Resonance Sound Art Marathon: Understanding the Wavelength (The Prairie Pavilion) (Walker Art Center)

Pratfalls Podcast Interview (2016)


   3M News

   Pioneer Press

   East Side Review

Dowsing at Creative City Discovery Day (Fox News)

Talking Plant, World Listening Day (MNDaily)

The Phoenix and the Fish (MPR)

No Fault, Fixer Upper (The New York Times)

Marimba Benches (Fox News)


   New York Music Daily


   Star Tribune

   Chain D.L.K.

   Monsieur Delire


   Classical Modern Music 

   Midwest Record




   Touching Extremes

   Musicweb International

   Attn: Magazine

P.P.S. (DMA Thesis of Heike Burghart Rice)


“…bleak, tectonically and ineluctably shifting triptych…the high point of the composer’s career so far...Blackburn is sort of the shadow image of Brian Eno – his enveloping, often darkly majestic electroacoustic soundscapes tend to whoosh and resonate in the lows, sometimes with provocative samples…” — delarue, New York Music Daily, October 9, 2017

“…typified by an oneiric temperament which belies the painstaking assemblage of constituents that characterizes them ... The result is comparable to a protracted hallucination, distinguishable traces emerging from the indefinite awareness of a somewhat mystical inscrutability." — Massimo Ricci, Touching Extremes

“…impressive work that blurs the lines between composition, sampling, ambiance, and performance.” — Steve Holtje, The Big Takeover

“apocalyptic collisions of material with intimate vocal refrains and meticulously organized instrumental interludes." — Philip Clark, The Wire

"[A] wild journey through the dreamscape of a hyperimaginative chorister... All of this music confirms Blackburn as a startlingly original voice, one that encompasses all periods of music history in a uniquely engaging vision." — Marc Medwin, Signal to Noise

“[The] trippy, occasionally apocalyptic [Ghostly Psalms] knocks reality sideways. Intimate vocal soliloquies wrestle free from walls of sustained choral and string drones that morph and change with the (anti)logic of a dream’s unruly narrative.” — Philip Clark, Gramophone

“…a phantasmagoric nightmare-scape to combine in a sonically diverse and transportive record.” — Doyle Armbrust, Best Opera & Classical Recordings 2012, Time Out Chicago

“…a pure exercise in phonographic psychogeography” — Modulate New Sounds

“Blackburn creates aural stories though the source of their content and meaning are left open to the imagination and as such Music of Shadows needs to be experienced to appreciate its unique beauty. — Karl Ackerman, AllAbout Jazz

“Steampunk meets classical in an experimental explosion for the ears on this outing. And now you have a better understanding of what "Metal Machine Music" could have been if it was more than Lou Reed telling RCA to bugger off. — Midwest Record

“This is a disc to take you literally “away.” If you’re a fan of ambient (Eno, Roach, Köner, Cluster) with heft, this is a must.” — Mark Keresman, Icon Magazine

“…floated like clouds, to beautiful yet slightly spooky effect… Blackburn is one of the best composers exploring this style.” — Big Takeover

“Philip Blackburn gives us a ravishingly sonic modern adventure that is both highly inventive and thoroughgoingly striking in its sound design. These are works to get inside of, to experience transformatively, to change as the music itself changes. It is something not to be missed.” — Classical Modern Music

"The strange and atmospheric, silvery dark musics and moods of Philip Blackburn manage to intrigue and entrance." – Critic-at-Large

“Blackburn’s edgy, maximum-volume writing.”[AIR: Air, Canary, New Ground] — Cleveland Classical