"A man apparently hellbent on earning the title of World’s Least Rustic Banjo Player." — New York Times
"From punk and klezmer to African-inspired and ambient soundscapes, guitarist and banjoist Brandon Seabrook has developed a singular voice in the jazz world. Nobody plays banjo like Brandon Seabrook" — Jazziz
"brutalovechamp is arguably, his most laser-focused, melodic, and compact effort to date and one that provides a listening experience that is pure exhilaration and deeply meditative—due in large part to his Epic Proportions group, who help realize his vision. The newfound sense of patience and space produces an invitation to fully absorb all of the fine detail and otherworldly vernacular of Seabrook’s guitar wizardry" — Bandcamp Daily
"In concert, each piece is a hurtling, winding trip, veering between genre intimation and structural notions at a pace so fierce that it makes you wonder if a misplaced lick might cause a wipeout that’d take out a wall of the club. If you look away from his frantically mobile fingers for a moment, you might notice that he wrangles his torrents of sound with relatively little pedal enhancement; in a time when many musicians attach their pedals to boards bigger than a briefcase, Seabrook could fit all of his into a shaving kit." — Magnet Magazine
"His guitar work wrangles repetitive riffs, mantra-like rhythms, and a casual disregard for any kind of conventional playing, and he’s eager to use found sounds (i.e. samples from a non-digital recording source) not so much to fill out his layering as interrupt it." — The Big Takeover
"There’s nothing normal about this recording from Brandon Seabrook (banjo, guitar), Gerald Cleaver (drums, electronics), and Cooper-Moore (diddley-bow), and yet, there are interludes that unfold as logically as clouds crossing the sky." — Best of Bandcamp
" a resident chaos architect within the Brooklyn avant-garde scene—exploring everything from jazz-fusion to brutal prog" — Premier Guitar
"In the Swarm fails to fall squarely into the avant-jazz bucket (even when viewed as a broadly-defined and inclusive category). The explorations on this album are markedly innovative, standing out and bypassing genre. Very well done." — Avant Music News
"He's working out his changes in public, which is as exciting as it is dangerous" — The Wire
"The music is intense, dramatic, even aggressive; it is based on complex compositions and the use of multilayering of the various instruments delivered at breakneck speed. It has been described as having ‘the inventiveness of a mad scientist’ and ‘a strong element of physicality" — UK Jazz News
"Brandon is not of this Earth," said Joey Arias, the longtime New York vocalist and performance artist, who often hires Mr. Seabrook as an accompanist on guitar. "I always felt that he was the culmination of Eric Clapton, Jimmy Page, [Jimi] Hendrix and the New York Philharmonic all wrapped up in this beautiful perversion, challenging your imagination." — Wall St. Journal
"During the past decade or so, the fiercely dextrous New York musician has launched a number of bands combining serious chops with manic intensity and a left-field compositional vision" — Rolling Stone Magazine
"Indeed, I’ve been trying to parse the turbulent shifts and swings this music creates and I remain puzzled. But it’s the best kind of confusion, and rather than repelling me, the album keeps sucking me in, whether it’s the dolorous low-end long tones—two basses, contrabass clarinet, and cello digging into earth like a backhoe—in the middle of “I Wanna Be Chlorophylled II: Thermal Rinse” or the jazz Manouche bounce that drives “The Perils of Self-Betterment” and the way it’s brilliant pierced by the snaking, rheumy lines of McCowen." — Nowhere Street
"This is all inward-looking music, raw in a Jean-Paul Sartre-esque, existential sort of way. And although Seabrook may be averse to labels, some works cannot escape sonic allusions to the symbolists like Arthur Rimbaud, in for instance, Gutbucket Asylum. But make no mistake, every piece of music on this recording bears the authentic imprint of Seabrook’s feral sound palette." — The Whole Note
"With brutalovechamp, the perennial livewire Seabrook has coughed up a crackpot reverie, dangling images like a dreamlike treacle trawl through a [Ukrainian experimental film-maker] Maya Deren flick. In the process, he proves to be a composer of some complexity, offering parts of himself heretofore concealed, without relinquishing too much of that customary chutzpah." — Jazzwise
"But what emerges through the album is the confirmation that Seabrook is more than just a gifted performer. With brutalovechamp, the guitarist-banjoist announces his significance as a contemporary polystylist composer who gives equal weight to the ideas of giants like Gordon Lightfoot, Jimmy Smith, and Alfred Schnittke but binds himself to none of them." — Post Genre
"Intensely wired and seizure-inducing, Sylphid Vitalizers combines the insane thrash of Slayer’s Reign in Blood and the dissonance of Branca’s The Ascension with the mid-80’s skronk of SY, in the meantime transforming an instrument identifiable with country, bluegrass, folk and cathartic back porch settings, into a terror-inducing Black and Decker power drill." — Spin Magazine