About Bryce Kulak
A small boy with a big imagination who makes even bigger sounds
Bryce Kulak's cabaret songs will weave themselves into your warmest sweaters. His crisp diction makes it easy to sing along. If you like songs about bicycles, depressed little girls, hot air balloons, skyscrapers, historical buildings, white trash, death and mourning, colourful obsessions, misplaced laundry, wine for breakfast, selfish fish, underwear and lingerie, and primitive telecommunications, you will love his new album: Tin Can Telephone.
Kulak grew up onstage, acting in theatre and playing classical piano. An award-winning composer, he has performed with symphony orchestras and in theatrical world premieres. He crafts original songs that brilliantly showcase his talents as a dramatist, vocalist, and musician. His six-track debut album, Welcome, achieved a loyal following worldwide. Tin Can Telephone is his first full-length recording, presenting 14 new songs in arrangements from lush chamber orchestra to solo piano and voice. Often compared to the great songwriters of the original cabaret era, Kulak carries the torch of this compelling genre into the new century.
Bryce Kulak in the press
“Bryce Kulak is one of Edmonton's most sophisticated songwriters… Tin Can Telephone boasts some of the loveliest, most exquisitly crafted songs I've heard all year… a marvelous accomplishment, not to mention one of the most beautifully packaged indie discs of the year.”—See Magazine
“Kulak’s versatility knows no bounds.”— Edmonton Journal
“[He’s like] Burt Bacharach morphed into Rufus Wainwright—he just whips up these little songs that are ridiculously fantastic.”— CJSR FM 88.5
“The precociously talented Kulak, at 23, is a 12-year showbiz veteran… Not only does he sing and play the piano, he composes, in an unclassifiably quirky, jazzy vein, as his CD Welcome reveals.”— Edmonton Journal
“[Bryce Kulak’s] ballad [is] worthy of any Andrew Lloyd Webber production.”—Vue Weekly
“Bryce Kulak [is] the new brilliant wunderkind… he performed a song at Oh Susanna and at the end of the song the entire audience leapt to their feet in a movie-football-game fantasy standing ovation.”—See Magazine