Electric Currents, reviewed by Owen Maxwell in Ottawa Life Magazine, 2 June 2021:
“In an instrumental journey, Sundar Subramanian knows how to keep you focused and along for the ride. “Daydream” never loses momentum, instead it finds an intriguing change of pace by breaking into the exact tones we think of while resting on a sunny day on the grass. And the way you’re drifted through these is a truly warm and inviting experience. The deeper notes on “Processional” give the album a great low-end, that plays more to a break-like quality, but in its last minute it really finds a sense of direction too. The cold and blown out feelings on “December” shift into an electronic haze, with Subramanian’s styling definitely going into their own experimentation but still maintaining an emotional footing. The sense of quiet on “Breeze” however, is one of the most tense listens on the entire record, as the call and response of the guitar and feedback play gloriously against each other.”
Interview by Trevor Babb for Contemporary Guitar Blog, 29 Jan 2021:
Live performance review by Curtis Perry for Musical Toronto, 25 Sept 2014:
“This brings us to Sundar Subramanian closing out the evening with a focus on the electric guitar, but of course incorporating preparations, extended performance techniques, and electronic signal processing.
Subramanian kicked things off with a new piece. The squeaking emanating from MIDI foot controller he used was honestly a bit distracting at first, but I was sitting in the first row and it become less of an issue later on. Besides Max, Subramanian various used art eraser, a clarinet reed, a letter opener, a coin, a ruler, and a file to coax new sounds from the instrument. Besides the techniques themselves, the unprocessed material in the first piece was itself very tonal in nature, drawing from a typical blues/ rock vocabulary. This being said, it was interesting to hear this vocabulary subjected to the myriad electronic and prepared twists Subramanian introduced.
The second piece focused on prepared strings. “This is a programmatic piece – there’s a narrative to it,” Subramanian explained. Phrases were stark, and Subramanian used silence very effectively between them. The last piece, “Locks and Ripples,” was composed in 2013 with the support of the Saskatchewan Arts Board. True to its title, a calm menagerie of dulcet harmonics and soft melodies assisted by an e-bow served as an aesthetic counterpoint to the intensely jagged tones flying out the speakers. A single, delayed major seventh chord closed out the set.”