MaryClare Brzytwa (‘brist wahh’, Polish) will transport you to netherworlds containing dark and twisty dimensions using a looped flute and custom computer programs that turn her devices into automaton improvisers, with a twist.
— SF Weekly


Nice playing, nice intensity , That music is visceral Despite its abstract gestures. " - François Couture, Monsieur Delire , 2010.

Take Oakland, California’s MaryClare Brzytwa — an acclaimed flutist whose music often blends her preferred instrument with a sack full of odd electronics to create haunting soundscapes.Her songs are warped journeys through twisted pathways of noise that explore and test boundaries on a whim. The flute, as played by Brzytwa, is an instrument that can quickly jump from a tortured nightmare to softly drifting lullaby.
— Philadelphia Northeast Times
Nervous, Ambient, Scattered. MC rocks!
— Fred Frith in All about Jazz (Italia)
Splendid, vital, and challenging. - Kathodik (Italia)
The California artist adds another layer of surrealism to her work with the help of strange sound effects that tease out the otherworldly aura of her music. It is an unnerving cocktail of beauty and dreamlike melody.”
— Philadelphia Northeast Times
Noise, blues, hints, fragments intimate and painful, spoken word, a piano pounded to blood while the ship sinks, smoky cabaret, the Diamanda and Dagmar, field recordings and then via a drowning in one pass mold of contemporary composition…. Splendid, Vital, and Challenging.
— Kathodik (Italia)
Flautist and laptop electronic player MaryClare Brzytwa seems to have metamorphed out of a wormhole in Riot Grrrls in Wonderland.
— Bad Alchemy (Germany)
"impossible frequencies emitted by the vocal chords of Maryclare Brzytwa." -  Vincenzo Roggero, All About Jazz 2010.

"... Mature reflection [...] suitably impressed ..."  — By Pierre Durr in Revue & Corrigée #73 (France), September 1, 2007

"The idea - and the implementation - of a" container "gathering ideas so disparate and referring them back to the language of improv is applaudable." — By Stefano Isidoro Bianchi in Blow Up #116 (Italy), January 1, 2008
“… truly a magnificent and important contribution to the undomesticated sounds of experimentation.” —  By Outlier in KFJC On-Line Reviews (USA), October 25, 2007

“a very interesting and engaging work” — By Dolf Mulder in Vital #597 (Netherlands), October 15, 2007