Final

"Most of the material is highly processed guitar sounds, like feedback and drones. While these tracks don't exactly have hooks, their sounds are distinctly recognizable. For the most part, each track consists of one of these sounds processed over the course of several minutes, with occasional counterpoint from keyboard melodies or other ambience. The processing is sophisticated, and ranks up there with anything in glitch/minimal techno. While beatless, the material isn't sleep-inducing. The tracks have a strong digital sheen to them; at high volumes, the sound can be harsh."

Stylus



"The few melodic figures are listless and languid, but always far from the territory staked out by new-age pablum-pushers. The washes of ambience (the modulated feedback loop of "Laughing Stock," for one) retain a paranoid edge. Aside from the post-isolationist fundamentals of hum and drone, Broadrick and Dalton draw from a toolkit of simple shifting harmonies, alternately dense and sparse tone clusters (especially the weirdly endearing keyboard mashings of "Golden"), repetition, filter sweeps, and still other sounds that are inexplicably "wet," organic and free of outright harsh-noise copout."

Dusted



"When all is said and done, Final circa 2006 is basically Jesu stripped to its guitar-and-electronics essence, which pretty much means that dreamy, springtime hooks abound. Even at its tweakiest and most IDM-icized, 3 comes across as more written than not: Almost every cut seems to have, at its core, some kinda motif something that couldve been paired with something else to make an actual, you know, beats-and-vox-and-heft type song."

Decibel



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