Reviews: Bruckner – Happy End

Bruckner sind ein Duo bestehend aus Bernhard Loibner, einem elektronischen Klangkünstler und Didi Bruckmayr, einem Vokalartisten. Beide stammen aus Österreich. Diese beiden Künstler haben für die fünf Songs dieses auf nur 100 Stück limitierten Vinyls frei improvisiert und sehr interessante Sounds/Musik damit erschaffen.

Der Gesang Bruckmayrs erinnert wenig an herkömmlichen Gesang, sondern ist eine reine Lautmalerei. Diese wirkt dabei anfangs etwas befremdend, bei öfterem Genuss wirkt sie wie ein emotionales zusätzliches Instrument.

Die dazu erzeugten elektronischen Klänge von Loibner erinnern an frühe Elektronikpioniere ebenso wie an aktuelle Klanghexer. Mal kommen Erinnerungen an Dark Wave auf (Depeche-Mode-Sounds ohne wie Depeche Mode zu klingen). Dann erinnert das Ganze auch durchaus mal an die Legendary Pink Dots, Edward Kaspel oder den Blutharsch, im nächsten Moment dann wieder an etwas scheinbar neues.

Im Mix entstand so ein trotz aller Experimentierlust und Mut zum Krach ein in sich geschlossenes, durchaus hörbares Werk mit spannenden Sounds und auch emotionalen Momenten.

Experiment geglückt.

Wolfgang Kabsch


Bruckner – the third-mind hybrid of Didi Bruckmayr (vocals) and Bernhard Lobiner (electronics) is about as far from a commercial proposition as you can imagine. It’s music, in the sense that the majority of the elements are often found in musical performance or composition, but certainly not in the sense that most casual listeners would accept.

Drawing together disparate elements of sound in a most avant-garde fashion, ‘Happy End’ contains five tracks that in many respects defy the conventions of musiciality. Tribal tunes played underwater and put through a grinder wobbly bleeps and buzzes, throat-clearing all come together in a weird mash-up out of nowhere to form the fabric of this EP.

Blistered funk stutters, groans and tribal chants, vocal ululations resembling a didgeridoo drift over a swamp of sounds on ‘Further’. The echo-filled world of ‘Crystal’ is even weirder, springy synth bass pulses providing the backdrop to vocal contortions that leap from operatic to deranged melodrama. Meanwhile, creeping, cavernous incantations hover, hum and drone in the darkness of ‘Seven’.

There’s a lot going on here, little of it remotely accessible. This is music that challenges the established notions of music, with few inroads and the most limited regard for structure or routes in to the crazy mish-mash that ‘Happy End’ contains. Bewildering, but brilliant in its strangeness.

Christopher Nosnibor


After we’ve already featured one track taken off Bruckner’s debut release “Happy End” in late November 2k15 we’re now back with a full on review on their six tracker that has been put on the circuit via the Vienna-based Moozak label as a limited print run of 100 vinyl copies in December. In their release highly experimentalist vocal abuse meets ultra digital rhythms meandering in between Raster Noton’s Clicks’n’Cuts approach and mechanical, Industrial-influenced Electronica (“Further”), turns advanced dancefloors into lunatic asylums (“Crystal”) or have a really off approach to cold electronics layered on top of Post-PostRock minimalisms (“Seven”). “Sinusitis” explores dark and noisier territories mixed with crystalline, melodic elements and a dadaist, theatrical vocal style before the final tune “Lopside” is the most off kilter variation on Electronic Punk we’ve heard in ages, despite the fact that musically no Punk is happening here. Totally thrilling and unique. We like this.

liquid sky berlin


On Happy End (MOOZAK MZK#009), we’ve got an unusual team-up between the electronic musician / sound artist Bernard Loibner and the vocalist-performer Didi Bruckmayr – the duo call themselves Bruckner and 100 copies were made of this vinyl EP documenting their studio exploits, with occasional sinister purring toots from Karl Maier’s bass clarinet on one track.

Bruckmayr’s apparently quite a colourful and eccentric fellow in the Austrian underground music world, cutting an unmistakeable dash with his shaven head, piercings, and full-on body tattoos. From what I can gather he’s often photographed in just his underpants, and performs his oral yawps and yelps in Fuckhead, Wipeout and DDDisco, bands representing various extreme manifestations of electrobeat / industrial power music. There’s always a loopy grin to be seen on his face, and it’s audible on record too. I’ll bet he’s quite a handful if you meet him in the flesh, but his irrepressible antics come over as quite warm and humourous on this particular record, as opposed to the more grim, life-menacing pronouncements of performers like Joke Lanz. Either way, it’s interesting to trace how Viennese Aktionism, once a radical and highly critical art form, has evolved into show-business through characters like Bruckmayr.

Loibner’s musical backdrops are pretty crazy too, full of warped funkoid bass-guitar stabs leaping out in unpredictable atonal ways, and demented electronic fizz leaking out from his digital-analogue set-up. Pound for pound, the record delivers a perplexing and mildly amusing sideshow of eccentricity, rather than a full-on Dada-inspired shrieking assault on bourgeois values; the studio setting may have sapped some of the force from their performances, but it’s hard to say quite what the intention of either party was. I can’t quite make out the “sound poetry, alien creatures and bald landscapes” of which the press notes speak with such conviction.

The Sound Projector
Ed Pinsent


Gelegenheidsduo bestaande uit vocalist Didi Bruckmayr en multi-instrumentalist Bernard Loibner. Beide zijn in hun thuisland Oostenrijk gerenommeerde muzikanten en schrikken er niet voor terug om alle muzikale geplogenheden aan hun laars te lappen en voluit te gaan voor het experiment. Bruckmayr, die ook actief is in Fuckhead en Wipeout, zijn vocale escapades bestaan uit velerlei expressievormen. In plaats van teksten maakt hij gebruik van een uitzonderlijk gamma van gesnauw, gegrom, geschreeuw en falset geluiden. Loibner kiest voor een totale vorm van improvisatie en gebruikt zowel digitale als analoge instrumenten en electronics, basgitaar en percussie. Didi met als enige wapen zijn stem overstijgt alle barrières en bezweert als een echte sjamaan de geesten die ronddwalen. Vooral in ‘Lopside’ is zijn performance indrukwekkend te noemen. Wat ook opvalt is de muzikale diversiteit van elke compositie. Elke luisterbeurt ontvouwt nieuwe elementen en geeft je als luisteraar telkens de mogelijkheid om de complexiteit van het geheel te ontrafelen. Hoe meer je luistert, hoe meer je wordt aangespoord om op ontdekkingstocht te gaan. Meest herkenbaar zijn nog de glitch elementen in ‘Further’. De overige composities zijn bizar tot buitenaards met als hoogtepunt het futuristisch, aanschouwelijk gemaakte ‘Seven’. Met enige goodwill kun je nog qua stijl, industrial linken aan ‘Crystal’. De rest behoort tot het rijk van de verbeelding. ‘Happy End’ komt in een oplage van slechts 100 stuks inclusief een ‘free download’ code met als extra drie bonus tracks.

Dark Entries
Paul Van de gehuchte


Si compone di 5 tracce, edite solo in vinile

e digital download, l’esordio degli austriaci Bruckner, avidi ricercatori dell’espressione musicale più oltranzista. Il duo, composto dal sound artist Bernard Loibner e dal particolare vocalist Didi Bruckmayr, si muove in territori d’avanguardia dove elettroacustica, derive destrutturate e rumoriste, contemporanea s’incontrano generando un ascolto impegnativo ma con molti spunti di rilievo. Didi Bruckmayr

è un interprete sopra gli schemi poiché la sua scuola è quella di ricerca sui suoni e timbri della voce, utilizzando gli studi che partono dal grande Demetrio Stratos per arrivare al Mike Patton più sperimentale. Al

suo anco i suoni sono

digitali e analogici,

droni scomposti a cui

si aggiungono oggetti

percossi e corde di archi

e bassi che talvolta

s’inseriscono con poche e

scordate mono-note.


Gianluca Polverari