E/i magazine (www.ei-mag.com):
It’s indeed difficult to believe that Gluid’s tracks on his self-titled debut are all sourced from microphones (real time, and literal, samples) and MiniDiscs; the record’s methodology immediately lifts it legions beyond what at first appears to be a journeyman (if well-accomplished) batch of glittery microsound experiments. Successive immersions into Gluid’s (one Bram v/d Oever) aural frame of mind, however, reveals instead an artisan at work. Compositionally, the disc is, dare it be said, flawless regardless of their origins, the sounds are no doubt manipulated, layered and ultimately juxtapositioned via Gluid’s chosen software du jour, meaning that not only is the recording immaculately produced and pristine in the extreme, but that the ends do in fact justify the means. There are enough breathy sequences and snatches of sublime melody (such as the bittersweet flurry of chirping notes that form the central motif on Ekal Naws) to keep the attention focused and the mind engaged. In fact, despite the obvious infatuation with clicks’n’cuts, Gluid’s m.o. actually proceeds gainfully across many of electronica’s sandier borders. Anyone complaining of a lack of substantial IDM records need look no further than right here. In between the chunks of ambient space sequestered alongside spasticized rhythms (A Mare’s Nest), arcing over yards of laptop buzz and dripping liquid chords (Peeters), or nestled in echo chambers whose sensuous pings are chilled below absolute zero (Maybe My Fault) lies the best record Warp or the late Defocus label never released. Madness into method, actualized with brilliant results.