Very nice review of COPIA In Igloo Magazine. Many thanks!
48 Hills reviews Gone, Gone Beyond, Gray Area, San Francisco
Review of Gone, Gone Beyond in The Wire Magazine
We have a full page review of Gone, Gone Beyond in the January 2022 edition of The Wire Magazine, a very nice write up by Louise Gray. We also had at three mentions from Wire writers in their “best of” summaries of 2021.

Review in scenekunst.no of Gone, Gone Beyond in OSLO,

http://www.scenekunst.no/sak/psykedelisk-meditasjon/
KRITIKK 15.10.2021 Mariken Lauvstad
KinoKammer
Vicki Bennett (People Like Us) / Lasse Marhaug:
Gone, Gone Beyond + For My Abandoned Left Eye
Black Box Teater / nyMusikk / Double premieres October 13, 2021
The art event Kinokammer consists of two works made by noise artist Lasse Marhaug and the British video artist Vicki Bennett, better known under the artist name ‘People Like Us’. Both works are world premieres and are shown as a collaboration between Black Box theater and nyMusikk. CineChamber is a cross-genre format based on a concept developed by San Francisco-based Recombinant Media Labs, called CineChamber . The format frames the audience in a 360-degree moving audio and video landscape.
At the Black Box theater, Kinokammer is a so-called double ticket . First Marhaug’s work For My Abandoned Left Eye (2021) and then Bennett’s Gone, Gone Beyond (2021). The public can bring the wine glasses from the foyer into the exhibition hall. Rows of chairs are set up along three of the room’s four walls, while scattered seat cushions are placed on the floor. Thus, the audience will consider other spectators’ eyes and reactions as part of the art experience. Before the screening of Marhaug’s work really begins, an atmosphere is established where small talk and wine drinking are buzzed in the room for several minutes. Whether this is intentional or not, it creates a kind of ‘we’ in the room, an experience of sharing something. This sets a precedent that adds an extra dimension to the art event that will grow and develop throughout the screenings.
Marhaug describes his work as a ‘post-capitalist-science-fiction-noise film’. It is so far a decent genre description, but I experience in a way the work as more ordinary than that, at least visually. We are in a world that is preferably in black and white. We see images and fragments of forest and nature against hard building structures and remains and traces of man-made objects. Garbage, a sneaker, a sofa, an animal foot. The totality appears raw, wet, cool and hard, not only visually, but also acoustically. Occasionally, the film material is contrasted by abstract images, such as massively pulsating black spots, close together against a white background.
A mass bombardment that challenges the senses
Each projected movie sequence apparently has its own and ever-changing soundtrack. This constantly creates new and different layer-on-layer effects. The soundscape gives, among other things, associations to machine repetitions and massive metal grinders against crackling and crackling in various qualities, auditory textures that for a few moments remind me of the feeling of stinging icy rain or penetrating intense wheezing in the ears. Suddenly, small interruptions occur with the absence of noise before new images and sounds are fired at us like projectiles. It is a mass bombardment that challenges the senses and the distinction between impression and disturbance. Finally, I’m not sure if I actually hear sampled cries, the noise of a full room of screaming people, or if it’s just my brain that tricks me into thinking I sense these cries through the noise. I go out filled with a kind of unpleasant dizziness and with aching retinas. The work leaves an eco-deterministic turmoil in me that I need far more than thirty minutes to digest and reset myself from, and this also constitutes my objection to two such different works being put together.
After the break, we are thrown out on a completely different journey. This time, some have lain down on their backs, some close their eyes, some just sit relaxed and sip on the evening’s second or third glass of wine. All four walls are projected close together with flaming candles. The picture is obviously strikingly kitsch, almost ironic. Gradually we can hear sounds reminiscent of a crowd of stomping boot steps mixed with an indefinable hiss from insects and crickets, and a diffuse hum from distant, manipulated choruses. It is difficult to interpret and place the soundscape, and I also do not have time to get very far before the whole room is almost sucked through a kind of visual tunnel. The bass makes the floor below us vibrate, and we are pulled at breakneck speed through countless projected doors. This estimate reinforces the illusion of being in a simulator. It is as if a virtual wind has suddenly blown us away and we are suddenly sitting on a flying carpet, traveling through the artist’s subconscious, where playful pop cultural references are replaced by nightmarish and disturbing images. The audience looks in all possible directions as if to orientate themselves in constantly new places.
As if David Lynch were to take ayahuasca in the desert
The editing technique is extremely good, and the dramaturgy has a kind of kaleidoscopic associative form at the same time as each picture is just so easy to interpret that you can get caught in a new hook that throws you in the head. new associations before being torn loose and thrown into the next. This is as if David Lynch had taken ayahuasca in the desert and made a film of what he hallucinated afterwards. We are constantly somewhere between dream and nightmare, for example when we see Julie Andrews dancing carefree between tree trunks while war helicopters thunder across the sky while the world goes up in flames and explodes around her. We see prairie pictures with saguaro cacti and hear the sound of unpleasant radio signals. The chimney sweep from Singing in the Rain disappears into animated pipes, we see oil barrels burning and growing nebulae, barely hearing the sound of Joni Mitchell’s ‘Both sides now’, glimpsing the globe from space (or is it a disco ball?), being drawn to the sound of lyre boxes and suddenly surrounded by giant funfair horses.
In the popular cultural references, a darker contemporary commentary is hidden. Most of the references are from the 1950s, 60s and 70s, and in contrast to beautiful images of the universe’s darkness, celestial bodies and galaxy fog, an experience is created that time flows through space and pulls us through the cosmos at relentless speed. The work opens the gaze to the paradoxical and random of our popular cultural history, the powerless and merciless in that we have created what we have created, and nothing else.
The work also makes me philosophize about what can be called a performance. There are no actors or actors here, but I experience in return that we audiences become part of it. At one point a man rushes out of the room, a woman overturns a bottle, some get up from their chairs and walk around smiling or looking. None of this bothers me as it would in many other contexts. At one point there is one who laughs, and after this it is as if something in the room dissolves, the reactions become freer and more expressive. People respond and come up with small exclamations. The work would therefore not have been the same if I experienced it alone, and then maybe it’s a performance anyway?
In sum, I still think the two parts of tonight’s double ticket should have been shown separately. They are both so strong and intense works that they leave different resonances and reflections it would have been nice to have time to dwell on separately.
The Mirror in The Wire magazine
The Mirror LP is reviewed in The Wire: Adventures In Modern Music‘s latest issue.
‘”With The Mirror Bennett has proven herself an alchemist of popular music, able to push her source material into fresh and engaging places.”


Artist Biography


Working under the moniker People Like Us, artist Vicki Bennett has been creating and distributing audio-visual work across multiple platforms since 1992. Her extensive output spans CD, DVD and vinyl releases, radio broadcasts, live performances, gallery installations, 360° immersive environments and online media. Vicki treats collage as a form of contemporary folk art—rooted in mass media and technology—championing its democratic, shared nature. Central to her work is the belief that everything is interconnected, rendering the notion of artistic ownership or originality both absurd and unnecessary. Through the act of collage, she opens up expansive, unexpected outcomes that exceed the sum of their parts.
Since 2002, the majority of the People Like Us back catalogue has been freely accessible online. Vicki is an advocate of the gift economy, highlighting that for many artists, free self-distribution can generate greater reach and impact than traditional publishing channels. This approach alleviates the pressures of production costs, while ensuring long-term availability. The discography and filmography of People Like Us are generously hosted by UbuWeb.
Over her career, Vicki has produced over 50 audio recordings and more than 40 video works, released on labels including Illegal Art, Rough Trade, Soleilmoon Recordings, Discrepant, Sonic Arts Network and Touch. Her long-running radio show DO or DIY has been broadcast on New York’s fiercely independent WFMU since 2003. Her video work has been shown internationally at venues such as Tate Modern, Whitechapel Gallery, BFI, Barbican, ICA, V&A, Centre Pompidou (Paris), Sonar (Barcelona), MAXXI (Rome), Walker Art Center (Minneapolis) and Centro de Cultura Digital (Mexico City). Works have also been broadcast on Channel 4 and featured in sessions for John Peel and Mixing It.
People Like Us has been commissioned by organisations including Arts Council England, Barbican, ACCA, BBC, WDR, Deutschlandradio, PRS Foundation, a-n, Great North Run, Sound and Music, Animate Projects, AV Festival, RML, Sonic Arts Network, Forma, LUX and Lovebytes.
Vicki has held seven solo exhibitions and participated in over 20 group shows across prominent international venues, including the Venice Biennale, MAXXI (Rome), HMKV (Dortmund), Hatton Gallery (Newcastle), Sheehan Gallery (Walla Walla), La Scatola Gallery (London), alt.gallery (Newcastle), Vitrine (London), Engramme (Quebec), University of Greenwich Galleries, Edinburgh Printmakers, Pallant House (Chichester), Millennium Gallery (Sheffield), and Hallwalls (New York), among others.
Her work has been discussed in numerous publications such as Sounds Like Silence – 4’33’’ Today (Spectre Books), The Journal of Writing in Creative Practice, Cutting Across Media (Duke University Press), The Fundamentals of Sonic Art and Design, Incredible Machines, Sensations of History (University of Minnesota Press), and Here To Go – Art, Counter-Culture and the Esoteric. She has also contributed to The Wire, including a feature in their “Collateral Damage” column (2012), and has entire chapters devoted to her in Kenneth Goldsmith’s Duchamp Is My Lawyer (Columbia University Press) and Carl Abrahamsson’s Different People (Trapart, 2021).
People Like Us has been reviewed or profiled in The Wire, Rolling Stone, Frieze, The Guardian, NME, Time Out, Sight & Sound, Film Comment, The Scotsman, The Independent, BBC Online, Bizarre, Record Collector, Metro, XLR8R, San Francisco Bay Guardian, Baltimore City Paper, and more. Interviews include The Observer, Filmmaker Magazine, Found Footage Magazine, Wired, a-n Magazine, RadioWeb MACBA, Sound and Music, and multiple features in The Wire.
Her radio interviews include Late Junction, Soundproof (ABC), WDR 3 Open Sounds, Cutting Up The Cut Up (BBC Radio 4), PM and Twenty Minutes (BBC Radio 3), and North by Southwest (British Council).
She has also curated a variety of events and publications, including First Person, Fourth Wall (2020), Optimized! (WFMU, 2016), Concert of Collage (Encounters Festival, 2015), Radio Boredcast (AV Festival, 2012), and Nothing is New, Everything is Permitted (2010).
Notable works include Notations, a touring film for live improvisation (TUSK/Sound and Music, 2013); two films for Channel 4’s Random Acts; Citation City (2015), an AV performance inspired by Walter Benjamin; Nothing Can Turn Into A Void, a documentary (2015); No One Is An Island (WDR, 2016); and The Mirror (2018), an AV performance and album ranked No.8 in The Wire’s Albums of the Year. Vicki also produced video content for The The’s 2018 comeback tour, and was part of the New Voices programme from Sound and Music, and received an a-n Artist Bursary in 2019. Her radio commission I Can Fly aired on WDR in 2020.
In 2020, she premiered two new works at her solo exhibition First Person, Fourth Wall, as Hallwalls Artist in Residence (HARP). The following year saw the touring of Gone, Gone Beyond, an immersive multi-screen and multi-speaker AV installation across venues including nyMusikk Oslo, SPILL Festival, ACCA Brighton, and London’s Barbican.
In 2022, she presented MIND MAPS: The Art of Vicki Bennett at Sheehan Gallery (USA) and Orfeó Lleidatà (Spain), and Gone, Gone Beyond was screened at Gray Area, San Francisco. Her 22-hour radio piece 108 aired via Radio Arts Zone, and she performed with Ergo Phizmiz and Gwilly Edmondez at The Wire‘s 40th Anniversary. She also produced a new radio work Changing Your Mind for Deutschlandradio and a mixtape for BBC Radio 3’s Late Junction. The lathe-cut vinyl Rhapsody in Glue (with Ergo Phizmiz) was released in November 2022.
In 2023, she launched a successful IndieGoGo campaign for the new live AV performance and album The Library of Babel, premiering at a three-day residency at Café OTO, London. A retrospective 2-CD set Sharity! Selected Works of People Like Us followed in April.
In 2024, People Like Us released a new album COPIA, created music videos for The The, Soft Cell and Marc Almond, and debuted a widescreen AV installation Mise en Abyme at Museu de Aveiro/Santa Joana in Portugal. Currently in development is Khroma, a new 360-degree work for RML CineChamber.
So far in 2025, People Like Us continues work on Khroma, alongside creating live visuals for Soft Cell’s performances of “Torch” and “Purple Zone”. Vicki is also collaborating with Kevin Hamilton (University of Illinois) on a text-based media project.
ALL COMMISSION ENQUIRIES OR BOOKINGS FOR GONE, GONE BEYOND ARE TO BE MADE DIRECTLY WITH US THROUGH OUR CONTACT PAGE.
Shorter Bio – Artist Statement
Filmography
Exhibitions and Editions
Selected Performances and Screenings
Commissions and Awards
Talks, Lectures
Discography
People Like Us on bandcamp




Press Cuttings and more
People Like Us/Vicki has been reviewed in, amongst others, The Wire, BBC website, Bizarre Magazine, Rolling Stone, Frieze, The Independent, Record Collector, Time Out, Film Comment, The Guardian, The Scotsman, XLR8R, Baltimore City Paper, Sight and Sound, NME, Metro and San Francisco Bay Guardian, and interviewed for Found Footage Magazine (2016), The Observer (2006), Filmmaker Magazine (2015), The Wire (2014, 2011, 2008, 1999), Sight and Sound (2013), a-n Magazine (2012), Wired (2012), RadioWeb MACBA (2010), Sound and Music (2011), Sound Projector (2012, 2000), Bizarre Magazine (1999), NME (1995, 1996). On radio I’ve been interviewed on Late Junction (2016), Soundproof (ABC Radio National 2016), WDR 3 Open Sounds (WDR 2016), Cutting Up The Cut Up (BBC Radio 4 2015), North by Southwest (British Council 2012) PM (BBC Radio 3 2010), Twenty Minutes (BBC Radio 3 2009) and Mixing It (BBC Radio 3 2004). Please note: we no longer update this section very often because the internet is effective in finding these things, unlike the old days of magazine articles
Interview about Copyright on Ableton site (Nov 2016)
Interview on Soundproof (ABC Radio National) (July 2016)
Interview in Found Footage Magazine (April 2016)
Interview in Venture Engraved Magazine (March 2016)
Interview on WDR (Feb 2016)
Interview on Late Junction (BBC Radio 3) (Jan 2016)
Documentary about People Like Us (Jan 2016)
Interview in Filling Station Magazine Issue 63 with Peter Jaeger (Sept 2015)
Cutting Up The Cut-Up (BBC Radio) (June 2015)
Feature in The Wire Magazine (Psychic Jams) (August 2014)
Interview with The Wire Magazine (Feb 2014)
Interview in SyncTank about Gesture Piece (Sept 2013)
Interview in a-n magazine about Gesture Piece (Sept 2013)
Feature on our Random Acts commission in Televisual (June 2013)
Interview in Sight and Sound magazine and Clipping (May 2013)
Interview in De-Bug (February 2013)
Interview with City Sonic, Brussels (September 2012)
Review in The Wire of People Like Us & Ergo Phizmiz The Keystone Cut Ups DVD on Illegal Art (October 2012)
Review in Wired of People Like Us & Ergo Phizmiz Moon Magic 7″ on Illegal Art (August 2012)
Mention of Radio Boredcast by Radio Web MACBA (April 2012)
Interview in Wired about Radio Boredcast (March 2012)
Essay by Vicki Bennett in The Wire magazine’s Collateral Damage page http://thewire.co.uk/articles/8439/ (March 2012)
Review of AV Festival 12 in The Guardian (March 2012)
Blogpost by Vicki Bennett about Radio Boredcast for AV Festival 12 (February 2012)
Interview with Vicki about Radio Boredcast for AV Festival 12 by Pixel Palace (December 2011)
The Doors of Perspection preview in The Independent (29 July 2011)
The Doors of Perspection preview in The Independent 2 (29 July 2011)
The Doors of Perspection review in Front Row Reviews (July 2011)
People Like Us interview in Invisible Jukebox in The Wire (July 2011)
Review of Welcome Abroad in Groovemine (May 2011)
People Like Us feature in XLR8R (May 2011)
Review of More Soup And Tart In The Wire Magazine (June 2011)
People Like Us Chart In The Wire Magazine (June 2011)
Expanded Video exhibition at Maxxi – pdf (April/May 2011) More documentation here.
Review of Welcome Abroad in Letters With Mixtapes (May 2011)
Review of Welcome Abroad in AOL/Spinner (May 2011)
Review of Welcome Abroad in Dusted (May 2011)
Review of Welcome Abroad in Unheard Music (May 2011)
Review of Welcome Abroad in Decibel Tolls (March 2011)
The Keystone Cut Ups (People Like Us & Ergo Phizmiz) in Aesthetica Magazine (September 2010)
The Keystone Cut Ups (People Like Us & Ergo Phizmiz) in The Scotsman (September 2010)
The Keystone Cut Ups (People Like Us & Ergo Phizmiz) in IDMb News (September 2010)
The Keystone Cut Ups (People Like Us & Ergo Phizmiz) in The Guardian Guide (September 2010)
Interview and feature about The Keystone Cut Ups (People Like Us & Ergo Phizmiz) in Berwick Advertiser (September 2010)
Interview and feature about The Keystone Cut Ups (People Like Us & Ergo Phizmiz) in Kyeo TV (September 2010)
Review of The Keystone Cut Ups (People Like Us & Ergo Phizmiz) in Observealot (September 2010)
Review of Music For The Fire in Sound Projector (2011)
Review of Music For The Fire (People Like Us & Wobbly) in Rumore (September 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Record Collector (August 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Sentireascoltare (July 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Skug (July 2010)
Review of Music For The Fire (People Like Us & Wobbly) in RifRaf (July 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Go Mag (July 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Magic (July 2010)
Preview of the People Like Us exhibit at Edinburgh Printmakers Prints of DarknessThe List (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Playground (June 2010)
Music For The Fire (People Like Us & Wobbly) in Huw Stephens’ Radio show BBC Radio 1 (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Limewire Music Blog (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in MusicOMH (June 2010)
Music For The Fire (People Like Us & Wobbly) in Stuart Maconie’s Radio show BBC Radio 6 (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in My Old Kentucky Blog (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Polychromic (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Beyond The Noize (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in aaamusic (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Little Village Mag by Kembrew McLeod (May 2010)
Music For The Fire gets Radio 1 airplay (May 2010)
Article on the Recycled Film Symposium at AV Festival in axisweb (May 2010)Axisweb website
Review of Genre Collage in Baltimore City Paper (April 2010)
Review of MACBA’s Variations program, which Genre Collage is a part of (February 2010)
Review of Genre Collage in Film Comment magazine (January 2010)
People Like Us co-curate an evening at AV Festival (March 2010)
Nothing Is New, Everything Is Permitted – People Like Us play at AV Festival (March 2010)
BBC News – about People Like Us Baudrillard cassette (January 2010)
BBC News Front page (January 2010)
BFI Southbank (December 2009)
Straight.com (October 2009)
Alienated In Vancouver (October 2009)
Jean Baudrillard Le Xerox et l’Infini – Hard Format (August 2009)
Jean Baudrillard Le Xerox et l’Infini – Aquarius Records (August 2009)
Time Out – Critics Choice (August 2009)
Withers In The Waking review – Heathen Harvest (July 2009)
Interview in Crawdaddy (July 2009)
Rhapsody in Glue – Liability (March 2009)
Withers In The Waking review – Record Collector (January 2009)
Withers In The Waking review – Norman Records (December 2008)
Interview with People Like Us – Blow Up (December 2008)
Withers In The Waking review – Aquarius (December 2008)
Withers In The Waking review – Boomkat (December 2008)
Smiling Through My Teeth review – Bad Alchemy (November 2008)
Smiling Through My Teeth review – Hair Entertainment (October 2008)
Rhapsody In Glue review – Goute Mes Disques (November 2008)
DO or DIY chart – The Wire (October 2008)
Smiling Through My Teeth review – Orkus (November 2008)
Smiling Through My Teeth review – Rumore (October 2008)
Rhapsody in Glue review – Blow Up (September 2008)
Smiling Through My Teeth review – Westzeit (October 2008)
Smiling Through My Teeth review – Ox (October 2008)
Smiling Through My Teeth review – Le Son Du Grisli (September 2008)
Smiling Through My Teeth review – Sound Projector (May 2008)
Smiling Through My Teeth review – Frieze magazine (September 2008)
Rhapsody In Glue review – Pop News (September 2008)
Smiling Through My Teeth review – Octopus Record Of The Week (September 2008)
Smiling Through My Teeth review – Rock Delux(September 2008)
Smiling Through My Teeth review – D Side(September 2008)
Smiling Through My Teeth review – Titel Magazine (September 2008)
Smiling Through My Teeth review – Schlendrian (September 2008)
Smiling Through My Teeth review – Vital Weekly 162 (September 2008)
Mention in the Guardian (UK) – Click That Dial! (August 11 2008)
Rhapsody in Glue review – O Dominio Dos Deuses (July 2008)
Rhapsody in Glue/Smiling Through My Teeth Review – Incendiary Mag (July 2008)
Rhapsody in Glue review – Octopus (July 2008)
Smiling Through My Teeth review – The Wire (August 2008)
Rhapsody in Glue review – Skug (July 2008)
Rhapsody in Glue review – D-Side (July 2008)
Rhapsody in Glue review – Choices Cologne (July 2008)
Rhapsody in Glue review – The Wire (July 2008)
Rhapsody in Glue review – Titel-Magazin / CD of the Week (June 2008)
People Like Us interview part 1 – The Wire (June 2008)
People Like Us interview part 2 – The Wire (June 2008)
People Like Us interview part 3 – The Wire (June 2008)
People Like Us interview part 4 – The Wire (June 2008)
People Like Us interview part 5 – The Wire (June 2008)
Perpetuum Mobile – Music For Maniacs (October 2007)
Perpetuum Mobile – Geiger (September 2007)
Perpetuum Mobile – Bad Alchemy (August 2007)
Perpetuum Mobile – Brainwashed (June 2007)
Perpetuum Mobile – RifRaf (June 2007)
Perpetuum Mobile – Rolling Stone (Mexico!!) June 2007
Perpetuum Mobile – Review in Norman Records June 2007
Perpetuum Mobile – Review in Jumbo June 2007
Perpetuum Mobile – Review in Loop June 2007
Perpetuum Mobile – Review in Boomkat June 2007
Perpetuum Mobile – Review in Cologne Choices June 2007
Story Without End – Review in Jazzthetik July 2006
Story Without End – Review in Trax Magazine June 2006
Interview with People Like Us in The Observer 6 November 2006 – here, here & here
Story Without End – Review in Black Jan 2006
Story Without End – Review and Interview April 2006
Story Without End – Review in Cinemania May 2006
Story Without End – Review in The Wire May 2006
Story Without End – Review by Kevin Hamilton February 2006
Story Without End – Blow Up February 2006
Story Without End – Rock Delux Magazine February 2006
Story Without End – Magic Magazine February 2006
Story Without End – Debug Magazine January 2006
Story Without End – Intro Magazine February 2006
Story Without End – Sonic Seducer Magazine February 2006
Story Without End – D Side Magazine January 2006
Story Without End – Go Magazine January 2006
Story Without End – Bad Alchemy Magazine January 2006
Story Without End – Clone Magazine January 2006
Story Without End – Metro Magazine Summer 2005
“The Remote Controller” won second prize in the Backup Festival in Weimar 2004
Worked on a film/installation commission with Sonic Arts Network, 2004-2005
Worked on a film commission for LUX, 2004
Yerba Buena Center For The Arts with Matmos, November 2003
Article featuring media work of PLU on BBC site July 2002
Review of People Like Us album, Recyclopaedia Britannica, on BBC website 2002
PLU get a mention in Larry Lessig’s blog 2003
Very good interview with Kenny G on WFMU, March 2003
Small mention in The Guardian (UK)
Sound Unseen Festival, Walker Arts Center, Minneapolis 2002
Sound Unseen Festival, Walker Arts Center, Minneapolis2 2002
Ether Festival Flyer, Purcell Room, London 2002
Ether Festival review in The Wire, Purcell Room, London 2002
Ether Festival reviews, Purcell Room, London 2002
Sight and Sound magazine 2002
Lovebytes Festival Programme, Sheffield 2002
Lovebytes Festival Programme, Sheffield 2 2002
Oblique Lu Nights Festival, Nantes, France 2002
People Like Us at Sound Unseen, Minneapolis 2002
LMC 10th Anniversary Festival, Purcell Room, London 2001
LMC 10th Anniversary Festival, Purcell Room, London 2 2001
People Like Us and Matmos concert at Sonar, 2001 (The Wire)
Laptops Live ICA, London 2 2001
Laptops Live, ICA, London 2001
Futuresonic Festival, Manchester 2001
EMAF, Osnabruck, Germany 2001
Electrofringe, Newcastle, Australia 2001
Reviews in NME and Bizarre Magazine 2001
Sydney Opera House flyer 1 2001
Sydney Opera House flyer 2 2001
Sydney Opera House ticket 2001
Lux Centre, London 2001
BBC Radio Times 2001
Sound Projector interview 2000
Exit Festival, Creteil, France 2000
The Wire magazine interview 1999
San Francisco Bay Guardian review 1999
Ars Electronica, Linz, Austria 1998
NME Single of the Week 1996
NME Interview 1996
NME Interview 1995
This is by no means an exhaustive list, there are many that we have not scanned in from the 1990s, and many a web search we have not made. But it’s a taster.
Review in The Wire of our forthcoming DVD
We’re very pleased to have received a favourable review in The Wire Magazine (October 2012) of our forthcoming DVD (and digital download) ((oh, and a 7 inch single!!)) THE KEYSTONE CUT UPS.
We’ll be announcing more about this on 30th September.
Preview of our forthcoming 7″ single and DVD in WIRED
People Like Us & Ergo Phizmiz will be releasing a 7″ single and DVD on Illegal Art in October, and a preview has been posted on WIRED’s website:
http://www.wired.com/underwire/2012/08/keystone-cut-ups-magic/
Swedish newspaper review for Radio Boredcast
AV Festival / Radio Boredcast mentioned in The Guardian
Lots of good press (and hilarious youtube mentality comments) coming in the UK press for AV Festival now. The 7th March Guardian has a very nice review, that includes Radio Boredcast.
http://www.guardian.co.uk/artanddesign/2012/mar/07/av-festival-as-slow-possible/print
First press coverage for Music For The Fire is very good!
Review of Music For The Fire (People Like Us & Wobbly) in Go Mag (July 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Magic (July 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Playground (June 2010)
Music For The Fire (People Like Us & Wobbly) in Huw Stephens’ Radio show BBC Radio 1 (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Limewire Music Blog (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in MusicOMH (June 2010)
Music For The Fire (People Like Us & Wobbly) in Stuart Maconie’s Radio show BBC Radio 6 (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in My Old Kentucky Blog (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Polychromic (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Beyond The Noize (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in aaamusic (June 2010)
Review of Music For The Fire (People Like Us & Wobbly) in Little Village Mag by Kembrew McLeod (May 2010)
Music For The Fire gets Radio 1 airplay (May 2010)