I enjoy, and have no problems with:
most (Post)Modernist composers like The Second Viennese School, Ligeti, Messiaen, Penderecki.
Aesthetic brutalism actually has a long ancestry. One precedent is Iannis Xenakis, the leading Greek avant-gardist of the 1950s through the '70s. Here's Xenakis' solo percussion piece Psappha, which features earsplitting explosions on a bass drum. In this piece the composer does not aspire to move you; he wants to hurt you.
I'm unlearned in architecture, but some Brutalist buildings can appear pleasant. So what exactly is brutalism in music?
Over the next few years Xenakis slowly implemented Messiaen's advice. The main Corbusier project on his desk was the Couvent de la Tourette that demanded a complex spatial geometry of intersecting planes and curves. Xenakis realised that his structural calculations could apply to sounds, too. A rising plane could be a sliding string tone, its physical mass translated into the number of violins sliding together. Tones could intersect, curve away from one another: brutalist architecture becoming brutalist music. When the first of these pieces, Metastaseis, was premiered at the 1955 Donaueschingen festival it caused a scandal; most European modern music in the 1950s was obsessed with the organisation of individual points or groups of sounds. The kinetic force of Metastaseis must have seemed like an alien invasion.
Redditor dmival :
The recommendations so far are all strong. Tetras and Tetora are some of the greatest string quartets since Bartók (Ergma, his fourth quartet, is really good too, but like most of his late works its fairly calm and meditative, reducing his signature primal brutality for a more somber and introspective experience). For a similar work, I'd recommend his string trio Ikhoor. Jonchaies is a cross between modal folksong ("tonality? In my Xenakis?") and primeval chaos, similar to Keqrops and extremely vivid. There's a strong Rite of Spring/Mandarin feeling that betrays Xenakis's influences (as an aside, Xenakis is like Bartók in that his style was unique among his contemporaries, and his particular sort of "atonality" is fundamentally different from Webern/Boulez. His music is incredibly complex in structure but entirely visceral as a sonic experience, so keep this in mind as you listen to him). I really like Shaar, a very colorful work for string ensemble that highlights his love for dense multiphony and glissando. You should also listen to Xas, for saxophone quartet (an underrated genre in its own right).