--------- REVIEWS/PRESS ---------

EXCLAIM! | “Beautifully haunting"

GLOBE AND MAIL | "A piano stylist in the gorgeous, whimsical form of Eric Satie"

THE TORONTO STAR | “A cross between Erik Satie and Sufjan Stevens”

HOUR | "So simultaneously vital and gentle we may need to invent a new word."

SOUNDSCAPES | “Simply gorgeous, timeless stuff.”

EYE WEEKLY | “Emotionally gripping melodies… profoundly and transparently emotional without coming across as sentimental or schmaltzy”

SLACKERSOUNDS | “Chillingly beautiful”

HEROHILL | “These songs are, for lack of a more lucid description, stirring. His songs speak volumes even when no one says a word.”

BLOG T.O. | “Those celeb guest spots might initially attract folks to this album, but the beautiful piano playing should seduce them to stick with it.”

THE COAST | “Alone at the piano, Kobakov can achieve a gorgeous understatement”

THE UNITER | “Kobakov is able to separate the emotions on each track and give the listener a new experience throughout the entire disc…if you want to experience a new kind of music, make sure to pick up a copy”





FFWD | “Tickling the ivories with the grace and eccentricity of early 20th century avant gardist Erik Satie, Kobakov’s emphasis on melody, recurring themes and brief compositions successfully provides a “pop” accessibility. Recommended for the ADD-addled among us who can still enjoy a pretty piano tune.”

I(HEART)MUSIC | “I can state quite definitively that the whole thing is gorgeous.”

FASHION MAGAZINE | “No composition too difficult to love, no melody unhummable. This is music to give pop a good name”

TORO MAGAZINE | “Classical orchestration and independent rock music don’t usually sit at the same cafeteria table; the former is identified by its meticulous construction and epic aggrandizing, while the latter is powered by spontaneity, aloofness, and eternal youth. Todor Kobakov is one personality who mamay be bridging that divide.”

OTTAWA XPRESS | “Even if you don't know his name (which again, you probably do/should) you most probably know his work. He did strings arrangements for Emily Haines and the Soft Skeleton's Knives Don't Have Your Back, Sarah Slean Weight, and Stars ' Set Yourself On Fire. He has scored commercials and indeed feature films, including Pinkville and Young People Fucking. Oh, and aside from his solo work, which is gorgeous, he plays in Haines' backing back the Soft Skeleton, in Major Maker, and in Small Sins. Like, seriously, the guy's got a CV better than Jesus. (That's Jesus Jones, for the record.) “