For the Max de Wardener Group:

‘It was ... Max de Wardener who made the night one to remember. An English composer and multi-instrumentalist, de Wardener and his group were ... understated, unpredictable and engaging. With de Wardener on bass and various other instruments (most noticeably Partch- inspired suspended tuned glass bowls), this group comprised drums, flute, saxophone, tuba and electronics. Their set sauntered seductively through progressive, jazzy freakouts to helplessly charming instrumental ambience, with clicks, tics and meandering drones spat out in beguilingly complex arrangements. Evoking Takemitsu, microsound improvisors and post-rock, the group is not without its influences, but strong material and musicianship helped create a sound very much the musicians’ own. While Tom Skinner was particularly commanding, de Wardener and his whole troupe put on a wonderful performance.’ (The Classical Source)

For the recording project Stops:

‘Many a producer has been said to have pulled out all the stops in production but the metaphor rarely hits home.’ (The Wire)

Really gorgeous recordings for a huge church organ combined with clinky, cut-up electronic rhythms. Nary a cliche in sight.’ (Matmos)

For the recording project Where I Am Today:

‘A relatively short album carries an overwhelming amount of seriously beautiful music...words barely do justice to how essential this album is.’ (Boomkat)

‘Where I Am Today functions as a celebration of the intimate moments that create a life. What separates de Wardener from the host of musicians making delicate electro-acoustic music today is that he progresses out of that childhood with a sound that is versatile and unique.’ (Stylus Magazine)

‘Despite the clearcut experimental agenda, all four tracks ... convey immensely strong emotions with deepest possible impact.’ (Tigersushi)