“The driest and subtlest wine of noise music… Sound planes that might be cousin territory somewhere between Iannis Xenakis and Christian Fennesz, where a fascinating breed of ‘cute-noise’ fairies hum entranced buzzing and bubbling tunes, rendering most delicately their harsh and granular environment.”
-press release for Live As Though Dead, BricoLodge (Canada)

“Scant Intone began the night with a warble that quickly matured into cosmic resonance. Some faint samples and looped phrases chirped an intro before transforming into a textureless, repeating sonic boom of low frequency oscillation that lasted the remainder of the set. Katsiris nearly managed to find the resonant frequency of people, as bones vibrated and walls shook throughout his performance.”
-review of performance at The Remington Gallery, Discorder Magazine (Canada)

“Pushing listening to the extremes of perception. Atmosphere so thick you could cut it with a knife.”
-review of performance with London Concrete, ILL FM (UK)

“A fine set filled with miniature atonal crescendos, subdued skitter and interwoven sampling… Impressively, the duo were able to restrain their sound to a fog of subdued concrete clusters, ever dynamic and interesting. A fine display of what Vancouver’s subtler side of experimental music has to offer.”
-review of performance with Souns at Western Front, Discorder (Canada)

“Utterly amazing! A drone portal in the midst of Granville Island. It was like stepping into another dimension.”
-review of Game of Drones 12-hour relay performance for 47 musicians, Emma Tomic (Canada)

“Scant Intone played perhaps the most sublime set of the festival on a tiny keyboard in his lap, immersing the audience in deftly shifting forms.”
-review of performance at Big Joy Festival, A Closer Listen (USA)

“Vancouver finally achieves transcendence through drone. Recent Montreal ex-pat Scant Intone is the connection between the more metallic sound of the Fake Sleep series and his own Quiet City series, having opened both shows just recently. Founder of the Panospria net-label, Intone brings a more digital approach to his wafting waves of sound. Quiet City looks to provide a proper home for the deep listening experience.”
-review of performances at Fake Sleep & Quiet City, Scout Network (Canada)

“Through his long-running Quiet City concert series, along with his Panospria record label, his own live-music adventures, and his personal passion for forging and keeping connections, the artist also known as Scant Intone has been a low-key but invaluable proponent of the new, the challenging, and the oddly beautiful. Often working against daunting odds to carve out space for resolutely uncommercial art forms, Katsiris is one of the reasons why Vancouver has yet to fully succumb to the dead hand of corporate music.”
-review , Stir (Canada)

“These three live tracks are marvels of minute sonic artifacts… testaments to the imagination-inducing power of small sounds.”
-review of Live At PAVED Arts with Carrie Gates & Jon Vaughn, Disquiet (USA)

“Occupying a minimalist territory, these short pieces make for a consistent listen despite the widely different techniques that are used. Scant Intone reminds me of the most abrasive Fennesz records combined with some Pita in an interesting, claustrophobic space.”
-review of Delay Line Memories, Indie Workshop (USA)

“This long-running track is a fine example of ghostly drone ambient which involves an array of barely audible vibes, phase changes, and exhausting flickers. Yet, despite its minimalist framework it does have huge impact on the listener. This 14-minute composition can be compared with other Canadian musicians like Tim Hecker and Loscil. The track is a part of Katsiris’ album Swift Current. Very impressive.”
-review of Elevator, Recent Music Heroes (Estonia)

“Constantine Katsiris aka Scant Intone’s music is very specific in its highly austere yet sophisticated appearance. The Canadian musician’s quest to find out more and more soul and life from the limited borders of a rusty and iron loaded universe deserves attention to be paid off. Katsiris’ purposes to change the pace within the textural and rhythmic area are clearly discernible – one can hear iterative pulsating cycles coming from nothing and finishing off into nothing. Indeed, at times the artist sends off sounds and signals which almost cannot be heard and then they will crank up slowly in sounds and intensity. You can hear watery droning, crackling microsounds, and intensified electric current. The listener would think is it either a medium of reality or the abstract kind of music?”
-review of Victory Building, Recent Music Heroes (Estonia)

“This kind of ‘granola’ I do like, and I’m referring to Scant Intone’s composition. A miasma of abstract feedback, loops, and very short glissandi.”
-review of Granola, Unexplained Sound Editions (Italy)

“From this massive work Scant Intone can, for example, take monumental church organ drone and weave a symphony of Leslie cabinet-like shimmerings.”
-review of Interrogation Of The Crystalline Sublime, Vital Weekly (Netherlands)

“When done right, drone music can be rich, dense, and chalk full of colour. It can feel boundless, timeless, and even synesthetic, transporting a listener into a previously unknown state of awareness and perception. A good slice of drone can make a listener’s reality melt away, leaving them in a moment that feels untethered by time. Disc two of the remixes starts things off with Scant Intone’s “Remain Silent,” staying truest to the flavour of Comes’ piece with a vibrant, harmonic drone as it’s focus.”
-review of Interrogation Of The Crystalline Sublime, The Alcohol Seed (Canada)

“Unusual, personal, compelling music for humans.”
-review of performance at J’acousmatic: Spectre Sound (Canada)

“Beating chord with a dash of sorrow to taste. *chef’s kiss* The thrill of despair enhances those moments of bliss. I could listen for days.”
-review of Drone Day broadcast on Red Gate TV, The Passenger (Canada)

“Scant Intone played perhaps the most sublime set of the festival on a tiny keyboard in his lap, immersing the audience in deftly shifting forms.”
-review of performance at Big Joy Festival, A Closer Listen (USA)

“Thanks for putting on an amazing and quite honestly mind-blowing show last night.”
-review of Quiet City at Blim, Futureproofing (Canada)

“Nostalgia, a primordial landscape that seems to lie deep in the unconscious. All made from water? Striking, wonderful images and music.”
-review of Eye of the Storm screening at Tama Festival, K. Furukawa (Japan)

“This storm looks like a living thing.”
-review of Eye of the Storm screening at Tama Festival, Mayuko Inutake (Japan)

“Well worth a listen. One of the best chill-out albums I’ve heard in a long time; this deserves a proper release.”
-review of Khanspiracy, Analogue Bubblebath #20 (Ireland)

“Scant Intone spent a couple of weeks in South America last year… This live recording of a collaboration with Chile’s 886VG is edited for the C-23 format, a bleak metal banging set with a crazy cavernous vibe.”
-press release for 11.11.11, Brise-Cul (Canada)

“I have no idea who or what we are dealing with here… More of processing static, white and pink noise, feeding it off through a bunch of sound effects. Nice again, this violent form of drone music…”
-review of La Salle D’Attente, Vital Weekly (Netherlands)

“Acid Sunrise arrived in a nondescript package, without a press release, from somewhere in the Northwest Territories, I think. I tried to listen to it late at night but fell asleep right away and had horrible, repetitive, apocalyptic nightmares. Listening while awake is no picnic either: strange time signatures preclude normal dancing, Cosmos 954 is six minutes of static-laden droning, Somba K’e is like dog whistles mixed with variable volume and distortion effects applied to the sound of a CD skipping (it hurts). Nor can I stop listening; this shit is like an arctic mindbath. Strong points include really dope bass kicks, lack of any words or signifiers or thematic direction other than drug-basted sweathouse insanity, and extreme scariness.”
-review of Acid Sunrise, Hour (Canada)

“Monotonous blocks of rhythm, with the hissing of synthesizers to go along the trail. Creepy stuff this is, with mean sounds, flying over low like a cruise missile on a mission of certain destruction. Quite underground…”
-review of Acid Sunrise, Vital Weekly (Netherlands)

“Fucking tabarnak de câlisse! I’m obsessed with this album. It’s in my top 3 releases of the year for 2007 along with Burning Star Core’s Blood Lightning and Panda Bear’s Person Pitch.”
-review of Acid Sunrise, Le Son 666 (Canada)

“Montreal’s Scant Intone, aka Constantine Katsiris, set up next… With his laptop resting on the floor, inches from the crowd, Katsiris swayed over his computer while providing an assortment of aquatic textures that rose and fell featuring well-crafted drones.”
-review of performance at Send + Receive Festival, Exclaim! (Canada)

“Scant Intone’s unpredictable live electronics were very much with the tone of the evening, though coming from a decidedly different direction. The digital sound design was intriguing and his face was lit eerily…”
-review of performance at Fake Jazz Festival, Discorder (Canada)

“Des jeux de textures et d’intensités graduées avec minutie. Du début jusqu’à la fin, on a à faire à une longue tension générale, presque sans références, seulement quelques textures sonores superposées doucement de manière à garder une pression presque pénible sur l’auditeur. C’est un album très minimal, très froid, lourd, et très original! Et bizarement, pour quelques chansons, c’est peut-être l’album le plus dancable de Brise Cul.”
-review of Acid Sunrise, La Musique du Pas Monde (Canada)

“Le Canadien Scant Intone fait plus dans le drone et l’électro maximaliste… très riche.”
-review of performance at Akousma Festival, La Presse (Canada)

“Notre artiste digital préféré est de retour sur Brise-Cul pour la première fois depuis le mini-CD La Salle D’Attente, lancé en 2006. Sur ce nouveau disque, l’artiste habitant maintenant Vancouver nous livre 4 pièces denses et riches de musique ‘drone’ digitales.”
-press release for Swift Current, Brise-Cul (Canada)

“La salle noise cette nuit-la… ohhh my god. Juste trop fou. Trop trop perturbant. On aime ça!”
-review of performance at Under Society Free Urban Nomad Party, Rave Montreal (Canada)

“Posteriormente se presentó Constantine Katsiris de Canadá introduciendo su trabajo como solista denominado Scant Intone, Katsiris es dueño de una técnica única y particular de Tsonami ocupando grabaciones de campo distorsionadas bajo una proyección en estáticas, frecuencias de radio digitales centrado en la psicoacústica, una pieza de libre improvisación experimental con tintes de electrónica muy obtusa con un serio llamado al micro-sonido, nos hizo a ciertos ratos sangrar las orejas.”
-review of performance at Tsonami Festival de Arte Sonoro, The Holy Filament (Chile)

“Het is geen eenvoudig bronmateriaal om te remixen, lijkt me, zo een omvangrijk en amorf werk, maar met name Scant Intone en Juan Antonio Nieto weten het fraai naar hun hand te zetten.”
-review of Interrogation of the Crystalline Sublime remixes, Gonzo Circus (Belgium)


Lung Fanzine #15 (Greece, October 2022)
Stir (Canada, March 2022)
Low Frequency Festival (Canada, May 2019)
VanDocument (Canada, September 2017)
Vancouver Courier (Canada, May 2017)
The Wire (England, March 2017)
Discorder Magazine (Canada, March 2017)
CBC Radio One (Canada, August 2016)
Decoy Magazine (Canada, February 2015)
Cerebral Rift (USA, October 2014)
Discorder Magazine (Canada, November 2013)
Agharta (Lithuania, October 2012)
The Holy Filament (Chile, December 2011)
sub|division 2010 Recap (Canada, December 2010)
Bubblegum Cage III (Canada, April 2010)
Discorder Magazine (Canada, March 2010)
FILE 10 NURBS PROTO 4KT (Brazil, 2009)
Vague Terrain Journal (Canada, October 2009)
Canadian Art (Canada, October 2008)