Reviews

The music of Taylor and Meixner collects memories of a by now unreachable past, putting them right into the wrinkles of 

minds that got raped by too many easy listening tortures. Kenneth Kirschner’s piano contributes to a general state of corporeal abandon in Kirschner Wind, whose sparse chords bathing in a suburban atmosphere are a delicate threat to the excess of solitude. Nothing Falls Into Place is all subsonic turbulence and nocturnal insight amidst industrial loops and noises. The Sound of X 

features the softly bewailing voice of Jonathan Grieve, between rumbling shadows and aquatic pressures in what’s maybe the only track containing slight references to Meixner’s past work with Contrastate. Yet, this is not that kind 

of psychedelia, rather an engrossing, 

even disturbing concoction of skilled composition and unique electro-acoustic visions. Highly recommended.

Massimo Ricci at Touching Extremes


There are bursts of tonality, and even fragments of melody. These arrive most frequently in the track Kirschner Wind, 

where gathering heads of steamy static evaporate suddenly into startled piano 

notes. Throughout… [T]here’s some involving play between the colder regions of the white noise spectrum and warmer tonalities, such as those created by filtered and processed piano. The pair play with dualities elsewhere, especially in their use of the familiar pattern of tension and release. The presence of 

found sound is more subtle. This is a headphone record, not only because 

of the carefully weighted mix, but for 

easy to miss details like some distant field-recorded harmonica. Taylor and Meixner don’t use these elements to create juxtapositions or illusory shifts 

of space and place but rather to import atmospheres — such as the rain recording on Kirschner Wind — to 

effect slight but distinct adjustments 

of ambience.

Sam Davies in The Wire