selected excerpts

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“This is the astounding and original work. One hopes that Tan’s phenomenal and prescient installation is seen the world over”
“Microscopic particular static crackles like the communiqués of distant sirens. Moaning modems and granular glass orchestras whir into life as quickly as they cease. This is a truly immersive experience where the sounds and visuals are inseparable. The eyes and ears can only discern the art and ground themselves by referencing the other sense.”

- Steve Paraskos, Partial Durations, review of perspectives [macro] solo exhibition, December 2013

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“Kynan – a prodigious music-meets-art-meets-science wizard – has been blessing esoterically-inclinced audiences in Australia, Germany and Japan for the last few years with his audiovisual experiments. Tonight he’s offering live iterations of tracks off his latest album, rætina, with Shy Panther bandmate Ben Santostefano accompanying on acoustic drum kit. Kynan himself handles electronics and visuals, using a laptop and his home-made software patches I can’t profess to understand. What I can tell you is that the result is unique, beguiling and uncanny, sitting at the intersection between instrumenta, left-of-leftfield hip hop, electronica noise, melody, and abstract sound art. The familiar sound of drum kit provides a reference point from which to appreciate the curiosity of Kynan’s compositions, emphasizing unusual time signatures, shifts in tempo and accent. Meanwhile Kynan elicits drones, patters, swells, modulations, glitches, clicks and booms to envelop us in an otherworldly gauze of synthetic resonance.”

- Lyndon Blue, Cool Perth Nights, review of Oneohtrix Point Never, Actress & Brilliant Locals @ The Bakery, March 2013

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“a series of audiovisual ‘vignettes,’ that are by turn dramatic, pensive, beautiful, intriguing and confronting”
“I grin with delight. I’m experiencing art and music as not only exciting, but as dangerous, and that hardly ever happens. It’s like I’m hearing Hendrix for the first time or something”
“Kynan’s performance was one of the most remarkable things I’ve seen for a long while”

- Lyndon Blue, Cool Perth Nights, review of ‘fractal shale’ concert – Kynan Tan + Robin Fox, December 2012

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“a celebration of everything great art should be, powerful and confronting, yet thought-provokingly cerebral at the same time”
“The relationship Tan draws between sight and sound always favours the obtuse, while never being entirely unpredictable. This results in a work that immediately and clearly communicates its ideas while playing with the audience and their perceptual expectations. Ultimately, it is Tan’s ability to play with tension and expectation that makes Multiplicity such an original and engaging work”

- Sam Gillies, RealTime, pleasures synaesthetic & crystalline, February 2013

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“Spatialising audio is by now a fairly common technique in new music but spatialised visual material is something I have not seen before. The sound and images here do not merely reflect one another but rather create a sonic-visual counterpoint, constantly in motion toward or away from each other”

- Henry Anderson, RealTime, slippage of sound and sight, September 2011

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“The entire album is more structured than any other release of Tan’s to date, and yet this seems to help him funnel these influences into something truly unique and expressive. From the evolving dark drones and noise bursts of ‘Gleichzeitig’ to the skittering textures of ‘Sleepy Solemn’, everything feels deliberately crafted, the product of an artists vision while exploring the possibilities of sound.”

- Sam Gillies, Cyclic Defrost, review of rætina, May 2012