Private Lessons || Mixing & Mastering || Scoring/Composing

“Aural manifestations of metaphysical struggles and a warped sense of reality. These are sounds and patterns created as an effort to maintain relationships with nature, truth, and organicism – while skeptically accepting technological modernity and the digital world.”

Lucas Brode, a native of New York’s Hudson Valley, is a guitarist & composer working primarily with the concepts of memory, misplaced nostalgia, repetition, chaos, subtlety, and traversing spectral landscapes. He draws from jazz harmony, experimental rock textures, and African rhythms – having spent several years learning percussion from traditional Ghanian master drummer, Yacub Addy. Lucas often performs solo, leads his own trio, and is an active performer and improviser in the NYC and Hudson Valley experimental music scenes.

Past and present collaborators include G. Calvin Weston, Kevin Shea, Daniel Carter, Luke Stewart, Fred Lonberg-Holm, Colin Fisher, Zach Cooper, Al Margolis, and many more. Lucas is well known in the Northeast US for his years in the math-rock / post-rock hybrid band, Hannibal Montana. He also frequently collaborates with the Virginia-based RAIC (Richmond Avant Improv Collective) and international psych-rock band Perhaps (with members of Acid Mothers Temple).  His work has been featured on 577 Records, Cacophonous Revival Recordings, Riot Season Records, Important Records, Tompkins Square Records, Orb Tapes.

Lucas tours regularly, performing at museums, galleries, cafes, DIY spaces, and traditional music venues such as the New Museum (NYC), Knitting Factory (NYC), the Mothlight (Asheville), Rhizome (DC), the Windup Space (Baltimore), Spread Art (Detroit), Cafe Mustache (Chicago), and Gallery 5 (Richmond) to name a few. He has shared bills with well known rock bands and avant-garde musicians throughout his career, including The Antlers, Joe McPhee, Oneida, Hank Roberts, Kayo Dot, and others.


“Undeniably lovely.”
The Wire

“…steel guitar-like licks move with the simplicity of updated Santana and McLaughlin…he applies [his effects collection] with an artist’s, not a house-painter’s strokes.”
NYC Jazz Record

“Lucas Brode is one of New York’s most individualistic guitarists.”
New York Music Daily

“Brode’s rapid finger-work brings to mind themes of time, growth and decay.”
Fecking Bahamas

“…find him prowling the back alleys of electric guitar playing.”
Here Comes the Flood

“Polyrhythmic two-hand tapping, atmospheric loops, flowing fusion lines mixed with skronky noise—Lucas Brode does it all.”
Guitar Moderne

“…Lucas Brode, a masterful guitarist whose playing covers traditional structures and experimental non-forms, as capable of coaxing mind-bending emotion from a lone acoustic guitar as he is crafting storms of sound with an electric fed through an army of effects pedals.”
Orlando Weekly

“His compositions and their titles vary with his intent and message: he’s as likely to embark on a near-20 minute drone odyssey as he is to play a Derek Bailey-esque untethered guitar piece.”
– CapitalBop

“Brode’s playing was enough to get the room silent on its own, as he used seemingly every part of his fingers and hands across seemingly every part of his guitar at varying speeds to create a sound that captivated this audience.”
New Haven Independent

“Sometimes the melody appears like the dawn over the horizon, sometimes it’s stuttered out like a nervous tic, and other times it eschews form and structure for a pervasive cinematic ambiance.”
Bird is the Worm

“Brode then evolved the aesthetic by shedding the aqueous fluidity, occasionally edging into jagged riffs, if briefly, before returning to mellower phrasing.”
Jazz Right Now

“This record is a form of hypnosis. The repetition is seductive…these are the sounds of a gentle tailspin.”
The Super Coda

“…disorienting, engaging, & an all-around inspiring soundtrack.”
– Cassette Gods

“…remarkably stark, subtle and evocative.”