RECORDINGS    OTHER SAMPLES    PRESS KIT    

    OTHER PRESS

    Planetary Wonder, review of Roberto Sierra's Anillos, Ithaca Times, January 28, 2009

    "(Feeney's) rhythmic lines, cells, storms, and mysteries were exquisitely built and beautiful to
    behold, and when they passed out of sight, we were sad to bid them farewell."

    The Sound and Fury of Wet Balloons, Counterpunch, August 8, 2008

    "The soundscape he elicits from his minimal set-up is like a vast, largely barren canvas scratched
    by a few small marks.  Slowly, inexorably we zoom in on one mark, then another, and see they
    are almost frantically alive - an anthill swarming with unified but busily complex sound.  Yet
    both the close-up and the long-shot are strangely, paradoxically poised.  As the last bit of
    feedback recedes, we realize that in the seemingly depopulated expanse of sound Feeney
    explores there is much more to hear than we had suspected, and that the flotsam of rampant
    consumerism - like a Pier One CD gizmo - can yield up mysterious, mesmerizing chords and rhythms."
   
    Profile in Ithaca Times, September 19, 2007, by Aaron Tate


    Review of Mobtown Modern, Baltimore, MD, January 28, 2008

    "It is perhaps the most terrifying 10 minutes of music you will ever experience....A performer
    plays him or herself like an instrument, smacking and thumping the body, yelling and growling,
    writhing and wriggling.  For Mobtown Modern, an edgy music series auspiciously launched
    Tuesday at Baltimore's Contemporary Museum, all those gesticulations and outbursts are
    something political, protesting against injustice and failed government....Feeney made
    "Corporeal" a statement against torture, evoking a captured prisoner of war....If all this comes
    off as masochism, it was also highly misical, growing in rhythm, volume and intensity, eventually
    fragmenting into short themes and lapsing into a deafening silence."
     Review of In Six Parts, Feeney/Rawlings, sedCD050

     "This latest offering from two stalwarts of Boston's so-called lowercase improv community is as
     dour and uncompromising - but ultimately as rewarding - as Robert Bresson or Samuel Beckett....    
     But despite its refusal to make the slightest concession to the listener, the music draws you in and
     doesn't let you go."


     Cultural Constructions VI: Hands and Mallets
     Institute of Contemporary Art, Boston, MA, October 2005

     "Feeney's solo improvisation gave a glimpse into a mad scientist's lab, as he produced an
     array of startlingly resonant sounds from his odds and ends and homemade gadgets."