dead between thrilling and numbing” with “an absurdist, dark sense of humor,” struck me as an uncanny analogue to many of my musical obsessions. I spent months carrying around a recorder and a fistful of crumpled pages, shoving them into unsuspecting hands, asking friends and family for spontaneous, clumsy readings of fragments. In the end, 99 voices wound up in the cut-up stew. . .” – Kyle Bruckmann