Shaun Blezard/Clutter

‘Clutter is at once a jumble of noise and an entirely thought out soundscape. Like a Rubix cube it slowly comes together for the more patient among us. Engage from the start to solve it and stick with it through thick and thin’ – Liverpool Daily Post

‘Clutter (AKA Shaun Blezard) ups the ante with his woozy, hypnotic dreamscapes. This one’s got Must See written all the way through it.’ – Sevenstreets

‘A kind of dark, swirling chamber kosmiche/ambient tangent, Clutter has created something organic & cerebral from contributed noises & sounds which he has re-arranged & processed to create something quite wonderful. I don’t particularly want to rattle on too much about this as the music is of a rich, fascinating quality, ‘Live at the Bombed Out Church‘ takes you right off on a dream-like astral plain. Does this church exist? If so, I want to go.’ 5/5 – Norman Records

‘the music on this EP (Yellow Light Discarded) reminds me more of Max Richters most out there experiments or Nurse With Wound at their most ethereal. Field recordings, strings and dubbed out noises all crop up filling this 3” CD with more ideas than some full length albums. A bold, innovative release that leaves me hungry for more.’ – Was Ist Das?

“I like Clutter. His music is the exact opposite of what his name implies. He does indeed seem to throw sounds around but nothing ever seems superfluous and he happily varies sound, mood, texture and tone throughout the runtime which is something that many people in this odd little musical universe of ours are often loathe to do. – Wonderful Wooden Reasons

‘The press kit posits an overlap between electro-acoustic improvisation, ambient electronics, and musique concrète, but that’s overstating it. This music is more simple and pure than all that, and at its best, we completely forget the tools and genres at work.‘ – Cyclic Defrost

Some Some Unicorn

‘Unicornucopia arrives more as some dream-like and flighty meditative listening experience. Likely to appeal to those looking for eclectic and raw investigational journeying through the tonal and atonal, the whole album hangs together on this premise with occasional ruminations on society and art. Deep, thought-provoking music requiring a very open mind.’ – Jazz Journal

‘this is one hot, noisy, musical mess that the late Sun Ra would have loved.’ – Electronic Sound

‘this beautiful record is a total delight, injecting new life into a genre which has lately seemed in danger of becoming stultified and crippled by its own history and baggage. Mr Blezard, and all the musicians named on this record, can feel proud of this achievement.’ – The Sound Projector

‘A kind of jazz that evidently is influenced by ambient textures and drones. To use another metaphor, the music is like a tapestry full of nuances and details, somehow making up a coherent whole. Fascinating stuff!’ – Vital Weekly

‘Shaun Blezard’s uber-collective Some Some Unicorn are to follow up their dreamlike drone debut, Some Some Unicorn & The Golden Periphery, with Unicornucopia, a far jazzier set that revels in passages of dexterous linguistic lobotomising and rousing improvisation’ – Jazzwise

‘They are just as dizzyingly exhilarating as they sound. At times their sound is infuriatingly indescribable, which just makes one focus further on the music. This allows one to appreciate how stunningly intricate and diverse the pieces are’……. ‘It’s so incredibly creative and compelling. Not sounds to rock out to, but definitely one for music-lovers who appreciate the eclectic, and we do.’ – Other Worlds Festival

‘A case of music-making catching up with the way we live day to day in an electronic age perhaps’ – Merlbank

‘The sounds oscillate (sometimes literally) between noise, tuneful fragments, delicate melodies, questing ambience, social commentary, and so on but the whole thing hangs together as a single and coherent aural journey, practically cinematic, a tribute to large-scale creativity and the editing skills of Mr Blezard.’ – A Jazz Noise

‘First things first, this isn’t an album in the conventional sense. Throw it on at a party and you’ll not get people nodding along.’ – Cumbria Live

Orfeo 5

‘Occasionally the core trio —abetted by Shaun Blezard’s insightful electronics manipulations—venture into hardboiled sojourns via stinging or raucous soundscapes and tumultuous solo spots… No doubt, this is not background music, and even by experimental paradigms it may be considered off the charts; although these idiosyncratic components generate a source of interest on a per-track basis.’ – All About Jazz

‘Orfeo 5 have created an album that has haunted my seedee player this last month. You can hear their influences (especially that of Parker) but not in any way that’s distracting or demeaning to either party. Jafrate’s saxophone alternates between atonality and lyricism with sublime ease and Blezard’s noises can be both unobtrusive and leading depending on the particular compositions…..Both players interlink almost seamlessly…..a mighty fine melding of breath, circuitry and oodles of ideas. Recommended.’ – Wonderful Wooden Reasons

‘saxophones with live electronics in winning combinations, restrained yet packed with information; they explore their own interior landscapes as much as they limn the craggy geography of West Yorkshire in sound.’ – The Sound Projector

Hugs Bison

‘They are clearly in total command of their chosen technology and know how best to use it for musical purposes. This live album, Mercès Barcelona – Live at 4’33” Café, is a gem of a recording as well as an excellent advertisement for just what can be done, musically, with today’s very portable equipment.’ – Radio Free Midwich

‘Like walking around a sonic museum and pushing all the buttons on each display before walking away – the prominent looped spoken word samples eventually fade into the distance as you move onto the next exhibit. Before you know it, you’ve been on a journey through time or around the globe, without ever leaving the room.’ – Cumbria Live

‘This is a dark, shady and crestfallen critter. Over its runtime of 21 minutes, the composition lightens up and reaches higher levels, but seriously, one needs a figurative magnifying glass to experience the steady but slow and prolonged metamorphosis. Done entirely with touch technology, related apps and software libraries, Flying In V Formation nevertheless sounds entirely organic.’ – Ambient Exotica

‘I have been listening to the seasons of Vivaldi all day, and I must say that this debut record of Hugs Bison convinced me once again that there is hope for independent composers and artists. This record seems like the perfect follow up, like a Vivaldi of the future.’ – Yeah I Know It Sucks

Good Noise Bad Noise

‘Music that should be played on the radio……a stunning, stunning piece of work’ – The Download Show

‘The music is dynamic and has an easy momentum and flow that removes this from the noise for noise sake ghetto into one that is far, far more interesting’ – Wonderful Wooden Reasons

‘Good Noise Bad Noise will further explore desolate wintry soundscapes with Worrying Sectarian Tramp Trend. The mood of this piece is wonderfully bleak. While it’s not big on dynamics, throwing subtle changes in every so often, the imagery and sound of it is fantastic’ – Smooth Assailing

‘GNBN use loops and electroacoustic lap top mess which in turn degenerates or generates into Conradesq violin drone which in making categorization difficult could seem to be a protogenesis – but as this is “post” it cant – and so succeeds in making the point either knowingly or not – that there is no point’ – Vital Weekly

‘The style is Ambient but with a noisy edge. The expressions are abstract and dreamlike in atmospheres with found sounds moving backward and forward meanwhile samples of acoustic instruments such as screeching violins creates some high frequency noises. Final track titled “Dial Lone Owl” is my favorite moments with distant sounds of field recordings buried in a soup of abstract noises. The result is like a strange dream’ – Vital Weekly

‘This 3” CD brings together five live tracks which are all effective, swirling, multi-faceted pieces with violin and sax textures meeting in a head swimming manner with laptop elements, harmonic elements surface against juddering electronics, textures and sound elements shift and mix in an vibrate and noisy sonic soup. The five tracks were recorded of all places in a Primary school – Barrow Island Primary school to be precise, quite whether any students were present at the performance is unclear but it’s certainly a lot more exiting and edgy then anything that ever appeared at my primary school. All in all five dense, entertaining and noisy tracks that will appeal to fans of noise and improve, though it’s a pity there’s no live filmed footage with the disk as it would have been interesting to see the visual they presented with this and whether or nor any pupils were present at the performance.’ – Judas Kiss