in no way is he carrying the tradition, he appears rather as an outsider who had to fight his way onto the musical arena with the power of the quality of his music...Parmerud creates some of the best electroacoustic music there is to be found today...

There’s an open-ended quality to the quiet brooding sounds here that is quite attractive. — The Sound Projector, UK

it’s possibly the most creative and engaging release I’ve come across by him to date.

Audion UK

About Dark noise/Bruit noire

Fascinating. — The Sound Projector, UK

A potentially bewildering multiplicity of elements is elevated beyond the cacophony of Babel to reveal shared needs, aspirations and desires that underlie wide-ranging cultural practices and preferences. —

The Wire, UK

About Grains of voices

Auch hier eine sehr persönliche Herangehensweise an experimentelle Sound Collage, gewagt und eingehendere Entdeckung wert. — Nordische Musik, Germany

It’s not just acoustic design skills that make Parmerud’s work compelling — it’s also his sophisticated exploration of unbound interiority. — The Wire, UK

About Nécropolis-City of the dead

Sometimes proper composers make a ninny of themselves when they try and get “with it”, but Åke Parmerud has nothing to be ashamed of here. — The Sound Projector, UK

En tout état de cause, de la musique superbement faite et pensée. — Revue & Corrigée, France

About Growl

une musique singulière, inventive et ouvrant des espaces à des introspections futures. — JazzoSphère, France

About Strings and shadows