This page has some press quotes collected from a variety of albums I've worked on over the years. They're not in any particular order, but I tried to pick ones that somehow focus on my involvement in the project.


(made all the sounds)

"Brooklyn composer twig twig - real name Zubin Hensler - embraces the element of chance. New EP 'Normal Feelings' is a case in point. The American artist utilises found sound, recording elements of everyday life and turning it into music. The results have a beautiful innocence, a fragrant naivety about them. Curious vignettes of sound that rumble in the memory, you can get a glimpse of this in 'Color Me'.” - Robin Murray, Clash Music

“magical”, “its six tracks act like a kaleidoscope snapshot of his craft, a woozy scurrying of colours and patterns that twist and turn in almost unimaginable, and always unexpected, ways.” - Tom Johnson, GoldFlake Paint

“‘Tryn Out’ is bedroom, wonky synth-pop, full of weird self-recorded samples like coins skipping down stairs, and sounds most like early Metronomy getting awkward with The Postal Service and Rudi Zygadlo (another great name) elbowing his way in for good measure. A.k.a. this is fucking awesome. It's a love song, we think, layered with strange, and topped off with a lot of heart.” - Kim Taylor Bennett, Noisey

“EP 'normal feelings,' released this past March, doesn't sound very... 'normal,' but still manages to be touching and sincere, and that's a rare form of beauty. Employing a restrained sonic palette made of granular synth sounds, aloof vocals, and simple electronic drum sounds and patterns, the band exercises their 'avant' tendencies within a song format that employs melodies ranging from the poppy (like in remarkable ambient ballad 'Fade Away,' streaming) to the out there (as in single 'Talk Go').” - The Deli Magazine

“There is a unique quality in the composition of twig twig songs which evokes both a nihilistic outlook but also a sense of optimism. An emotive and delicate ballad, "Fade Away" showcases refinement and stark honesty in equal measure. Much like pillows or small furry animals, Hensler’s twig twig is a loving embrace; a sense of warmth and comfort; self effacing and, most importantly, a damn good listen.” - Aaron Powell, Line of Best Fit

"Brooklyn’s Zubin Hensler is twig twig who readies the Normal Feelings EP for upcoming release sharing the electric-fuzzy sound + beat collage cordiality of “Fade Away”. With funky choices of keyboard presets, various spinning effects of the whimsical and surreal, with a soft nu-adult contemporary undercurrent; “Fade Away” is the perfect song to spend getting lost in an afternoon that feels like perpetual sunshine in a world of no night and no morning dawn." - Impose Magazine


(Producer, String Arrangements, Trumpeter)

“Brooklyn’s Nandi Rose Plunkett has said that her synth pop project, Half Waif, was the result of a time, “when all my identities were fracturing and shifting.” You can immediately hear that in how “Turn Me Around,” the highlight of May’s Probable Depths, fuses so many disparate sounds. Plunkett’s beautifully ornamented melodies—intricately woven, as if using harmonies to climb into the sky—recall Judee Sill’s flanged poise, or more so, the New Age webbings of Enya. Still, grounding the glassy “Turn Me Around” is a searing double-dutch beat that points square at pop radio. The music contains dark shadows as well as sugar—were you to text this Bandcamp link to a friend, the most appropriate emoji pairing might be a crystal ball and a lollipop.” - Jenn Pelly, Pitchfork ‘Best New Track’

“what the full ‘Probable Depths‘ LP does is to throw its arms fully around the listener, not to tease you with the world itself depicts but to invite you all the way in and ask you to stay awhile, until what once felt distant and perplexing feels beautifully nuanced, a lush, vibrant, world, fierce with fire and fervour, that, over time and repeated visits, end up cozying up in, without the smallest intention of leaving.” - Tom Johnson, GoldFlake Paint

“The keys and other ethereal elements on "Turn Me Around" evoke an image of Plunkett and Hensler walking through fresh snow with a re-birth in the still silence, allowing for further clarity in their work here.” - Michael Mehalick, Line of Best Fit

“Lead single “Nest” blends strings and electronics together in a way akin to Bjork’s “Hyperballad” or some of Aphex Twin’s more lush tracks. Plunkett places a disarming level of emphasis on different syllables, as if she’s pressing buttons with her voice. She warps, twists and wraps her vocals around electronic instrumentation like it’s trapped deep in machinery, and the whole track seems to teeter between serene and hyper-robotic tones.” - Charles Innis, Stereogum Premiere of “Nest”

“Every so often, a song comes along that completely knocks the wind out of me because it just sounds really cool. Half Waif’s “Nest” is one of those songs; it initiates with this slow, plodding beat, a single, crystalline voice. That sound continues to grow and multiply, until it becomes an orchestral, beat-inflicted but synth-driven song that’s atmospheric without fading into the background. There’s a universe inside of “Nest,” one that’s crafted out of small sounds made to look huge when they’re all pieced together. It’s the kind of single that I can listen to ten times over before I even think about its lyrics, the kind of song that makes me want to watch Half Waif’s creative process in action.” - Gabriela, Stereogum “5 Best Songs of the Week

“In December of 2014, Nandi Rose Plunkett, the main force behind the Brooklyn trio Half Waif, brought producer Zubin Hensler in the other direction; the two visited her childhood home to sample sounds for the band's new album. "It was cold and blizzard-y," Plunkett remembers. "There was a lot of ice cracking and the woodstove clanking. That was what became the drums." They re-recorded synthesizer tracks in order to capture the reverberations of the old walls and, upon returning to New York, assembled the pieces to create, as she puts it, an "homage to where I grew up." That was the goal, at least. As much as the finished product, released in May as Probable Depths, captures the sound of a house, it also does the opposite, creating an eerie sort of placelessness in which every element seems slightly out of joint.” - Nick Murray, Village Voice


(Co-Producer, Mixer, Additional Drum Programming/Synth Bass/Piano/Keyboard)

“‘Frost Burn’ opens with eroding, oscillating synthesizers that quickly fade and evaporate under Plunkett's plaintive voice. The song's electronic tones weave a careful textural arrangement: Glitchy melodies and drum machine beats expand and recede, rejoin and disappear. Plunkett's pop melody glides through it all with an effortlessness that belies the emotional difficulty her lyrics describe.” - Marissa Lorusso, NPR Music Songs We Love

“At once introspective and expansive, form/a is an intricately woven embodiment of calm at the centre of chaos. Crafting tidal waves of sound with glitching rhythms and melodies that extend outwards until they kiss the sky, the Massachusetts-raised musician opens the door on the most intimately felt of emotions.” - Jessica Goodman, The Line of Best Fit

“‘Severed Logic’ is a song bathed in balmy sounds but filled with promises and bare facts that won’t necessarily be pretty. - Quinn Moreland, Pitchfork

“‘Frost Burn’ throws the listener into a vintage digital sound initially, the swirling sound effects making you feel like you’re about to embark on a journey with Super Mario Bros. In this case, the piano adds an elegant touch to a much more layered and boisterous track.” - Meredith Schneider, Impose (Form/a review)

“While form/a is an intense, demanding record, the warmth of Plunkett’s voice pulls us through the slipstreams of emotion with a poignancy that comforts even as it leaves us stranded sometimes in desolate landscapes of heartbreak and homesickness. Half Waif are swiftly proving their flair for both unique and sophisticated sound and form/a has an internal consistency, which meshes complex, often elusive themes with musical structures that are tangible and powerful. It’s not easy to commit six songs to a certain atmosphere, but Half Waif do it well, seducing us back into that sequinned world of submerged feeling, reeling in the twilit space of the self on edge.” - Maria Rose, GoldFlake Paint


(Co-Producer, Trumpeter, Co-Arranger)

“The Westerlies play this music clean as a whistle, with attention to detail born of long rehearsals. And they infuse the lyrical passages with deep feeling….The Westerlies represent a breed of musicians rare when Wayne Horvitz was coming up, skilled interpreters who are also adept improvisers. With such versatile and well-equipped performers around, composers can expand their reach and they may all wind up in places they might not have found on their own.” - Kevin Whitehead, NPR's Fresh Air

“Composer and keyboardist Wayne Horvitz was a presence on the New York's genre-bending downtown avant-garde scene in the 1980s before settling in Seattle. The Westerlies are an improvising brass quartet (two trumpets, two trombones) originally from Seattle and now located in New York. Their Horvitz interpretations convey a sense of sky and soil (not to mention the occasional circus or parade) that immediately calls to mind Aaron Copland, Bill Frisell, late-1950s Jimmy Giuffre, and maybe Brian Blade's Landmarks and Charles Ives. It's proof, if any be needed, that the same music can be both folk-like and composerly, lovely and intellectually rigorous. (Also my choice as 2014's best debut album.)” - Francis Davis, NPR Music

“One of the more remarkable albums to cross my path this impressive feat from almost any angle...Take note of these players. You’ll be hearing more from them soon.” - Nate Chinen, JazzTimes

“The brass quartet plays this suite-like set with a fair share of bent notes and orotund solemnity. They dig into brass history with a nod to the quiet authority of Gabrieli’s Canzoni on “9/8” and flash back to medieval sack-buts on “Triads.” They nod to the hymnlike quality of “Sweeter Than The Day” as if it were “Deep River”, and folk tunes purl out of “The Store, The Campfire...Horvitz himself comes aboard at evenly spaced “Interludes” and the titular finale, gently spicing the voyage with electronica: will-o’-the-wisp flashes of Stravinsky’s Petrouchka, halyard creaks like Strauss’ Don Quixote tilting at windmills, and the drone of Puget Sound foghorns.” Fred Bouchard, Downbeat Magazine


(Producer, Engineer, Arranger, Trumpeter)

“It is brilliant...Here we are reminded that peace sometimes comes not from grand changes in the world but from little things.” - John Schaefer, WNYC

“Don’t you just love albums that shouldn’t work but emphatically do, where improbable mixtures sit so invigoratingly together that you can’t imagine they didn’t previously exist? And which absolutely prove that saying that you find in all sorts of traditions from all over the world that ‘you can’t know where you’re going if you don’t know where you come from.’ Oh yes, they do.” - Ian Anderson, fRoots Magazine

Named one of the ten best albums of the year by fRoots Magazine

Named one of the top five folk and world music albums of the year by The Guardian:

“This new collaboration was one of the unexpected successes of the year. It has taken some time for Vieux to fully emerge from the shadow of his legendary dad, Ali Farka Touré, but he has become an increasingly fine guitarist, happy to experiment and take chances, as he proved with this bravely original set.”

4/5 Stars “(A) bravely original fusion” - Robin Denselow, The Guardian

“Serendipity may well play its part, the blurring of musical borders offering some pleasant hybrids and resonance. But don’t be fooled by its floating and easy manner, there is a deep driven swell of purpose and intricate musicianship at work, with a serious social and political mission statement of universal understanding lying at its core.” - Dominic Valvona, Monolith Cocktail


(Co-Producer, Trumpeter, Co-composer/arranger)

“What a distinctly American twist: to flip a story of sorrow on its head, opening it up to a future bright with possibility.” - Tom Huizenda, NPR Music (Saro premiere)

“Exceedingly lovely” - Chris DeVille, Stereogum (Saro)

“This is a virtuosic outfit capable of playing with immense grace and poise in one setting (Mulherkar's scene-setter “A Nearer Sun” a representative example), its members clearly attuned to one another and demonstrating great sensitivity to dynamics and texture, and then performing the boisterous next with declamatory abandon.” - Textura

“The Westerlies is an album with two layers of existence. It is at once a plainly beautiful release shot through with genius technique and considerate musical planning, and an innovative exploration into what the future of acoustically-driven music could be.” - Seth Tompkins, Second Inversion

TWIG TWIG - 1’S AND 2’S (2016)

(made all the sounds)

“What’s exceptional is Hensler’s execution, replete with layer upon layer of instrumental texture and brilliantly managed tension. The song never drags, and closing out at 2:46, hitting the replay button is almost reflexive. Chances are we’ll be doing that right up until his new EP drops later this year.” - ThrdCoast Premiere

“‘1’s and 2’s’ finds the Brooklyn producer in suitably dense-but-playful mood, swimming through a sea of shadows to present three glitchy electro-pop tracks that feel weighted by mood but buoyed by a thirst for inventiveness.” - Tom Johnson, GoldFlake Paint

“Twig. A word often overlooked in the English language; aptly defined as a "slender woody shoot growing from a branch or stem of a tree or shrub," whose uses throughout history have remained unchanged. For that, it's significance is almost unparalleled.” - Dylan Heneck, IndieShuffle


(Engineer/Mixer for second half 'Iris')

“Though Epperson reimagines the same songs, the second half of UPSWEEP sounds foreign. In it, her violin—plucked, strummed, bowed—takes center stage, and her voice, often almost unrecognizable, sets the tone in a half-whisper. The sultry “Circles” becomes a slow reflective tune that peaks into an aching moment when Epperson’s voice breaks; “Story” floats again, this time in violin reverie; and “Iodine” rests on otherworldly plucking underneath vocals that alternate between quiet whisper and pop confidence. The lyrics and the poetic stories they describe emerge more in this half, which leans towards the folkier side of art or baroque pop.

The transition between these different genres and characters on the album halves is a real rift that relies, in some ways, on outside concepts to bridge it. But beneath the rich conceptual dimensions of Epperson’s work, the artist composes music so smooth and absorbing that you may not even skip a beat in the switch from Amelia to Iris. It’s harder to immerse with starkness than it is with noise, and on UPSWEEP, Epperson manages to do so twice, in two distinct and beautiful voices.” - Laura Kelly, ThrdCoast


(Mixer, Masterer)

Rolling Stone “15 Best Albums You Didn’t Hear in 2015”