“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)
“…these are musicians whose sense that conscious restraint can be enablng is coupled with a deep concern for sonic content… Their music is gradual and relatively stark. . . There’s an air of serious investigation taking place – close attention to elements combined, interacting and mutating. The sounds carry weight and are made to matter. It’s sound-led music, but the musicians are making the right choices, and from that Wane acquires its quiet intensity.” (Julian Cowley, The Wire)
“Pink Mountain improvise with impunity through anguished prog-metal, squalling jazz-rock, and the agitated, gnarled-to-hell dirges that pocked the weirder end of SST Records’ catalog. Pink Mountain’s self-titled CD is a bracing ordeal, portending an overwhelming live show.” (Dave Segal, The Stranger)
“…this pair of improvisations sound like AMM plugged into a stack of Marshall amps, a monstrous Metal/free jazz-inspired meltdown that goes beyond the usual industrialised churn by experimenting with different modes of expression. Gaping Maw spark off each other with all barrels blazing, constantly projecting and reflecting back ideas as the volume of their improvisation intensifies or subsides into a shrouded, echoing drone state.” (Edwin Pouncey, The Wire)