“Cutting through with clanging post-punk tones like signals sent through clouds of poison gas. The electronics are dubbed outwith static and distorted samples pulsing in away that recalls Autechre at their most mean-spirited… Overpowering the listener with massive whooshes and roars, but there's a frantic beat at the heart of it all. lt's like listening to a set by Pan Sonic played from inside a sandstorm.” (Phil Freeman, The Wire 469)

“The resulting music is an unearthly ever-shifting roar, sometimes identifiable as the product of guitar and saxophone but just as often not. Obrazeena’s guitar frequently starts out as an almost country-tinged drone before turning into a downtuned wall of thick, syrupy distortion you can almost touch. Ponomarev’s sax screeches and bellows, and his electronics create a dense pulse, with needle-sharp sine waves piercing the waves of static and reverberant atmospheres. The absence of rhythm allows them to concentrate on hearing and reacting to each other without worrying about time, creating an immersive world of pure sound that fills the room as easily as it empties out your skull - an exquisite journey to the endless soundscapes of drone.” (Phil Freeman)

“The deep sub tremble of 2 creative minds! This shit is FOR REAL! Image-rich walls of pure and raw energy gushing over us. Holding the instant NOW hostage. A super-intense and cleansing audio-bath of a new era! In an extremely great and creative mix, these two Russian masterminds take no prisoners! I LOVE this! Radical brutal poetry and in-your-face outer space ROCK! This is an antidote of a massacre – this brilliant BEAST is of healing qualities. This is a radical new approach and attack on all previous attempts of making Noise. Face melting beauty!” (Mats Gustafsson).

“This duo from Anton Ponomarev and Anton Obrazeena pushes free improvisation to its limit, bordering and often venturing into the realm of pure noise music. The album (Sonic Oblivion) is a tour de force, a relentless assault on the senses that needs to be experienced in one sitting and at dangerously high volume. Its four pieces are purposeful exercises in tension and sonic exploration through a heavily distorted guitar, noisy electronics, samples and a screaming saxophone, all focusing on texture and volume over rhythm or melody in pursuit of pure catharsis. The final track is a more conceptual piece of contemporary music, revolving around the processed sample of the plane Obrazeena flew leaving Russia after its invasion of Ukraine. A long, loud and challenging release, that's freeing and purifying the way great noise music can be.” (William Rossi)