"...and it's that unclassifiable, almost impossibly weird quality that makes this disc one of the most compelling releases of the year. A thoroughly unique artistic vision is on display here, and it's one to which listeners, not to mention fellow musicians with any aspirations toward continued artistic validity in the 21st century, should pay close attention to."
-Phil Freeman, AP (Alternative Press), April 2000.
"Young heavyweight modern jazz saxophonist/improviser/free-thinker Briggan Krauss offers the willing listener a maniacal digital scan or electronic portrait of a creative mind on the loose with this new release. For the uninitiated, Krauss possesses one of the astute intellects modern music as he often propels his technical and artistic abilities to the limits of perception. "Descending To End" transcends even the most outlandishly surreal electronic outings this writer has heard in recent years."
-Glenn Astarita, All About Jazz, April 2000.
"I'm not normally one to rave, but this Briggan Krauss thing is something special. In fact, it's gigantic...powerful...uncompromising. An apocalyptic document for the end of an era and the birth of a new one. Krauss likes to use visual metaphors to describe his music. Listening to his new disc, that's not hard to understand. Little balls of fire pass through a distorted lunar landscape skirting howling animals and swirling windstorms. It's not easy listening, and not for the weak of heart. Is it jazz as we know it? Hard to tell, though that's clearly where Krauss's origins are. Could it be a link to the jazz of the future? Most definitely YES."
-Nils Jacobson, All About Jazz, April 2000.
"...Descending to End doesn't sound like jazz at all. It's layer upon layer of droning noise, like a duo between Albert Ayler and Nine Inch Nails."
-Steve Greenlee, Boston Sunday Globe, February 17, 2002.
Other Briggan Krauss Press Quotes
"When it comes to experimental out-jazz, the music is fervent enough, obscure enough, and far enough ahead of it's time that religious metaphors are in order. And if Seattle's standard out-jazz musicians are minor prophets (the musical equivalent of Billy Graham), than the OK Hotel's Krauss-Horvitz-Wollesen lineup is like Jesus playing with Mohammed, backed by Buddha on the drums and Moses on the keys. It's that deep."
-Nathan Thornburgh, The Stranger, Sept. 7-13, 2000.
"The first time witnessing a Briggan Krauss solo is nothing less than extraordinary. Krauss has one of the most recognizable voices in creative music, and his solos employ a massive arsenal of sounds: the percussive punctuation marks, the exaggerated vibrato and supersonic range, and...that occasional fulrry of notes that eerily alludes to a very embedded, yet revoloutionary technique."
-Brian Carpenter. Ink19, November 1998
"Briggan Krauss on alto sax just amazes. His filigree mutterings, nail splitting pronouncements and tortuously convolouted arabesques continously surprise and entice."
-Ernie Saylor. Earshot Jazz, Dec. 1994.
"Altoist (Briggan) Krauss is a model of post-modern playing; screeching, squawking, droning, fixating, the musical equivalent of an obsessive-compulsive disorder."
-Marcela Breton. Jazz Times, July/Aug. 1995.
"...Krauss emerges as a voice to watch, manifesting mature technique without ever straining to impress."
-Miles Boisen. CD Review, April.1994
"...Waldo the Boy Aligator Wrestler (Briggan Krauss) is a sick puke!"
-Ink 1, Gainesville Florida. May. 1998
"Briggan is a fierce player and puts on a great show."
-Adam Mazaanian. New York Press, June 24-30. 1998
"I heard many phenomenal artists during the Texaco New York Jazz Festival in June ('98). However, no group amazed me as much as (Briggan Krauss') 300."
-Parry Gettelman, The Orlando Sentinel
"Briggan Krauss is the kid who brings in the electronics kit, the kind of toy they made in the 70's that makes mechanical beeps and squawks, except he makes these noises on an alto saxophone, not an erector set."
-John Janowiak, Downbeat. Dec. 1998
"The way he creeps along with trance-like mysticism in and out of Horvitz's trippy keys on "First Grain" or blasts toward the cosmos on the outstanding "Toy Boat"...his meteoric flight bounding off Horvitz's power chords like a Fender Strat overdriven through a Marshall double stack...sounds like little else in modern jazz. It's as if he's channeling the ferocious energy of a Seattle grunge storm and haloing it with an uncanny lyrical shimmer."
-Sam Prestianni, Jazziz, March 1999.