The two tracks on here have the feel of some of Bernhard Günter's music but made with a tingly sound palette closer to someone like Ryoji Ikeda. The first track is barely even there - the silence dominates the piece, as faint whistles fade in and out of the sparse mix. The results are extremely minimal - and not exactly easy to listen to....Parts of the second track remind me of how my ears feel after a loud rock concert - a dense but very muffled drone envelops everything, like a thick blanket around my head, while the faintest high-pitched whistles move in and out of audible range. The feeling is very claustrophobic, and the music is felt subliminally more than explicitly, since even at full volume the CD sounds can't overpower the ambient noises surrounding the listener. Though mostly a very quiet piece, the sustained tone held at the 9 minute mark has the same effect on the listener as a slightly friendly water torture might, as the tone builds and builds into a distant hum that seems to be burrowing it's way through the listener's ears.
- Carlos Pozo, Angbase, Issue 6, 2002
Two tracks of minimal tones and silences by Dion Workman (of Thela) and Rohan Thomas. They keep things asymmetrical, non-rhythmic and random, yet the pieces progress in deliberate, slow movements, one step at a time. The high pitched whistles change depending on your position in the room, the low rumblings fit perfectly in your ears, the delicate crackles and soft tones play gently around the soundfield... and for all this K has much in common with the microsound experiments of Ryoji Ikeda, Mika Vainio and others of that ilk...[T]hese are two interesting pieces that, at the very least, create new, minimal environments in your living space.
- Richard di Santo, Incursion.org, Issue 33, 5 August 2001