“. . . Clatter and scrapes derived from highly amplified, unidentifiable sources give the music a bracing tactility, and a meticulous sound mix suggests three-dimensionality. The constantly changing array of foreground activity and subtly morphing environments produce a gripping suspense that complements the stunning tonal palette.” (Peter Margasak, Downbeat)
Various post-avant spectrums toyed with but tossed out the window for rock, except what exactly is rock? One man’s Sabbath is another man’s Butthole Surfers. One is feeling Floyd while another is feeling DNA & yet another thinking mid period Crimson & another early period Crimson & then someone is somehow thinking James Tenney… The verite m.o. of the first album is forgotten – this thing expands freely in four dimensions, becomes massive. There is no hope for this music – it’s impossible.” (Sickroom press release)
“Eerie, spacious, electronic and other odd sounds are carefully placed upon clouds of silence, drifting or floating in the air. Static, quiet yet effective spurts, analogue synth fragments, music concrete snips, all well crafted and selectively placed.” (Bruce Lee Gallanter, Downtown Music Gallery)
“Thick, analog-synth black-hole dronisms and metallic percussive clatter meld with assorted reeds—all swimming in the deep end of 1980’s industrial/improv sprawl. . . This is not noise as it is currently understood. Rather, Bleaks ravage with precise subtlety and a surgical moodiness that is frankly unsettling.” (Wodger press release)
“Composed of microscopic electronics, floating brass instrument tones and prepared/tabletop guitar events, Group — paradoxically — rocks. . . The music is quiet but not undemanding, careful listening yielding subtle vistas and engaging sonic environments. . . The pieces arise, unfold and then depart with a stately logic all their own. . . Group is a fine example of the kind of genre hybridisation that typifies early 21st century music. (Bruce Russell, The Wire)