These works tap into a lifelong obsession with recording everyday objects, situations and moments. Recording and listening to things 'outside' is like delving into the imagination already contained in matter. Perception becomes a vice that constantly hallucinates realities.                   


Creating music from these recordings is like divining things found crawling under rocks, whirling in shaded corners, traversing the atmosphere, propelling through the ether. The ears focused as if in a gaze - but an errant gaze, sleepwalking through the different layers of matter; a gaze disinterested in possibilities, complexity, openness or totality; an errant gaze, melancholic as well as pervasive, inviting contingency by ignoring it.







THE WIRE  january 2017


"..Paths Of The Errant Gaze drifts nimbly between apocalyptic divination and more scientific noise experiments. Instrumental piano murder ballad The Fabric Of Loss is buried by cold studio treatments before segueing into a chaotic march of sparsely spread detritus on Orphic Asylum. But Gaussian Veils is the highlight, with a moaning phantom suddenly singing over droning globules of minor key bass and lightly touched pianokeys, before it descends in ten minutes of rough concrète noise.."


DARK ENTRIES  january 2017


"..this is a truly phenomenal record from the first to the last sound...this man is clearly a magician. Fieldrecordings organically combined with synthetic sounds in a brilliant mix...this is one of the most narrative and coherent records of 2016. Reinier van Houdt is not a one-trick-pony; under the surface of seemingly abstract music are shimmering dirges, rythms, emotions of melancholy and fear...the last track is a downright assault on your psychic stability...this album is like a thriller that sucks you into its plot, and on moments you think you know how it ends the author plays a trick on your brain.."




"..this isn't dark ambient; there is something sinister but it's more deep and chilled, a strange foreboding chill without the fright at the end of it. The music is deeply transcendental, like the hum of a ghost ship, or the echoes of bat sonic supersound from a cave exit...these resonances are heavy on pastoral drone without the irritable hum. They start to fissure and rattle like bones in a dementia fit on second piece The Fabric Of Loss. Sounds from a torture chamber set into an unpleasant - but strangely comforting - catharsis. It is nightmarish at points, but never evil. In Gaussian Veils a crepuscular rhythm is held together by stalking piano and the introduction of a ghostly choral voice. This is the stuff of legends. Pure transcendence, the sound of it, just the sound of it! It is utterly douleur and utterly fantastic. When we get past the crackling trail of "Transfinite" there is a vignette to close us out...and all the light goes out on a truly remarkable release.."




" could describe the hallucinating paths of this album in the words of Tom Waits, 'the piano has been drinking', but its maker displays an incredible clarity in handling so many overlapping and contrasting materials. More importantly he has the gift to distill a deep melancholy from found sounds... this album is a philosophical enterprise, that leaves us free to follow its paths and warns us not to believe what we hear.."


BRAINWASHED  november 2016


"..Paths Of The Errant Gaze is a strange and fascinating journey...wonderful and maddeningly ephemeral... Van Houdt's commitments, exactitude and instincts are beyond reproach..he has the potential to become quite a formidable voice...channeling disparate influences into visceral and evocative new forms.."




"..this music creeps ominously, sounds echo in the still air as dust motes descend silently, then a first semblance of rhythms, murky, clanking, developing to extended bursts of bass-end noise and a thumping, trudging beat which plots treacherously through an unnervingly dark sonic labyrinth. Even when near-silence encroaches, there remains a dark, oppressive atmosphere in the air... Paths of the Errant Gaze is not a work which is encumbered by a sense of pretence, and nor does its theoretical or conceptual framework impinge unduly on the end product. The ten-minute ‘Transfinite Spectre’ is an all-out sonic assault worthy of Merzbow, as laser-guided blasts crackle and fizz, top-end treble drilling directly into the brain through the ear to create maximum discomfort.."   



MUSIK AN SICH  december 2016


"..the dark mood of this album results from the mixing together of everyday sounds, building up an atmosphere that is impressive but never intimidating. Unlike many fieldrecording artists he weaves melodic elements into the sounds and amplifies these by adding electronic drones.."



AFRICAN PAPER  january 2017


"..a vertiginous mix of hidden pianomusic and incredibly mercurial a dimlit, thick and hallucinant atmosphere pianotones find their way to the end of the album, fumbling, singing, streaming, only sometimes surfacing...highpoint is Orphic Asylum where an insane cellopart and the sound of laughing monkeys make the dusty proceedings almost cheerful. But accompanied by detonations these soon change direction again, and everywhere we hear this distant mysteriously beautiful melody.."




"..Paths Of The Errant Gaze utilizes fieldrecordings, but not in order to present or approach reality. This album is like a phantasma, a hallucination that disrupts realities, parasitizing on our environment..sometimes dreamy, sometimes fearful, the music borders on insanity all the time..a unique album that leaves us wandering what the maker will do next.."