+++ Glenn Branca +++

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Symphony No. 9 L'Eve Future [1995]











Symphony Nos. 8 & 10 (The Mysteries) [1994]











Symphony No. 6 (Devil Choirs At The Gates Of Heaven) [1989]












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Glenn Branca - Symphony No.1 (Tonal Plexus) [1983]

" Symphony No. 1 (Tonal Plexus) premiered at the Performing Garage that summer. It was Branca's largest piece yet employing 16 musicians including, horn, trumpet, sax, keyboards and in one movement a large oil drum played with a 2x4, as well as some guitars strung with untempered steel wire from a hardware store, and Branca's usual complement of octave tuned guitars sometimes stroked with drumsticks. The crude sound of the piece was thought of as a kind of punk rock noise music. Just two months later he would premiere another new piece "Indeterminate Activity of Resultant Masses" at Art on the Beach in lower Manhattan. This piece, for 10 guitars and drums, would become one of his most controversial when performed at The New Music America Festival 1982 in Chicago. Although the 35 minute piece had been a success John Cage had intensely disliked it and created a furor at the festival and in the press. A recording of Cage's inflammatory remarks has been released on Atavistic along with the first recording of the piece (which had gone unreleased for 25 years).

MySpace.com - Glenn Branca
Glenn Branca: The official web site

Symphony No.1 (Tonal Plexus) [1983]















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Glenn Branca with Paranoid Critical Revolution, ATP

Glenn Branca - The Ascencion [1980]

This music was labeled by the press as "rock minimalism" and in some cases "maximalism".
Branca would eventually form a band to tour and record this music. Sometimes thought of as "The Ascension Band" the group included: Lee Ranaldo, Ned Sublette, David Rosenbloom and Branca on guitars, Jeffery Glenn on bass and Stephen Wischerth on drums (later Thurston Moore would join on guitar). It was with this music that Branca introduced his newest octave and unison tunings in which the guitars were divided into soprano, alto, tenor, baritone and bass. By the start of 1980 Branca was desperate to release a recording of his new extended instrumental work. Singles were no longer possible with pieces running from 8 to 12 minutes.
He approached Ed Bahlman who had a small record store in the Village and suggested that he consider starting a record company with Branca's music as the first record. Drawing from Branca's experience with producing, manufacturing and distributing records Balhman started 99 Records. The EP LESSON NO. 1 came out soon after, with the album THE ASCENSION following a year later.

MySpace.com - Glenn Branca
Glenn Branca: The official web site

The Ascencion [1980]















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Glenn Branca - Lesson No. 1 [1979]

In the spring of 1979 Branca premiered his first multi-guitar piece "Instrumental for Six Guitars" at Max's Kansas City Easter Festival. The piece was an immediate success and led to series of extended instrumental pieces written over the next one and a half years: "The Spectacular Commodity", "Dissonance", "Lesson No. 1", "The Ascension", "Light Field" and "Mambo Diabolique", each piece defining a different approach to writing for loud guitars.

MySpace.com - Glenn Branca
Glenn Branca: The official web site

Lesson No. 1 [1979]
















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Glenn Branca - Songs '77-'79 [1996]

Songs '77-'79 [1996]

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Glenn Branca #1

Glenn Branca - Symphony No. 9 L'Eve Future [1995]

Symphony No. 9 L'Eve Future [1995] (New Link!)


'Hallucination city symphony for 100 guitars'