Selected press quotes

"Juiced, a fiercely aggressive but endlessly compelling work by Brendon Randall-Myers, was the best showcase for the quartet’s skills. The piece set challenges of execution that the composer admitted were intentionally overdrawn — quick, complex rhythms traversed in unison, or deftly interlocking textures — and although the players tackled these difficulties superbly, they still imparted the necessary sense of effort to the performance." - Joshua Kosman, San Francisco Chronicle

"The opener by Brendon Randall-Myers, written for classical guitars, immediately shattered any preconceptions about the instrument and established the prerogative of the group. Throughout the fifteen-some minutes of Making Good Choices, the group wrung from their axes a menagerie of extended techniques, warping them into sinewy chromatic webs, ghostly ambience, and inebriated troll metal." - Danny Clay, I Care If You Listen

"A/B Duo creates an integrated yet somehow also heterogeneous sound, and this is also the case on the rhythmically dizzying Glitch, by Brendon Randall-Myers, composed in 2015 and commissioned by the Duo. There, the electronic world has a direct influence on how acoustic instruments are played, bringing those early Stockhausen visions to some kind of fruition. ...like a Classical-era ensemble handling the rhetoric of contemporaneous dance forms." - Marc Medwin, Fanfare Magazine

"Simple Machine, by Brendon Randall-Myers is a a cleverly and dauntingly arranged series of polyrhythmic melodies, its motorik cadence interrupted by the closest thing to free jazz here on its way to a triumphant, cinematic sweep." - delarue, New York Music Daily

"Brendon Randall-Myers’s piece Sherlock Horse: Disintegration Machine...fits into the tradition of music for acoustic instruments and “tape.” While music in that format often seems to be a dusty relic of 1980s university music programs, this piece happily places the format in the present. Many of the electronic sounds used would not be out of place in punk, rap or indie-pop music. These pleasantly fresh sounds place this piece squarely in the modern-day, despite its connection to the more staid traditions of some electroacoustic music. ...this work represents the height of drama in the larger arc of this album." - Seth Tompkins, Second Inversion

"Brendon Randall-Myers’ Making Good Choices has an energy and complexity with roots in the composer’s experience playing in hardcore punk and math rock bands. The first movement, called “running with scissors,” is imbued with a rhythmic energy reminiscent of Stravinsky and was played with sharp precision by the Mobius. The second movement, “following directions,” was spacious and made effective use of string noise, color changes, expressive vibrato, and unmeasured rhythms. The final movement, “hanging on for dear life,” combined the rhythmic energy of the first movement and the colorful spaciousness of the second in a compositional tour de force to which the Mobius responded with a ferocious virtuosity." - Scott Cmiel, San Francisco Classical Voice

With Invisible Anatomy:

“a flight of musical follies touching down briefly amidst austere harmonic totems, absurdist cowboy music, and vaudevillian settings of warning labels... work that reeks of form, structure, and development.” - Mike Compitello, New Music Box

“A wide palette of musical elements, the puzzle of implications harnessed through sounds and their disparate references... sophisticated and dynamic sense of stylistic hybridity.” - Ted Hearne, Mutterings

With Marateck:

"New York-based math-minimalist quartet Marateck channels more than any reasonable listener can handle, but in the most efficient way possible. On a self-titled EP released this summer, Marateck's stripped-down, articulate take on math-rock yields a sense of pointillistic perfection. They're adept at both creating a feeling of space and filling it up, shifting between atmospheric passages and bursts of brutal upheaval." - Emili Earhart, Tone Madison

“The sound of the band ranges from the dark sonic territory of instrumental Slint to the muscular musical flex of bands like Shellac, Lynx, and early Don Caballero...[There’s a] tension and release throughout that creates a rhythmic push and pull that treats the time and space between the notes with a feeling of fluidity that never feels forced.” - William Covert, Fecking Bahamas

Full list of press appearances

 

Bearthoven Take a Bite Out of the Accessible Side of the Avant Garde | New York Music Daily | delarue | 04/15/2017

“first-rate performances” in A/B Duo’s Variety Show | Fanfare Magazine | Marc Medwin | Mar/Apr 2017

** EXCLUSIVE // Stream ‘Heart Failure’ from Marateck’s upcoming album ‘Time Is Over’ | William Colvert | Fecking Bahams | 02/13/2017

ALBUM REVIEW: Andy Meyerson’s “My Side of the Story” | Second Inversion | Seth Tompkins | 11/7/2016

Madison calendar, October 27 through November 2 | Tone Madison | Emili Earhart | 10/26/2016

SUMMER RESIDENCY SNAPSHOTS: THE COMPOSER / PERFORMER MIND MELD | New Music Box | Mike Compitello | 08/11/2016

Incubating Culture: Yale Ensembles Expand New Music's Center | Music at Yale | Samantha Buker | Spring 2016

LIVE: The Bang On a Can All-Stars @ the Tang Museum, 2/18/16 | Nippertown | 02/29/2016

The B Band interviews Invisible Anatomy | newclassic.la | Nick Norton | 02/6/2016

DON'T STOP TALKING ABOUT IT; TALK ABOUT IT BETTER | Mutterings | Ted Hearne | 01/28/2016

Vivid Sections: Invisible Anatomy Take a Bold Stance on Classical Performance | Village Voice | Zoe Beery | 01/26/2016

Omaha Symphony's 'Fresh Ink' tells stories with aural chaos | Todd von Kampen | 05/17/2015 

Music in Review: Performances by Sasha Cooke, Escher String Quartet and Ensemble Signal | New York Times | 
James R. Oestreich | 03/16/2015

+ Parallels coverge and illuminate, as Bach meets Gordon at Miller Theatre | New York Classical Review | Kurt Gottschalk | 03/14/2015

Friction Quartet finds the potential of abrasiveness | San Francisco Chronicle | Joshua Kosman | 12/6/2014

Composers, Inc. Turns 30 Years with a !BAMM! | Daniel L Muñoz | 06/18/2014

2014/2015 First Music Commissions | 04/22/2014

2014 ASCAP Morton Gould Young Composer Awards Announced | New Music Box | 03/31/2014

ASCAP Foundation Names Recipients of Morton Gould Young Composer Awards | 03/31/2014

Plugged/Unplugged: Mobius Trio at Outpost | Artificialist | Damjan Rakonjac | 03/15/2014

Kronos Quartet Premieres Mary Kouyoumdjian at Z Space | I CARE IF YOU LISTEN | Danny Clay | 03/13/2014

The Mobius Trio, Tuesdays at Monk Space | The Constance Gradual | Saul Alpert-Abrams | 03/14/2014

Grunge Meets Classical | The New Haven Independent | Lucy Gellman | 02/26/2014

Bang on a Can at Mass MoCA creates vibes, beats | The Berkshire Eagle | Jess Gamari | 07/23/2013

Sizzling Strings Honor Julian Bream | San Francisco Classical Voice | Scott Cmiel | 07/21/2013

Album review: “Last Light” by Mobius Trio | Wavecraft Project | Daniele Furlan | 06/27/2013

Hot Air Music Festival 2013 | SF Civic Center | Michael Strickland | 03/7/2013

Does It Smell Like Dance Party in Here? | The Loose Filter Project | Dustin Soiseth | 03/7/2013

Blueprint and Mobius Trio demo SF Conservatory Talent | New Music Box | Sidney Chen | 12/5/2012

Adam’s Nixon and New Music Excitement in California | New Music Box | Sidney Chen | 07/2/2012

Great Expectations: The Challenge of New Music in New Spaces | New Music Box | Dustin Soiseth | 03/16/2012

* with Invisible Anatomy

** with Marateck

+ with Ensemble Signal