Press

Exceptionally exciting.

— Barry Michael Okun, Go Out! The List

[Killdeer is] a really fascinating album…something that will absorb you and create a theatrical experience in your mind… An utterly unique intersection of jazz, electronic, spoken word, and chamber music…

— Jeremy Shatan, AnEarful

The journey Guy Barash takes us on with his new album, Killdeer, is remarkable and dizzying at times… Spoken word and intricate sonic atmospheres collide in surprising ways, imbuing Killdeer with an emotional heft with its own gravity.

— Brad Rose, Foxy Digitalis 

Fascinating and disturbing… Killdeer meditates on death, and on the demons that would have us wish it on someone else. The matter is dark, the music affecting.

— Max Christie, The Whole Note

Mr. Barash is back with a new disc called Killdeer and… [it] has a quietly disorienting feeling… It takes time to grasp what is going on here. We have to settle in while the mood casts its spell and the words make us consider what life is, what we are really made of.

— Bruce Lee Gallanter, Downtown Music Gallery

[Guy Barash’s “Talkback IV”] is a taut and frenetic piece where the piano is filtered through electronic processing, creating a truly hallucinogenic affect.

— Robert Carl, Fanfare Magazine

[Guy Barash’s] dense-textured, picturesque music…

— Allan Kozinn, The Wall Street Journal

[Guy Barash’s] “Talkback I” for clarinet and computer is at once divine, serene and haunting.

— Neil Chiragdin, The Queens Chronicle

A fascinating composer…

— Kurt Gottschalk, Time Out New York

Guy Barash‘s Wrong Ocean, a kinetic, ten-movement flurry of wild precision, offered another extreme while exhibiting an analogous standard of discipline and maturity.

— Christian Kriegeskotte, I Care If You Listen

… the quartet on its own expanded on traditional string sounds, often creating an evocatively rubber smear, in the Israeli composer Guy Barash’s String Quartet No. 1 “Wrong Ocean” (2012), a rhythmically vital evocation of rough waves and tidal forces.

— Allan Kozinn, The Wall Street Journal

New York-based composer Guy Barash is a risk-taker, willing to pull ideas from all disciplines as he jumps into the unknown.

— Jason Charney, I Care If You Listen

All of the music on Facts About Water skitters with tension, intricate musical phrasing, and a deep understanding and respect for Nick Flynn’s text… [T]he individual pieces are excellently performed and well crafted, and merit repeated listening.

— Jason Charney, I Care If You Listen

… devotees of uncompromising new music will find [Facts About Water] an absorbing listen.

— Greg Edwards, Classical-Modern Music Review

… a love of the adventurous and avant garde. … For the adventurous listener looking for something REALLY new.

— George W. Harris, Jazz Weekly

[Guy Barash] leads the listener through imagined landscapes, constructed of real-world artifacts and memories, altered and transformed in the narrative to expose significance not even ordinarily latent in them, but accessible only in the great mash-up of sound objects.

— Seth Gilman, Examiner

Barash’s “Talkback II”, the second of a series of works he’d written for acoustic instrument and electronics was the kickoff of this set and had Barash himself handling the laptop throughout. Another fascinating example of the dynamics of electro-acoustic with effective use of reverb, loops, and intense tremolo and staccato.

— Chris McGovern, The Glass 

A compelling composer/sound artist … already making some serious contributions to the New York new music scene.

— Cornelius Dufallo, Urban Modes