"The whole tape is a stunning display of techniques, creating something as astral and colorful as the name suggests."
"...spaced out and kosmische, an eight part song suite that finds Kattman's guitar drifting through clouds of blissed out shimmer, encountering the occasional burst of gristled static, and conjuring up the same sort of galactic drift as aQ faves Expo 70, but The Rainbow Body takes that sound even further out, more ghostly and spectral, most of the tracks floating ethereally, the sound so dreamy and tripped out and softly psychedelic, that on first listen we thought it might have all been synth based, the guitars looped and wreathed in effects and transformed into streaks and smears, blurred expanses of chordal shimmer and disembodied melody. But there's more going on there that just drift and shimmer, Kattman laces the tracks with mysterious pulsations, strange tonal shifts, buried rhythms, woozily tangled loops, occasionally slipping into ominous sci-fi drones, but just as often blossoming into prismatic new age glimmer, and while there are some more sinister moments, where the sound grows moody and mildly malevolent, it's all part of the Rainbow Body's cinematic scope, Metatron's Cube playing out like some strange celestial soundtrack, the score to some mysterious planetarium show, it's the sound of a million stars time lapsed into a sky full of fireworks like streaks, a mesmerizing display of cosmic sonic drift and spaced out dreamdrone mesmer."
"The heavy, radiant and super-syrupy drones are laced (or rather: constantly under attack) by ear-drilling glitches, passages of improvised guitar noise elevated to the point of deconstructed, screeching electronic madness that punctures the sea of pulses. Sometimes, however, the noise settles and gives way for more “cultured”, progressive electronic connotations, filling the droning, analog night with glowing sequences, arpeggios and microscoping bleeps and bloops, propelled forward and fuelled by the primeval droning background. Sometimes the seemingly all-mechanic, humanless sounds will bring Keith Fullerton’s Whitmans sweet, warm algorhythms to mind (Generator series, anyone?). But despite that, there is less space here for mathematic experimentalism, and much more space for almost unlimited expression of the love of ambience and long, drawn-out soundscapes. Matt Kattman celebrates ambient and drone music by letting it go freely, by erasing all kinds of limits, the drones can grow to overwhelming heights. Kattman studies how big can a drone grow in its natural environment."
"Mastered by James Plotkin, the debut album from Rhode Island composer Matt Kattman, Metatron's Cube, is a slow-burning, kosmische sprawl with an engaging and active drone. The name of his album, "Metatron's Cube", references Metatron, an enigmatic angel-figure in Talmudic and mystical Jewish writings, known by his title as "the Lesser Yahweh". A "Metatron's cube" is a construct used in sacred geometry, though I don't have too much more poop on that scoop. It's all in the Book of Enoch anyway, so don't forget to break out your Pseudepigrapha if you get this bad boy."
"Gorgeous. I use that word a lot, and it's usually appropriate but never so much as now. Matt Kattman uses guitar and effects to create massive pieces of drone, noise and soundscape in a way that almost melts my heart. Fans of Eluvium would be encouraged to take note here but it doesn't sound exactly like that. A little more raw, repetitive and harsh. Noise breaks up swelling waves of orchestral sound, tiny glitches in the fabric of a drone peak through here and there… it's excellent."
"Deadwood drifts, warp drive floats, lost labyrinths. Also the whole thing sounds so absolutely huge and amazing, even on cassette tape; it's an impressive, totally enveloping zone to be in."
-Tome To The Weather Machine