"The sound created by Object is unique and can be called avant-garde. It goes further than most releases nowadays in the electronic sector. Maybe only for freaks, but it is possible that Object is ahead of his time."

Gonzo Circus, #50, August 2001
"Those who think that contemporary electronic music has reached its nemesis with the clicks and cuts movement have to revise their opinion after listening. Object takes things even further." - (Serge De Pauw)

de:bug, June 2001
" (...) The different ingredients are treated in such a sparse manner that, once the right way is found, an increasing and addictive bond is created between the listener and the tracks. (...) The amount of pleasure this release gives to you depends on the attention you are prepared to give to its tracks." (PP)

Read the full review (in german, external link).

Side-Line, # 36
"A simply wonderful microscopic gem. (...) Repetitive loops and samples of crackling sounds form a matrix, like fine gauze covering atmospheres which sound chilly, but not cold. Extreme frequency explorations meet rhythmic feel and ambient dives. A lot of glitch-click ambient quickly peters out and becomes derivative. Object keeps you on your toes and its subtle dynamics keep your ears pricked. Despite alienating frequencies and crackles, its always surprisingly calm. Never dreamy, but always self-indulgent."

Rif Raf, # 126, June 2001
"The third release on Brussels based label Foton offers a platform for the microscopic architecture of Object. (...) In 'a/b', the listener is guided along a path of rattling electronics, while the nicely composed 'Symbolic' combines human voices with technology. For connaisseurs, as expected." - (svs)

Plastiks, # 48, June 2001
" (...) Release the Object combines the tenacity of Pan Sonic with the composition talent of, let's say, Senking. The result is a translucid 'microphony' (...). Music as a liberation." - (Mario De Block)

Seven, May 2001
"Foton puts out its third installment by sound device minimalist and co-founder Peter Van Hoesen. Assembling six tracks focusing on the relationship of sound devices and how they interact with each other in particular environments, Object gives us a raw peak into some of his auditory work. Packaged with an interesting slide schematic and surreal painting by Ela Stasiuk.
"Living machine music for the mind" would be my best description for this release. It seems that the music is not music at all, but takes on a form of identity of its own, focusing more on just being a sound. (...) A very consistent label that continues to push its directions in minimal sound experimentations; probably not something to miss live. Headphones recommended." - Alan McCLelland

Read the full review (external link).

Ampersand, May 2001
"A complex and abstract work - the site draws a line through Ikeda, which I can't hear very strongly, though there are some similar gestures. However, it doesn't need that comparison, as Object stand strongly on their own, creating a work which draws you in, beyond the structure of the sound particles, and to the heart of their artistry." - Jeremy Keens

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Ultra, May 2001
"The music keeps fascinating, the progressions all seem right, the sounds are very refined and interesting, nothing is cheaply done, it's all very machine-made and object-like, but it sounds humane, warm, sometimes even organic ("Symbolic 2"). (...) it sounds as if it may be the missing link between the best works of Ryoji Ikeda, Bruce Gilbert (eigthies era), Elph and "Clicks & Cuts."