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“Garvey's compositional strengths, coupled with a concern for social issues reflected in his music, establishes him as one of America's most important electronic composers, in our estimation.”
“The music conjures up all its magical might and embraces you in a dream that elevates you into a surreal sensual sensitivity. Liturgical vocal sequences with Iberian fragrances open up the hills and valleys in a splendor of white monasteries and flowing rivers.”
"Billed as the world's first robotic theatre ensemble, OmniCircus is nevertheless no ephemeral vision of the future, but a thorough examination of the present through an unsentimental, yet curiously life-affirming lens."
“In Frank Garvey's House of the Deafman... there are whispers, chants, echoes, voices that seem to materialize out of the shadows and dissipate into the mist. Disturbed and disturbing. Chilling. Rich in aural imagery... a dark, haunting sonic journey through an anguished mind. House of the Deafman lingers like the nightmare that wakes you in the dim pre-dawn hours. The sinister robotic puppet show of the OmniCircus is as unsettling as the Lady in the Radiator from David Lynch's Eraserhead. And I mean that as both an endorsement and a caution. It is evocative and memorable.”
“OmniCircus's Labyrinth is a masterpiece in the expression and presentation of emotion and depth of feeling.”
“Frank Garvey is one of America's foremost video artists...his work shows the possibilities of video as an artform.”
“OmniCircus director Frank Garvey has an unnerving, intense presence, staring right through you. The robots are an expression of the transition between our dying era and the future. Garvey calls OmniCircus a robotic red-light district, full of mechanical whores, junkies, brawlers and beggars. He turns on GoBoy, a menacing robotic panhandler in a wheelchair who spins jerkily around the room barking "I'm just like you! Gimme fifty cent!" After GoBoy has made his rounds, Garvey takes the stage with his band, DeusMachina. The group's music is eerie, grandiose and operatic, full of mournful synthesizers and piano, droning guitars and melodies, and vibrations from a host of obscure instruments that are strewn about OmniCircus's black-box stage.”
“Circus roboticus. A troupe of robots forces audiences to confront the terrors of late 20th century life.”
“Imagine a radiation-scarred Rodin sculpture in an electric wheelchair that's also a party crasher and an "aggressive panhandling robot." Such is the automaton created by San Francisco artist Frank Garvey.”
“Sinister, ominous electronic cabaret music. The basic sound is slow to mid-tempo vocals with an almost Celtic sound to the music, but there are lots of things are going on here. This is the CD version of the superb rock/cabaret/theater show that took place at the OmniCircus. Strong Gothic/industrial influences (note the robots), touches of Tom Waits, lots of dark images of decay, but it never seems like a formulaic caricature: there's always *something* in there, just beyond your reach.”
“Mr. Roboto: Frank Garvey commands a troupe of radical robots. Deep in the technological heart of Carnegie Mellon University, Frank Garvey is creating a troupe of performing robots that sing, dance, preach and even misbehave, all to express a revolutionary vision. ”