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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." Aaron Tate
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." David Yearsley
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." Daniel Ginsberg, Washington Post
"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." Dan Warburton, The Wire
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." Kevin Lowenthal, Boston Globe
National Insecurity, Killian Hall, MIT, November 2005
"On the other hand, Globokar's ?Corporel, performed by Tim Feeney, was by far the most visceral and direct statement on the program and was decisive in making this concert feel like a potent statement of protest....Here was a complete uniting of percussive technique, the body, music, and the message....Feeney held nothing back. To execute this piece, I can only imagine he reached out and "channeled" something (the victims' experience?) via who knows what means - method acting, compared to the stylized emotions of other works. The effect was that of a true homage." Julia Werntz, New Music Box
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