ews

Another piece of the ongoing construct, this episode from the file of Eddie the Rat finds Pete Martin and friends in a most convivial mood. Because, in actuality, this stuff is surprisingly adrift. That's not a bad thing; I kinda like meandering now and again. And I really like where these pieces wander. Whenever I think an idea has been exhausted, I'm always pleasantly surprised by new insight.

This is the sort of abstract experimental album that might well appeal to a more mainstream crowd. There's enough "normality" (whatever that means) to keep the easily distracted from wigging out. And those of us who like to set our minds free from time to time will set sail on this tidal wave of thought. -Jon Worley/Aiding & Abetting

http://www.cent.com/abetting/237reviews.html#EDDIE

If you wiped the notes off of a musical score, and bent environmental and electronic sound snippets around the remaining dynamic notation so that length approximated beat and editing pace approximated rhythm, you would have. Lip Synching at Zero Gravity. All sounds were recorded or generated for this CD, yet it still sounds as random as an "Environmental" piece would. This is partly because mood shifts often happen mid-track, allowing song changes to pass unnoticed. What you do notice is a collision of feathered and jagged textures and a nonchalant insistence sure to grate on any ears that wish to tame the sounds. The effect is often more dynamic than Throbbing Gristle, but with a premium on process rather than than aesthetic, acceptability, and is infinitely more abrasive. But, if you relax, there is pleasure to be had in its disastrous flow. Mainly after 3, 5, or even 10 listens you rarely hear the same thing twice! These audio wanderings cover a lot of territory and define a vast aural playground with philosophical roots reaching back to Freud, process similarity to Cage, and tonal kinship to Musique Concrete. On the final track, for example, Pete Martin sings over a recording of eight of San Francisco Bay's wave organ pipes during high tide, which ironically produces the album's most traditionally musical sound. Other songs trace the contours of voice and feedback, and are squeamishly discordant.
-Megan Miller/West Coast Performer