Here are some various reviews or press clippings I've received.. These reviews are unedited from their original form and are reporduced with permission.
Christopher Sisk's debut live performance, last autumn, is finally released, and to much resounding joy. The selection of tracks in the 46 minute set ranges from abstract ambient washes, to cold, rigid illbient breaks; material from his days recording as Creature right through to some currently otherwise unreleased material. And whilst the show was performed at the AmbientLive festival last year, this is in no means relaxation music.
As with his White Powder Bubbles EP, Sisk takes us on an eerie, otherworldly journey through bleak, unknown territories that are sometimes so effective you'll find yourself looking over your shoulder in genuine paranoia. 'Float Down Here', the opening piece, borders on mournful in its dark synths, whilst former single 'Nothing To Do' is even more brooding than ever, with an extended ambient intro and some additional vocal samples. Most interesting, however, is that Christopher does not use typical alien sounds and strange noises to make the journey so disconcerting, it's that every sound you hear on the suite is something you'd hear in real life. The disembodied voices of 'Like Waiting' and 'White Powder Bubbles Part 1' and the distorted clangs present throughout give the sense of vague familiarity, which is what makes the record, and indeed Sisk's music overall, so terrifyingly real. The show does lighten up near the end, however, especially if you compare the rumbling, abstract ambient of track 2, 'My Glass Perception', which echoes Pan Sonic and Encomiast, with later tracks such as 'Stars Falling' and 'The Creature Experiment 2', both of which are laden with beautiful strings.
As the last moments of Cellar Dweller ricochet away into a reverb of nothingness, it takes a moment or two to adjust to the fact that you're not in a world where people you can't see stalk you through dark backstreets in endless smoky, industrial cities and realize that perhaps Christopher Sisk is a little too good at making you feel edgy, even when he's on stage.
- Second Thought Records
The AL2K3 set is an auditory tour of a huge, hallucinatory maze eminating from the brain of Sisk.
From classic ambient to dark pulsing this album incorporates the best elements of the past with a structure that is very much its own. You are slowly drawn through large spaces surrounded by floating sound images and metaphors, dim voices, and somewhere below or behind or inside it all this veiled threat that comes and goes. Occasionally what you're hearing simply sits there and slowly morphs into something new but most of the time the listener is moving carefully through Sisk's soundscapes. Often this motion seems to end but just as you become settled in one of these spaces you realize you're not there any more and everything is different again but you can't remember when it changed. As this epic movement continues you pass through particular spaces that stand slightly apart like a beautiful side room. As you float along you realize you're passing through a space you've already visited but by a different path that opens onto a a vista of otherworldly beauty that wasn't revealed before.
And when finally you've reached the end you are left with the question if it's ended or not, if you have left that space or if you're still there. This kind of seamless flow is rare these days. It's a wonderful, slow, theme park ride and you're taller than "this high."
- The Institute for Psychic Reform
It is july 25, 2003. The first night of a two-night festival in Denver, Colorado. One of the performing artists during this night is Sisk. And luckily, he records his performance. Now, we can listen to over 45 minutes of beautiful music, recorded live at the AmbientLive festival.
13 tracks of beautiful ambient are presented in this digital download release. Very atmospheric, with lots of beautiful sounds and textures. Occasionally, tribal rhythms add something extra to the music, such as in Temp 1 (The Calm Life).
Even though the set is divided into 13 tracks, it would be better to view it as one big soundscape. And the longer you listen to it, the more you wish you'd been there to actually experience this soundscape on the spot.
This must've been an impressive performance, judging from the fact that even now, without the added atmosphere of the AmbientLive festival, the music on this release is quite impressive. I am definately enjoying this music, and I'm sure a lot of others will also enjoy it. If you like ambient music than you will love this release.
the underground music scene is an amazing place. every now and again you find an entertainment outpost that fires your creative soul and reminds you that art can exist without the paycheck. i've been following the work of christopher sisk for a while - even released his 'white powder bubbles' ep before my record label went on indefinite hiatus. that record was a transition record away from moodier creature output - but i wondered what happened to that creature sound.
now i know. apparently, during chris's formative years a fellow under the pseudonym 'smpl' worked with chris on developing the creature sound. an unspoken and unmentioned partner, that gritty dub flavor strangely absent in the new 'sisk' material manifests itself perfectly in 'smpl' - picking up where the two left off. while i miss creature, i wholeheartedly welcome 'smpl' to the mix.
'mprv' is a collection of one-offs packaged as a five track ep. this collection is almost a yin-yang approach to the elements once contributed to the 'creature' project. the opening and closing tracks are synth/piano pieces with cold overtones. both 'sunrise in tokyo' and 'sunset in tokyo' are nothing short of honest and gorgeous. the misty and the eerie come together in a contemplative throwback to early ambient soundscape work. moving our way inward, 'mundane proceedings' and 'less you blink' are moodier, providing a stark contrast to the adjacent tracks. 'less you blink' is like aural horror that you can't help love. finally, the middle track is the once lost smpl remix of 'white powder bubbles'. while it didn't fit the original ep, it is a welcome piece of history of the collaboration that once was and may once again be.
another short piece from c367 records from todd & tucker - a combination of christopher sisk (of creature and sisk fame) and john maplethorpe. together, they delve into a more downtempo vibe with a illbient touch - just enough to keep you on edge, but not enough to drive you away. 'personal touch' acts as a sampler of what is to come from their upcoming full-length 'bullet train to zeroville'.
i'm not sure what to make of todd & tucker with this release. it is hard to pry myself away from wanting creature or sisk to show their face, and yet the comparisons are there. 'eyes completely scatter' is an ambient wash of sound that brings back memories of creature's more ambient work. 'i hold you' is haunting, but melodic - which was a bit of a twist. the soothing hiss and the guitar piece are gorgeous with the breakbeat.
the next few tracks really depart from previous work. 'personal swell' becomes a jungle/idm track that carries over beautifully from 'i hold you'. this track is definitely something new from todd & tucker - probably their first honest work together. 'under them' is a more lighthearted interlude.
my favorite track is 'angular.mental.perfection' - haunting with killer rhythm and layering. this track could go dub or hip-hop depending on your mood. either way, it kills. 'bullet-train (reprise)' perhaps gives us a peek to their upcoming. if this is a throwaway from their upcoming album, then i am sufficiently curious to see what is in store for todd & tucker in the future.