Armed with just a drum machine and a guitar, Ken Gibson pours layers of effects-drenched noise over primitive percussion loops, creating a distinctive, dense sound that's like a US cousin to Bristol noisenink Third Eye Foundation. Mixmag 2/98 Without prog rock self-indulgences, but with a complete lack of vocals, (in this case a good thing, less is more remember) and an uninhibited self-awareness, EFM manage to take you on a journey which only ends when you're jerked back in to reality, wide-eyed, bruised and drooling slightly. Melody Maker 01/98 Locking onto the same unremitting downward spiral as PIL's "Metal Box" masterpiece, 8FM's spectral rock is eventually tempered by a succession of blissful reveries and My Bloody Valentine-like audio blizzards. Deep sounds from the Deep South. Sleaze Nation 2/98 Gibson's genre-blending ensures 8FM's sound will always exhilirate, yet it's the soulful nature of his aural atmosphere that makes his experimentation so assured. Vox 5/98 Gibson has a bass sound almost approximate in girth to Jah Wobble's, if lacking an essential individuality, and he does sometimes evoke the percussive sound of flesh and blood laying into industrial detritus with metronomic abandon, which is always a pleasure. The Wire 3/98 Gibson drapes splinters of white noise over clattering mantras of rhythm, interspersed with Jah Wobble-esque bass, and crystallises it all in the most chilling dubbed-out echoes. Maybe global warming is a myth after all. Uncut 4/98