RHEIN-NECKAR-ZEITUNG
Ein Virtuose des Mischpults, ein Zauberer der Multiplay-Machine…Das Ganze ist äußerst fantasievoll, vital, bunt, feurig, witzig und vor allem: rhythmisch.
A virtuoso of the mixer, a magician of the multitrack…the show is full of fantasy, vitality, color, fire, wit and above all: rhythm.
—Matthias Roth, Matthias Schubert, RHEIN-NECKAR-ZEITUNG, Heidelberg
PHILADELPHIA CITY PAPER
…They Might Be Giants’ best remixing bud Joshua Fried brings a balance of musicality…technology and political savvy to the stage — extemporaneously creating a living piece of music that resonates with topical immediacy. Using live FM radio feeds as the basis of performance, Fried’s fried mass media manages the impossible feat of making music ironic and messages melodic.
—A.D. Amorosi, Philadelphia City Paper [ONLINE]
VILLAGE VOICE
Marshall McLuhan’s writing about the intimacy of radio communication wasn’t lost on Joshua Fried…
Seize The Means…deconstructs voices from the ether in an absurdist, subtly undermining manner akin to Negativland.
—Richard Gehr, Village Voice (Nov 2-8 2016)
ELECTRONIC SOUND
In today’s world of laptop sound banks making things easy and predictable, it’s refreshing to encounter this now threatened breed of idiosyncratic New York artist bent on ripping up the rulebooks to realise his own visions. Joshua Fried is simply reaching back to a crucial time for sonic invention to chart a healthier future, where the human element remains an essential catalyst.
—Kris Needs, Electronic Sound, issue 28
AMERICAN MUSIC IN THE TWENTIETH CENTURY
One of the most inventive performance-artist-type composers is Joshua Fried…a rock-influenced postconceptualist with a steady stream of startling ideas. (Kyle Gann)
—Schirmer Books’ American Music in the Twentieth Century