“…their sound also has an ethereal, arty flavor that comes from years of dedicated classical music training.” – Dan Grunebaum, Metropolis (July 24, 2014) // Read the full story
“…their sound also has an ethereal, arty flavor that comes from years of dedicated classical music training.” – Dan Grunebaum, Metropolis (July 24, 2014) // Read the full story
“Grooves, warmth, melody, seductive vocals – this second album from Brooklyn’s Flutronix, the flute-wielding duo of Nathalie Joachim and Allison Loggins-Hull is a home run.” – Rob Ross, PopDose (May 30, 2014) // Read the full story
“…a unique blend of classical music, hip-hop, electronic programming and soulful vocals reminiscent of neo-R&B stars like Erykah Badu.” – Tad Hendrickson, The Wall Street Journal (March 21, 2013) // Read the full story
“These flutists have cut loose from the orchestra to plug-in and party hard.” – Eli Rosenberg, Brooklyn Paper (May 27, 2012) // Read the full story
“…their new CD creates a mood of mystery and excitement while maintaining a high level of musicianship.” – Christina Guiliano-Cobas, Verne Q. Powell Flutes Newsletter (March 16, 2011) // Read the full story
“Our new favorite electro – acoustic flute music supergroup.” – Synthtopia (December 22, 2010) // Read the full review
“In a word, beautiful…the performance artfully plunders their recent 2.0 album with a deft confidence that swoons the listener with soulful vocals, masterfully layered arrangements, and an incomparable live presence that makes one envious of everyone there in the theater that evening.” – Dave Cantrell, Stereo Embers (June 9, 2014) // Read the full story
“Among Flutronix’s strongest attributes – aside from performance and arranging skills nonpareil – is not only their willingness to inject beatz motifs and other unlikely accents into a jazz-meets-classical-uptown mold but as well making deft collaborative choices while doing so” – Dave Cantrell, Caught in the Carousel (April 7, 2014) // Read the full story
“Nathalie Joachim and Allison Loggins-Hull are both accomplished players of the instrument in their own right, but together as Flutronix the duo conjure something special.” – Alexander Abnos, WNYC Gig Alert (January 15, 2013) // Read the full story
“Flutronix, their debut album, is a masterful collage of electronic and acoustic music, woven into multi-faceted textures that combine the instruments and digital effects in a very accessible, contemporary manner” – Brenda Nelson-Strauss, Black Grooves (January 06, 2011) // Read the full review
“Remarkably free of gimmickry and deep as a forest, these pieces bewitch the ear … they’re sturdy and mysterious in a way shared by Classical, New Music and Jazz instrumentals alike.” – Matthew Finch – Music Director, KUNM 89.9FM Albuquerque, NM (November 10, 2010)
“The style of the album has a sensuous neo-soul to EDM that is intermixed with their melodious flute playing. It really changes the way people view the musical art of flute.” – Alexa Knoll, Tri-State Indie (June 8, 2014) // Read the full story
“Flutronix brings a modern sound to the classical instrument…The group’s latest album ‘2.0’ has the sleek pulse of modern R&B” – Robert Ham, The Brooklyn Paper (April 4, 2014) // Read the full story
“redefining the flute and modernizing its sound by hauling it squarely into the world of popular music.” – Richardine Bartee, MTV Iggy (April 12, 2013) // Read the full story
“Joachim and Loggins-Hull’s success here lies in the duo’s impressive timbral coordination of acoustic flute with the inherent polish of synthetic sounds – no simple achievement.” – Doyle Armbrust, Time Out Chicago (April 28, 2011) // Read the full story
“Mood, effect, artistry and quality are what all artists want in their work, Flutronix hits the mark on all counts” – Pete Carma, Street Cred Music Critique (March 18, 2011) // Read the full story
“All in all, the nine tracks on Flutronix’s recorded debut make a strong case for a post-stylistic, post all-powerful-single-auteur-driven music, one that allows multiple voices to share in the shaping of a music that is equally indebted to and comfortable in several musical lineages.” – Frank J. Oteri, NewMusicBox (January 04, 2011) // Read the full review