"Haunting, visceral and free." – Thomas Rees (Jazzwise Magazine)
"Never sounding too sparse, you can quickly forget that Run Logan Run is the work of only two musicians." – Lottie Brazier (Electronic Sound)
"Run Logan Run ought to be exactly where it's at." – Daniel Spicer (The Wire)
"An evocative and mesmerising masterpiece. The Delicate Balance... is compiled of hypnotic soundscapes and pounding beats, resonating with just about every emotion that the human consciousness is capable of." – Kelly Ronaldson (Bristol Live Magazine)
"The perfect cast for the second concert of Heidelberg's 'Late Night Stranger' series." – (Kalle Magazine, Germany)
"A clutch of songs that feature everything from tribal pounding to jazzy loops that astonish as they beguile. Arresting stuff.." – Graham Massey (The Crack)
Online / Radio
"Wildly inventive." – Tom Robinson (BBC Radio 6 Music)
"A raw, aggressive, and unrelentingly creative sound." – Robin Murray (Clash Music)
"Parameter-defying." – Tina Edwards (EZH Mag)
"That Death Is Elsewhere track is killer (pun intended)." – Delia Tesileanu (Netil Radio)
"This album is a triumph. It’s music for the music connoisseur at its finest." – Aislinn Keogh (Tap The Feed)
"Hard to categorize, their sound is visionary, merging jazz with electronic music, often entrancing and hypnotic bordering on spiritual and enlightened." – Sébastien Hélary (Next Bop)
"Fear not faithful traveller, Run Logan Run don’t deal in intimidating exclusivism, their debut album is a heavy (daddio), melodic cosmic joy." – Gary Cordwell (The Midlands Rocks)
"Employing only frantic tribal drums and a saxophone which seems less to be playing and more to be speaking, the Bristol based band have created a track which feels primal, vital, and almost as natural as the earth itself." – Sarah Gosling (Fresh On The Net)
"These chaps are the new generation of a heralded lineage of trained musicians forging their own unique style, akin to Polar Bear or Sons of Kemet who have gone on to critical acclaim.” – Dan Leavers (The Comet Is Coming)
"Somewhere between @MeltYrselfDown and @YussefKamaal, this is brilliant." – Big Jim Cambo (Fresh On The Net)
"The two-man Run Logan Run is so perfectly in sync that it’s like listening to twins born into jazz.” – Debbie Burke (Jazz Author)
"Their music ranges from quiet, bird-like noises to huge monolithic blocks of sound with strains of free jazz sax bubbling up in a Wagnerian landscape.
Andrew Hayes is a terrific and truly modern saxophonist with big-time skills. He is playing through an extensive pedal board of harmonisers, delays and more. He knows how to use these things to create a very composed, layered sound - an orchestration. There is a greater sense of composition in all this than is usually found in loop-based playing. Andrew is also deeply skillful, pretty much having mastered breathing techniques like circular breathing. When he improvises, he is reminiscent of great American musicians like Rahsaan Roland Kirk, Pharoah Sanders, et al.
Dan Johnson plays in a sort of tribal style, lots of toms, polyrhythms - not your standard snare-hi hat-kick patterns, a kind of distilled application of a Keith Moon style. They are great – go see them!" – Charley Dunlap (Listomania, Bath)
"Described in passing as ‘punk jazz’ a term so narrowing that it rarely does it justice, freeform yes, angular indeed and potent definitely. It’s the second cut that’s the main player here, smokier, bonged out and a damn sight looser in tone, reference wise imagine Wizards of Twiddly on some Marrakesh retreat and then some with additional Tubby Hayes wig outs.” – Mark Barton (Losing Today) reviewing Moksha 7"
"HEAVY SHIT MAN... I mean really, does a line up get any more... out there. Expect an experience. The minibus to Mamma Mia leaves at 7pm and will be dropped off down the road. This gig is not for the faint hearted. Ok?” – Charlotte Lister (The Prince Albert, Stroud) reviewing RLR / Evil Usses joint tour
"This was a completely disciplined music, the sax rippling arpeggios and catching the rhythm from the drums, the two musicians evolving each piece together, giving and taking to allow their respective sound palettes to develop. Hayes has a rare grasp of the electronic possibilities for the saxophone which allows multiple voices to contribute: sometimes heavily harmonised, at others harshly wrought squawking and occasionally a sweep of pure toned sweetness. Johnson’s capacity to grow and shrink the drumming role is as crucial, though, giving the dynamics the chance to reshape each tune.” – Tony Benjamin (Bristol 24/7)