REVIEWS & PROFILES
"Each work of Ingram Marshall is an immersion in this particular world where the "noise" of the environment become real characters in a subtly developed landscape."
"This is deeply ambient and evocative music"
"Ingram Marshall distills a form of minimalism that eschews the austere formalism of the genre's early landmarks... instead focusing on using the barest of means to conjure music that is deep in atmosphere and emotional potency."
"Marshall and Bengston succeed in weaving a narrative of these two abandoned spaces through collaborative sound and photography... virtuosic to say the least."
"Some of Ingram Marshall's earliest recordings are of solo, semi-improvised performances, playing an Indonesian flute and singing falsetto to an accompaniment of prerecorded electronics and live tape delays. They are mesmerizing—thick, swelling, fragrant clouds of music."
"Like all of Marshall's output, the new recording shows him to be a composer of integrity who's never strayed from the highly personalized vision, regardless of the vagaries of public and critical opinion."
"Ingram is an assured master of the ambient soundscape. His work often resembles that of Brian Eno with whom he shares a strong structural underpinning for even the most ethereal works. But, unlike Eno, Marshall is more apt to make use of conventional 'classical' instrumentation, albeit in a heavily electronically treated form."
"Really good electroacoustic music can rearrange sounds in the world around us and transport us to new places. Marshall does this adeptly..."
Ingram Marshall on Gradual Requiem
Andy Summers, Ben Verdery Collaborate in Ingram Marshall Premiere
Interview by Daniel Varela
Ingram Marshall: Today's Music Tomorrow
Frank J. Oteri