PRESS:
“Rhythms bustle in competition for space while primary, pastel synths taper around like those streamers inside party poppers, and when Peter sings his words he sounds like a child confused by a dream he just woke up from...”
- Kev Kharas (Viceland) READ COMPLETE ARTICLE & INTERVIEW >>
“Peter LaBier’s deep droll steers carefully away from pastiche, around the casually out of place chimes littering ‘Birds of Prey’ and into a light, lean and loopy pop jam that feels simultaneously familiar and fresh.”
- Sahil Varma (Transparent) READ COMPLETE POST >>
“Rather than invoking the chart-busting high-drama of Eurythmics’ ilk mind, he opts for a dance floor dynamic that sounds like a late Eighties ‘jackin’-house style remix you’d get on the B-side to a David Byrne and Robert Smith collaborative single...”
- Jaimie Hodgson (NME) READ COMPLETE POST >>
“In between yelps and stream of consciousness lyrics sung over a chunky, looping beat, think of a New-Wave dance rock resurgence. Then think about how much sense it makes, and how good it actually is, and how good it would have sounded blasting out of your boom box in 1980s NYC. And then turn it up.”
- Typanogram READ COMPLETE POST >>
“...what it would have sounded like if Suicide had been produced by Nile Rodgers, like super crisp and clear and still possibly insane but brain patters completely legible. Like “Ghost Rider” filtered through “Let’s Dance.”
- Peter Macia (The Fader) READ COMPLETE REVIEW >>




