Reviews always confuse me, while I generally feel complimented by someone taking the time to listen thoroughly to a piece of music of mine and write about it, I'm always left wondering to what degree we "judge" art (in any medium for that matter). I suppose it's all personal interpretation of the material. I always fight with myself in regards to "artist intention vs listener interpetation (not appreciation)", and to which is more important... Is it more important for the listener to understand what the writer intended, ...or is it just as important that the listener use it as a unique experience of their own devices? (feel free to discuss, I've already had this conversation with dozens of you already). Regardless, I'll have to go pick up a copy of the magazine.

I think what peaks my interest the most is references like "industrial, guitar", "thorny distortion", "industrial velocities", "vicious scree of noise", and "distraught feedback"... which makes me wonder if he was even listening to my CD.

here it is: http://www.groovesmag.com/review_item.php?id=00000165

Stephen James Knight - Everyone Is Beautiful to Someone - Thought Bludgeon

On Everyone Is Beautiful to Someone, one finds a bleary slinking and flexing of shapes—cold, brash, acidic—alongside dub pulses and an fuzzy ambient shimmer gathering cloudily on the horizon. "As Promised" is a tonal, albeit industrial, guitar drone swathed in thorny distortion, while "Soil Mechanics" merges a plodding, grungy beat with an abrasive needling of percussion and a pall of synth flourishes. Knight deftly integrates colossal organic sound fields with industrial velocities, but his continual reliance on the darker regions of dub and new age sours the proceedings, and, worse, are reminiscent of territories tread by Vidna Obmana.

Elsewhere, as on "Delila," Knight is too easily content to dissolve his structures in a vicious scree of noise and call it a day. Pieces such as "Good Star" and "Glass Graft" begin as a smoldering swell, brimming with harmonic color and overtones, morph into distraught feedback undulations, and finally dissolve into a blue ambient sky. Knight demonstrates an acute ability to rear such robust, sensuous fluctuations of sound, but he hasn't endowed them with enough of a personal statement to compel the listener.