"The common thread [in Looker’s music] is always the place where the vulnerable sentiment of indie rock collides with the jagged rhythms of contemporary composition; Looker's unique cluttercore works like Antony channeling Anthony Braxton.” - Chris Weingarten, Village Voice

“…a brooding art-rock visionary…” - Hank Shteamer, Time Out New York

Psalm Zero

“[The Drain] is a gyre of metal aggression and industrial wallop, synthpop filigree and rock hooks, supported in places by Hock’s academic past in free jazz and Looker’s exploration of classical forms such as madrigals…. Its influences and ambitions are much wider than [the metal] cloister, and its songs are capable of both hitting hard and sticking around.” - Grayson Currin, Pitchfork

“Psalm Zero bring a level of experimentation to extreme metal that isn’t seen often enough… The Drain blends disparate sounds extraordinarily well on this quirky yet superb debut.” - Adrien Begrand, Decibel

“The Drain bleeds cathartic abandon, but it does so at dangerously low temperatures;… a clattering apparatus of dread and alienation that remains surprisingly melodic and eerily human.”  - Jason Heller, Onion AV Club

“Psalm Zero sound unique and The Drain appeals to the sensitivity residing beneath the hardened shell of metal…. You need to check this out.” - Matt Hinch, Hellbound

Seaven Teares

“Instead of eliciting the pleasing, melancholy harmonies one may expect, the male-female vocals produce an unsettling incongruity that mates perfectly with the album’s themes of sex, shame, and betrayal.” - Jeff Roesgen, Tiny Mix Tapes

“In short, this is the 'kill your darlings' pursuit of perfecting the craft of exalted transgressive imperfections while pulling out the rug between the audio era conventions of time and place.” - Sjimon Gompers, Impose Magazine

Extra Life

“For fans of visceral pop music who have perhaps pondered items like the origin of Leonard Cohen’s dark lust or Greg Dulli’s love-tainted vengeance, albums like Dream Seeds only deepen the mystery… The subtle lines that sketch this world, shaped by both fear and shame, connect to form one of the more gripping albums you’ll hear this year.” - Jeff Roesgen, Tiny Mix Tapes

“… a downright batshit-insane and utterly creepy vibe.” - Thad McKraken, Redefine Mag

“… if you’re tired of getting freaked by goths and metalheads, Charlie Looker and company are just the demonic choirboys for you.” - Owen Schumacher, MXDWN

“One might ask why we need art like this, art that produces dread and foreboding, art that violently pulls the audience out of themselves. In that very formulation, though, is the answer… It’s only with the feeling that Made Flesh evokes that we can actually get a better view of ourselves and why we think like we do.” - Andrew Beckerman, Dusted Magazine

“The best album of last year - in the opinion of this observer - was Made Flesh, the second long player by Brooklyn three-piece Extra Life… I'm pretty sure I heard over a thousand other albums in 2010, and none of them made as lasting an impression as this one, or sounded so little like anything else currently being made and described as 'rock music'.” - Noel Gardner, The Quietus

“Secular Works has impeccable flow and depth… Looker’s sense of arrangement and composition melds each sound into a gripping work where fear and urgency loom within each track.” - Jeff Roesgen, Tiny Mixtapes

“Scarily focused and ruthlessly complex in a post-prog sort of way, but it also flirts with a dark, sumptuous art-pop vibe. The end product is relentless, enveloping, and frequently gorgeous.” - Hank Shteamer, Time Out New York

“In Extra Life [Looker] taps into a mesmerizing form of avant-rock raga, repeating words, and shifting into a windswept, entrancing post-punk throat singing… these are master works… this stuff feels somehow religious in its fervor.” - Brandon Stosuy, Stereogum

Interviews

MEG Ireland, 2014

The Village Voice, 2013

The Village Voice, 2012

Free Music Archive, 2012

The Village Voice, 2011

The Quietus, 2011