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	Glenn Branca - Wikipedia, the free encyclopedia
		Glenn Branca (born October 6, 1948 in Harrisburg, Pennsylvania) is an avant-garde composer and guitarist.
		Branca studied theater at Emerson College in Boston in the early 1970s.
		Branca also plays duets for amplified guitars with his wife, and conducted his 13th symphony for 100 electric guitars at the base of the World Trade Center in New York City in 2001.
	en.wikipedia.org /wiki/Glenn_Branca (385 words)

	Interview with Glenn Branca
		Branca's First Symphony was premiered in 1981, and it began a series of works for his extended guitar ensemble that culminated in 1988's Symphony #6 - Devil Choirs at the Gates of Heaven.
		Branca's new-found interest in complexity has meant that to some extend he's leaving behind the influence of the minimalists, although he still feels some kinship with their work.
		Branca's Symphony #3 deals extensively with the series, and with the effects that can arise when the instruments are tuned to suit the harmonic series, but for all his enthusiasm for the concept, it doesn't play such a dominant role in his music any more.
	media.hyperreal.org /zines/est/intervs/branca.html (2933 words)

	Live & On Record \| GLENN BRANCA (Site not responding. Last check: 2007-10-13)
		There was Branca, his fl-and-gray-streaked hair falling over his face as he knelt on the floor over his harmonic guitar (an instrument fashioned by joining a pair of electric six-strings together by their necks), using a slide to tease fresh sounds out of the howl of punishingly loud feedback.
		Branca’s ability to conjure sounds from the overlapping tones of hyper-amplified instruments is his stock in trade.
		Usually Branca conducts his works, but this project marks his return to the stage as a player — and one with a sense of theater.
	www.bostonphoenix.com /boston/music/live/documents/02890739.htm (439 words)

	Splendid: Departments: &: Branca Ensemble: Symphony Nos. 8 & 10 - Live at the Kitchen
		Branca's presentation of feedback-laden experimental compositions labelled "symphonies", using an ensemble comprised primarily of guitars, challenged notions of what constituted "art music", eroding divisions between experimental rock and modern concert music.
		Branca has branched out in recent years, composing for dance pieces and films and even for conventional orchestras, but the Branca Ensemble remains his principal artistic medium.
		Branca conducts the rest of the concert himself, adopting a surprisingly formal podium demeanor.
	www.splendidezine.com /departments/&/branca.html (874 words)

	* Dusted Reviews - Glenn Branca *
		But what Branca was doing must have seemed pretty wild then: New York’s No Wave scene (in which Branca was a key player) was in its infancy, and the closest antecedents for Branca’s noise either generally adhered to fairly traditional approaches to song form (punk rock) or dynamics (free jazz guitarist Sonny Sharrock).
		The Ascension finds Branca in transition from his 1978 off-the-cuff screeching to his later punishing, layered guitar symphonies (the first of which was recorded in 1981).
		Still, Branca had a long way to go before he wrote many of his gloriously loud symphonies, the defining characteristics of which were his uses of dense clouds of feedback sound made up of aggregates of weird guitar tones.
	www.dustedmagazine.com /reviews/817 (479 words)

	TrouserPress.com :: Glenn Branca
		Branca's side of the joint disc with poet John Giorno is music commissioned for a dance piece (Bad Smells) by Twyla Tharp.
		Played by large ensembles, Branca's symphonies incorporate a plethora of amplified instruments of his own design (primarily dulcimer-like things strung with steel wire and hammered with mallets) in addition to guitars, horns and a battery of percussion.
		Branca doesn't renounce volume, but he arrives at it by way of crescendos rather than instant deafness.
	www.trouserpress.com /entry.php?a=glenn_branca (971 words)

	glenn branca/the Ascension
		Glenn's prior work in the seminal no wave bands The Static and the Theoretical Girls represented some of the most aggressively avant -rock sounds of the New Wave era, while his work in the two decades since has taken on a decidedly "classical" approach.
		However, for a brief moment, Branca and his band were able to transcend such classifications as High Art vs. Pop Culture, Classical Music vs. Rock and Roll, and release a record that, amongst all the debate, at least ha d all the critics agreeing on one thing: The Ascension is truly awesome.
		In 1982, the critic's reference points were the repetitous minimalism of Philip Glass and Steve Reich on one hand, and the "hard rock" of the Ramones on the other.
	www.carparkrecords.com /glenn_branca_cd.html (370 words)

	CDeMUSIC (Site not responding. Last check: 2007-10-13)
		Glenn Branca's 'Symphony No. 5' is orchestrated fo 5 guitars, mallet guitar, violin, drums, bass, and keyboards.
		Glenn Branca's legendary 'Symphony No. 2' for 10 guitars and percussion featuring among others, Thurston Moore and Lee Ranaldo from Sonic Youth on Branca's special mallet guitars.
		Glenn Branca's 'Symphony No. 3' is for the first 127 intervals of the harmonic series.
	www.cdemusic.org /store/cde_search.cfm?keywords=ai1 (649 words)

	BBC - Experimental Review - Glenn Branca, Lesson No 1
		Unsurprisingly the results were some way from the rococo intricacies of prog; instead Branca and Chatham constructed an infernal, crushing minimalism from massed electric guitars that owed as much to The Stooges as it did to Lamonte Young.
		Here Branca shows his deep understanding of the sonic possibilities of the electric guitar; there are five of them here (two are played by Lee Ranaldo and Thurston Moore).
		Branca keeps things on the move; there's more than a hint of John Zorn's attention deficit disorder approach to composition as he juggles angular, Morricone-esque twangs with huge, shuddering crunches and cavernous ambience.
	www.bbc.co.uk /music/experimental/reviews/branca_lesson.shtml (581 words)

	Music Production: Glenn Branca Ensemble
		Glenn, various runners, the engineer, and producer Weasel Walter were in and out of the room, checking on various things, and ultimately Glenn decided that he'd just want to work with the basses first, getting their levels, so we tenors and altos stepped outside.
		Glenn stood at the podium at the front of the studio, and indicated to each of us whether to turn up, down, give more treble, etc. After the fourth or fifth "more treble," Glenn said, "You'll notice that I like treble," and it was true--at no point did he ask to hear more bass.
		Glenn said that there was a dilemma about which of the three remaining sections should be tackled, and the engineer offered over the talkback that in the time it would take to decide, we could record all three, so off we went.
	mauricerickard.com /index.php/2/468 (6749 words)

	Glenn Branca : The Ascension - Listen, Review and Buy at ARTISTdirect
		Branca's band, unlike some of his later enormous ensembles, is relatively modest (four guitars, bass guitar, and drums), so the sound is comparatively clear and each member's contributions may be easily discerned.
		But the title track is both the consummation of the record and the surest indication of Branca's direction in later years.
		Branca's music has served as a major inspiration to many alternative rock bands that surfaced in the '80s and '90s, notably Sonic Youth; both Lee Ranaldo (who plays on this recording) and Thurston Moore were regularly members of his early ensembles.
	www.artistdirect.com /nad/store/artist/album/0,,208530,00.html (518 words)

	tonevendor.com :. Glenn Branca - The Ascension CD
		Glenn's prior work in the seminal no wave bands The Statrc and the Theoretical Girls represented some of the most aggressively avant-rock sounds of the New Wave era, while his work in the two decades since has takenon a decidedly "classical" approach.
		However, for a brief moment, Branca and his band were able to transcend such classifications as High Art vs. Pop Culture, Classical Music vs. Rock and Roll, and release a record that, amongst all the debate, at least had all the critics agreeing on one thing: The Ascension is truly awesome.
		These days it's hard to listen to Glenn Branca without thinidng of Sonic Youth, whose two guitarists (Thurston Moore and Lee Ranaldo) both served tours of duties in Branca's guitar armies.
	www.tonevendor.com /item/8929 (367 words)

	Glenn Branca
		Glenn Branca's compositions center around multiple guitars -- four or more, heavily amplified -- augmented by a rock-based rhythm section of drums and bass.
		In the '80s his compositions for the Glenn Branca Ensemble included the several symphonies for which he is best known.
		Branca's 12th guitar symphony was performed at London's Barbican Centre in 1998.
	www.djangomusic.com /artist_bio.asp?id=R+++282243 (244 words)

	Music \| The avant hard
		The cover of the recent reissue of Glenn Branca’s The Ascension (Acute) — just as it was on its 1982 release on the NYC label 99 Records — is one of Robert Longo’s fl-and-white renderings of well-coiffed, sharp-suited young professionals under unexplained duress.
		Like many an East Villager, Branca began his visible career with stints leading "rock" bands in the usual sense, though both Theoretical Girls and the Static drew more from "serious" minimalism than from the funk and disco of many of his no-wave scenemates.
		What’s fascinating about this example of Branca’s still-developing style is hearing him and his players discover which elements of a band dynamic are necessary to their aims and which are blocking the road to the sonic sublime.
	www.bostonphoenix.com /boston/music/top/documents/03797214.asp (771 words)

	clarification of the Glenn Branca connection (Site not responding. Last check: 2007-10-13)
		There's been a lot of erroneous stuff printed about some supposed connection between Glenn Branca and Band Of Susans (as recently as one of Everett True's 1993 Melody Maker pieces) so thanks for the opportunity to set the record straight (for the two or three of you vaguely interested in the subject).
		Rhys and Glenn certainly each have their fans and partisans; Branca is certainly much better known, and has had a much higher degree of visibility over the years.
		He also has very little interest/ background in blues/ rock/ popular music, etc. Both Glenn's and Rhys' records and concerts are definitely worth checking out, though in Rhys' case at least, the records (in my opinion) never quite captured the beauty, grandeur, power, and brilliance of his best music as seen/heard live.
	www.monotremata.com /bos/clarify.html (440 words)

	Glenn Branca - Epitonic.com: Hi Quality Free and Legal MP3 Music (Site not responding. Last check: 2007-10-13)
		The guitar's capacity for attack has driven Branca to build ensembles in which baritone, alto, tenor and soprano guitars have multiple strings tuned to an assigned note, resulting in such grand projects as Hallucination City: Symphony for 100 Guitars, performed at the World Trade Center in the summer of 2001.
		Branca's valiant crescendos support the minimal yet elaborately constructed pieces with an abrasive discord that hints at his work to come.
		While sometimes instruments are craftily muddied beneath their companions, it is the unexpected metallic clarity generated by the confluence of guitars that gives this music the cacophonous yet unswerving voice needed to articulate the claustrophobia of urban life.
	www.epitonic.com /artists/glennbranca.html (426 words)

	Glenn Branca: The Ascension: Pitchfork Review (Site not responding. Last check: 2007-10-13)
		Glenn Branca knows nothing about this: he was never one to limit his vision.
		By 1981, Branca had already played in Rhys Chatham's Guitar Trio for four years, and had disbanded his No Wave groups Theoretical Girls and The Static to focus on larger movements for amplified guitar.
		On one hand, he seems to be in the slow lane with all the Sunday drivers moving to Brahms and Buckner on the West Side Highway, making symphonic movements with the blinker on for miles before the turn.
	pitchforkmedia.com /record-reviews/b/branca_glenn/ascension.shtml (820 words)

	Glenn Branca : Selections from the Symphonies (Works for Electric Guitar) - Listen, Review and Buy at ARTISTdirect
		The tracks have been selected among Branca's loudest and noisiest works, representing his best writing for walls of electric guitars.
		The hardcore fan will not find anything new (all the material is already available), but the newcomer is offered a chance to enter Branca's world and then work his way through the complete symphonies.
		Heavy fabrics of distorted sound unfold through anguishing moods ranging from the almost relaxed atmosphere of "Symphony #2 2nd Movement" to a terrible degree of oppression and suffocation in "Symphony #3 2nd movement" and the apocalyptic "Symphony #10 2nd movement." Drums are heavy, almost tribal and sometimes reminiscent of Magma.
	www.artistdirect.com /nad/store/artist/album/0,,276078,00.html (291 words)

	Glenn Branca MP3 Downloads - Glenn Branca Music Downloads - Glenn Branca Music Videos
		Glenn Branca's first release of his sprawling guitar symphonies, Lesson No. 1, is glossy compared to some of his later work -- and is, admittedly by Branca, an exercise in rock minimalism.
		The 16-minute "Bad Smells," which features Lee Ranaldo and Thurston Moore, is a transitional Branca piece, but also his most unpredictable, skipping from a film-soundtrack gallop to spacious guitar constructions to jerky, no-wave punk funk rhythms and, finally, captivating ambience.
		Certainly a record that establishes Branca as the '80s NYC force to be reckoned with, it also shows the great rock scope of Branca's composing -- in contrast to Rhys Chatham -- and illuminates nearly all of the generic modes which he would develop and draw upon in his future work.
	www.mp3.com /albums/164395/summary.html (399 words)

	Glenn Branca - Free Music Downloads - MP3 Downloads - Download.com Music
		Beginning in the 1970s and continuing into the present day, New York composer Branca has taken 20th century neo-classical composition in wildly new directions, using 'armies' of chugging, clanging guitars to fuel his complex, powerful material.
		On the borderline between classical and rock music, Glenn Branca formed the late 1970s bands Theoretical Girls and the Static.
		Later versions of the ensemble added mallet guitar, keyboards, and an additional drummer. Glenn has recently been writing for symphony orchestras, but continues to work with his guitar ensemble.
	music.download.com /glennbranca/3615-8622_32-100024898.html (224 words)

	Symphony No. 6 (Devil Choirs at the Gates of Heaven), MP3 Album Music Download at eMusic (Site not responding. Last check: 2007-10-13)
		Glenn Branca's Symphony No. 6 is as dense, edgy, and dramatic as listeners have come to expect.
		Symphony No. 6, like many of Branca's works, has one foot in the late-'70s New York no wave scene that inspired Sonic Youth, and the other in the experimentalism of late-20th century composers like Iannis Xenakis.
		Branca is one of the few avant-garde composers with the nerve to subtitle his work "Devil Choirs at the Gates of Heaven," and one of even fewer whose music is discordant, engrossing, and scary enough to make the listener take such a subtitle seriously.
	www.emusic.com /album/10735/10735086.html (409 words)

	Glenn Branca : Symphony No. 3 (Gloria) - Listen, Review and Buy at ARTISTdirect (Site not responding. Last check: 2007-10-13)
		Branca subtitled this work as "music for the first 127 intervals of the harmonic series," and one can certainly sense a more arcane, less overtly rockish approach here than on previous releases such as The Ascension.
		In performance, one interesting effect of this technique was that, through amplification, an enormous volume of sound was capable of being produced by very slight and gentle tapping of the strings.
		Here, Branca returns somewhat to the form of the opening moments, but the chords now possess a dramatic respiratory quality as though the guitar orchestra itself is deeply breathing in and out.
	www.artistdirect.com /nad/store/artist/album/0,,56404,00.html (373 words)

	* Dusted Reviews - Glenn Branca *
		While much of Glenn Branca’s work was easily available from Chicago’s Atavistic Records by the end of the 1990’s, from his early work with his no wave rock groups (Theoretical Girls and The Static) to his microtonal guitar symphonies, the music that represented the transitional point in Branca’s career was much harder to search out.
		Lesson No. 1 was Branca’s first release in which he delved more fully into instrumental sounds that melded the dissonant rock of his former outfits with the heavy, massed sounds that he would later explore with groups of anywhere between ten and a hundred guitarists.
		In “Lesson No. 1,” Branca first exhibits the formula that would serve as the basis of his next LP, The Ascension, a combination of heavy, repetitive, rhythmic statements overlaid with a chorus of guitars that begins in an almost stately mode before rising into a celestial frenzy.
	www.dustedmagazine.com /reviews/1403 (500 words)

	Glenn Branca: Lesson No. 1: Pitchfork Review (Site not responding. Last check: 2007-10-13)
		When Glenn Branca's "Symphony No. 8" was performed in Denmark at an arts festival attended by the queen and several dignitaries, the press described the effect of his music as "sound terror." For Branca, there is no such thing as "too loud": His most recent composition is an ensemble for 100 electric guitars.
		Like minimalist composer Rhys Chatham-- with whom he briefly played before they became rivals-- Branca was interested in highlighting the harmonics extant in battling waveforms and the sounds that naturally emerge from repetition.
		This release also includes a video showing Branca conduct a part of his "Symphony No. 5", and it is a powerful thing to watch as this composer frantically embodies the electric energy of his own music-- or maybe it's the other way around.
	www.pitchforkmedia.com /record-reviews/b/branca_glenn/lesson-no-1.shtml (580 words)

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