#armbruster

The leadoff track, “I’m Really Trying to Catch Up With You Soon,” bridges the gap between Masses and Can I Sit Here, with repetitions of organ-like sonorities wafting in the high register. Eventually, a thunderous, sustained bass register line enters as do treble register rock solos. The ostinato persists, creating a piece that, if only it had drums, would sound every bit like a piece by Godspeed You! Black Emperor. Indeed, in places one wishes that percussion, even electronic percussion, was incorporated.

“Playground” has a distorted repeating chord progression that registrally unfolds into a bold, bracing textural environment. It is nearly two thirds of the way through the piece that a rollicking solo is added. Shrieking “bird calls” arrive, as does dynamic intensity, the conclusion abandoning the chord progression for a sustained dissonant high note. In “Playground,” Mogwai seems like a touchstone. In fact, one could readily hear Armbruster touring in support of some of the aforementioned ensembles, heating up the crowd with searing strings.

“No Other News” features a constantly pulsating high note juxtaposed with bass strings in a wayward melody. The piece breaks into triplets against dovetailing melodies. Partway through, the ostinato from “Playground” makes a brief appearance, followed by bent bass notes and glissandos against the upper drone. It concludes with another repeated note in the low register and a swath of chords. “Lament” remains a chordal ostinato for most of its duration, until it goes sideways in a downward bend. “Thank You for Putting These Feelings Into Words” follows closely upon, with repeated spacy riffs providing the mood of a sci-fi soundtrack. Perhaps the catchiest among selections is “Tell the Crowd,” with a loping repeating bass-line and a solo that combines Americana and experimental music. “Can’t Wait To Be Chillin’” closes the album with a seven-minute work in which the violinist takes his time, with another bass ostinato and an alto register solo dovetailing alongside it. It is only near the end of the piece that Armbruster moves from a clean sound to distorted chordal slides. The close is a fragmented version of the ostinato, gradually fading.

The technical underpinning of Armbruster’s music is impressively assured and the sounds he explores are consistently interesting. Can I Sit Here makes me eager to hear what surprises he has up his sleeve for the future.