"A multitude of sounds lie brooding beneath the ashes of “Cities and Eyes”."

Full text » - Alexandre Pierrepont, critic

"Sembrerebbe che la musica al femminile si presenti gentile e delicata, ed invece no, il duo The Skein, composto dalla vocalista inglese Jessica Constable e dall´americana Andrea Parkins alla fisarmonica elettrica e strumentazioni elettroniche, fa subito pulizia con questo pregiudizio. La loro musica si orienta verso una ricerca estrema, che può sembrare quasi scostante, aggressiva, [...]"

Full text » - Vittorio LoConte, Musicboom.it

"I was surprised by the wealth of evocative and expressive sounds that this fine duo pulls off. Jessica seems to be singing in some strange invented language (when she is not singing in English) while Andrea adds layers of kaleidoscopic electronic sounds that are forever in flux."

Full text » - Bruce Gallanter, Downtown Music Gallery

"Non esiste coerenza nel sound-design di Lisle Ellis. “Sucker Punch Requiem” pressa in un format varie estetiche dell’emisfero nu-contemporanea: fermezze avant-jazz, assennati sballottamenti elettro-beat, loop molestati dai fiati e da vocalizzi oltremodo destrutturati (di routine per signorine-nichiliste quali Pamela Z), organismi acustici rianimati da parentesi minimal-ambient. Dj Spooky pacificato in riunione con la crm de la [...]"

Full text » - Sergio Eletto, Recensioni

"La ricerca dell´espressione artistica nel contrabbassista Lisle Ellis (su questo CD anche agli effetti elettronici)) è passata di recente attraverso la pittura, ed è così che spunta fuoti un omaggio, musicale, beninteso, a Jean-Michel Basquiat, artista figurativo travolto dalle droghe e da quello che girava intorno alla vita degli artisti per portarli ad un magggiore [...]"

Full text » - Cosimo Parisi, Musicboom

"Sucker punch Requiem sounds like an achievement, something important."

Full text » - Noel Tachet, Improjazz France

"Minamo is a perfect thing, everything seems possible"

Full text » - Noel Tachet, Improjazz France

"For those listeners who enjoy free, truly spontaneous improvisation and the combination of violin and piano, Minamo with violinist Carla Kihlstedt and pianist Satoko Fujii cannot be recommended highly enough. Minamo is a triumph"

Full text » - Budd Kopman, All About Jazz

"The playing is absolutely beautiful, and oddly enough it's beautiful in that classical way in which you might separate an individual's performance from the music that he or she is playing. There are moments here, as in the spontaneous melody of "One Hundred and Sixty Billion Spray," that are executed so well it wouldn't matter what the notes are (if such a distinction could be made, and it often is). But the two are actually making this up from the material of their interaction. Fujii is especially adept at elaborating form, sometimes creating a complex dialogue between left and right hands that follows, frames and amplifies Kihlstedt's lines. That expressive richness here (the Bartok/ Prokofiev lineage) springs from Kihlstedt's profound sound and attack, as rich and dynamic as any violinist who has entered the improvising community."

Full text » - Stuart Broomer, Point of Departure

"I love your "GUSTAVO AGUILAR: Unsettled On An Old Sense Of Place" CD so much I'm going to feature it on the Front Page of CD Baby for a few days. We're REALLY picky about what goes on the front page. We get about 150 new albums a day. . . . and yours is one of the best I've ever heard."

Full text » - CD Baby

"Gustavo Aguilar is a brilliant percussionist who grew up in Brownsville, where Texas meets Mexico. He now lives in New York . . . and has located himself in music at a point where composition and improvisation get into one another in extraordinary ways. . . . Gustavo Aguilar is himself a defiantly unorthodox musician - the kind we need - and this is a wonderful CD"

Full text » - Julian Cowley, The Wire

"Sound on survival, dont Philippe Elhem a chroniqué un précédent disque axé sur le blues (Américan roadwork cimp 312 in Improjazz 116) a regroupé sur ce cd trois morceaux de neuf à dix-huit minutes enregistrés à Amherst et un quatrième de quarante minutes, joué à Philadelphie. Par sa conception orientée du temps et des rôles [...]"

Full text » - Noel Tachet, Improjazz France

"Non ci sono pretese di neutralità in queste improvvisazioni tratte da due concerti del trio Sound On Survival: il contrabbasso di Lisle Ellis, la batteria di Peter Valsamis e il sax alto di Marco Eneidi prendono subito possesso dello spazio acustico e non resta altro che seguirli o spegnere, non ci sono alternative. Il dialogo dei [...]"

Full text » - Cosimo Parisi, Musicboom

"Der freieste, abstrakteste verinnerlichte Ausdruck intimer, wilder, Energiegeladener Musik ist vor allem im Jazz zu finden, mal von Dixieland und anderen Festgefahrenheiten abgesehen. Da werden Instrumente zu Geliebten und die intensive Auseinandersetzung mit kraftvoller, eigenwilliger Komposition und lyrischer bis expressiver Improvisation kennt keine Grenzen. Lisle Ellis streichelt und zupft den akustischen Bass, Marco Eneidi bläst das [...]"

Full text » - Volkmar Mantei, Ragazzi

"Bonnie Wright's new label, Henceforth Records is off to a good start with a couple of thrilling releases...What's interesting here is all three players are truly interested in the texture of the sounds. How will the sounds appear as Gottschalk scrapes a mean pattern across her violin, while accordionist Völker weaves waves of chaotic noise, all the while Jacquemyn pounds his bass into submission with brutal force."

Full text » - Tom Sekowski, Gaz-eta

"...there is joy in the way that you do hear that cosmic thread when you open yourself up to it. An extraordinary and quite challenging trio, well worth your discriminating listening abilities"

Full text » - Bruce Gallanter, Downtown Music Gallery

"Baggerboot (Henceforth) is energized with palpable passion, with the three improvisers - Belgian bassist Peter Jacquemyn participates along with Gottschalk and Völker - liberated by free jazz passion. The trio improvises blatantly in a manner that mixes tension-release and virtuosity."

Full text » - Ken Waxman, One Final Note