Press For Sam Gillies:

“Sam Gillies’ ‘The Aura Implicit’ was a stimulating contrast. Electronic static was joined by lively instrumental sounds which ricocheted between speakers to create a busy soundscape.”

–     Rosalind Appleby, The West Australian (Decibel presents: WA Composers Project)

“It’s an ambitious composition, and at any rate Gillies has delivered a beautiful, immersive work forming another quality chapter in the his personal catalogue”

–     Lyndon Blue, Cool Perth Nights (Decibel presents: WA Composers Project)

"Sam Gillies combines interviews, field recordings and computerized manipulations to form a sombre soundscape of destruction and its aftermath.  As the first work of a series, it’s an amazing launch."

–     Richard Allen, A Closer Listen (Warning Tones)

"Warning Tones is an intensely frightening album, and the reasons for this trifold step from a mere premonition over a clearer presumption to a demonic pandemonium lead to the terrific chicanery of Sam Gillies who astutely plays with the fear of the listener rather than moulding the scary thoughts into a manifestation of sounds."

–     Björn Werkmann, AmbientExotica (Warning Tones LP)

"Sam Gillies' ‘People Are Afraid to Merge on the Highway’ (whilst less delicate than his Cycle~ 440 work) is astonishing – a creeping, thudding swirl of clanky keys, clarinet, double bass; with a subtle but unnerving vocal narrative."

–     Danielle Marsland (Western Schism Compilation LP)

"The award for best composition went to Samuel Gillies for Music of Transitions which, in contrast to Cage's preference for listening to sounds as isolated entities, explored the properties of music as it moved between sounds. The performers followed a graphic score and their contributions were looped and played through opposing speakers. The darker timbres of bass clarinet, viola and bass flute muttered conversationally while tom-tom drums thudded and the manipulated electronic sounds added an industrial and sometimes bird-like quality to the soundscape."

–     Rosalind Appleby, The West Australian (Decibel presents: Uncaged)

"There’s beauty in this noise: an elegant, contrary beauty, the type often noticed by those who cherish the discarded and overlooked.  To love what others consider unlovable is a rare gift; to present it to others in such a way as to gain their appreciation is even rarer, and that’s exactly what the artist manages to accomplish here."

–     Richard Allen, A Closer Listen (Music For Computers EP)

"Gillies produces a wide range of sounds and feels that occasionally break into brilliance ... There’s a language at play here that is distant and hard to unpick, but offers strangely satisfying rewards if you’re persistent about it, like thumbing through a novel written in Cyrillic."

–     Alex Griffin, Life Is Noise (Music For Computers EP)

“Gillies established a comparatively gentle tone with his laptop set: a thick layering of growling purrs peppered with sweeping beeps and dial tones, while moving in and out of the mix, almost subliminal, is a pretty, melancholic melodic line.”

–      Gail Priest, Realtime Magazine (NoizeMaschin!! #3)

“In Gillies’ piece, the audio was fairly heavily doctored through Max/MSP – meaning the focus was on the resultant texture, which was interesting and cast the visuals in a somewhat surreal light.”

–      Henry Anderson, Earwax New Music, Issue 3 (Club Zho 96)

“…snatching [acoustic] sounds and transforming them into soft-edged pulsing phrases of saturated digital texture. The video depicts shifting monochrome washes … an interesting approach that … allows music and visuals to co-exist in a unified yet differentiated atmosphere.”

–      Gail Priest, Realtime Magazine (Breaking Out – Young Composers Concert)

"Mid frequencies speedily advancing on you from the unknown abyss of darkness. Low frequencies immersing the space in a tidal wave that then seems to fade momentarily while remaining at a constant drone. Higher frequencies begin to emerge, and the piece evolves with every movement. The ambience is frightening, but in an enigmatically serene manner."

      Ryan Thomas, Earwax Issue 2 (Instillation City - Glowing Embers)

Press For Cycle~ 440:

"Gillies is a master of restraint (or so it seems), delicately adding staticky beds and glitchy half-beats wrestled from the live sampled piano, or sharpening the jingle-jangle of tones. Penkin surfs the waves—both those emanating from his own playing in the moment and the delayed and dirtied version of himself. His harmonic predilections are sweet and melancholic, reminiscent of surging film scoring."

     Gail Priest, Realtime Magazine (Ruptures & Raptures: Cycle~ 440 and Tangents)

"Heavily-pedalled sensitivity piano was punctuated by severe contrasts of broad sonic strokes from the computer ... Cycle~440’s overall ambient gift of semi-improvised sound was unique, interesting and well received."

    Paul Nolan, Artshub (Tangents and Cycle~ 440)

"The compositions are confident, but fragile too. Exactly how Cycle~ 440 have managed to make a record both so finely balanced and yet teetering on the edge of self-destruction, we may never know."

      Lyndon Blue, The Thousands (Perth) (The Cartography of Shifting Planes LP)

"The planes are shifting indeed; the harsh static bursts are saved for the album’s direct center, where they can best be appreciated as the groundwork has already been laid ... Then in kind contrast, the abrasive sounds recede, content to bubble in the background while the piano plays a lost lament.  Then the instruments return to home base, altered by their experience, but intact.  The final track is split into two pieces, intimating that the listener is also invited to walk in one direction or another, toward the familiar or the unknown."

      Richard Allen, A Closer Listen (The Cartography of Shifting Planes LP)

“The real achievement of ‘The Geography of Collapsing Structures’ is its ability to be consistently engaging, while being simultaneously challenging, something that, much as I love it, can’t be said about every release in the genre.”

–      Jack Midalia, Life Is Noise (The Geography of Collapsing Structures LP)

“Gillies’ manipulations moved between the delicate and the aggressive providing an interplay of dominance and submission. The real moments of beauty came when the piano part was finally able to break free from its accompaniment and manage a few beautifully sparse notes in the upper register before being once again buried in a wash of noise.”

–      Henry Andersen, Earwax New Music Magazine, Club Zho 96

“‘Rainbow Electronics’ [track 5 from ‘TGOCS’] has a modern classical feel about it mixed with sound-wave decay that wash in and out and compliments the almost percussive piano. It is probably the standout track on the LP as it merges the two styles perfectly to form one style.”

–      Gavin Catling, Twiceremembered Twiceremoved (The Geography of Collapsing Structures LP)