• Excerpts from live gig reports, radio and record reviews
  The Noseflutes ride the discordant guitar plain and are right at the core of contemporary music.
• NME
• 
  The Noseflutes…lead a rush of bands whose several visions converge in a view of the future not so much apocalyptical, as a society broken down into highly-motivated, over-armoured fractions, beneath whose fire the rest of us scurry and dart.
  John Peel
• 
  Driving. Cotton-wool in the guitarist’s ears, stopping from hearing the dubious riffs he’s pumping out. The singer takes two. ‘This number appeared on your radios’. A light-hearted romp ensues, complete with acrobatics, a square dance violin, hooters and a swing rhythm. Me, I’m just wishing was up onstage instead of furiously scribbling in my notebook.
  NME
• 
  So a singer in NHS specs hurls himself against a side wall, mimes epilepsy, carries mike stands into the crowd Dalek-style or grins his way through Long John Silver with the same prop. Then he sits down to shout ‘Rotting Honeymoon’ over a noise squabble like walking past a rioting orchestra.
  Melody Maker
• 
  These fellows are sane enough and would like to pick Noel Edmonds to pieces with tweezers and feed his flesh to exotic rodents.
  Sounds
• 
  The three guitarists lounge around on the carpeted stage, but Longley just can’t stand still, pacing and swinging between the club’s ornate lamp-posts, plastic flora and fancy chromium balustrades like Harold Lloyd playing The Fly for a night. At every opportunity, the sex-beast singer terrorizes his polite audience by rubbing his body against them, gurgling obscene phrases into his microphone.
  NME
• 
  The Noseflutes are wacky…and I love it
  Cut
• 
  The Man sings like Nick Cave and Nat King Cole for God’s sake.
  Melody Maker
• 
  The Noseflutes is zo’n typisch engelse band die vooral John Peel bekend is geworden. De muziek van de Noseflutes is origineel, de teksten zijn absurd en ironisch. De tekesen worden meestal op de dag van een concert, onderweg in de bus geschreven. Noseflutes’ muziek is intelligent en karakteristiek.
  Ekko
• 
  THE 101 MOST AWFUL ALBUM TITLES ON RECORD! [Zib Zob and his Kib Kob]
  The People
• 
  Look at the Noseflutes themselves. They are hideously ugly to a man. A singer with a deeply offensive cheque jacket.
  Melody Maker
• 
  Too fast to dance to, or too slow – once they’ve found a refrain they don’t let go until they’ve had every last inch out of it.
  NME
• 
  A guitarist with a Hawaiian shirt, wads of cotton wool poking out from elephantine ears, and, horror of horrors, sideburns.
  Melody Maker
• 
  The Noseflutes, Lords of misrule with silly names.
  John Peel
• 
  They move inside a looming sense of the absurd, stumble into each other as if possessed of the urge to show how daft it all is, we are riddled with fault and idiosyncracy, life is an eternal shamble.
  Melody Maker
• 
  I put on the first side and one person ran out of the room and the other choked on his mince pie. The Noseflutes are perhaps, almost, geniuses; ‘Girth’ features an irritating hiccough all the way through. Learn to spray catarrh with the Noseflutes, they advise. I agree, I agree.
  Sounds
• 
  The tracks sound like unexpurgated chaos, but instruments have been deployed with malice aforethought and the final catastrophic mix can only be the result of considerable ingenuity.
  Q Magazine
• 
  This is an album you need to take time exploring, delving occasionally into its delights and its many twists and turns – from the ridiculous ‘Lumbo/Harmony of Dogs’ to the truly stunning ‘Holiday Time’ with its insistently whining questioning vocal line, every track a cracker! Musically it treads the slender line between electric esoterics and considered pleasure. Try listening to this and not go away whistling its annoyingly catchy riffs!
  NME
• 
  Accompanying the sardonic anachronisms are burning guitar interludes that manage to rise above the relative wackiness through the strength of their structures and the abundant diversity of layers encased within the songs. ‘This is my Home’ shows these qualities more than most with its wry, abstract mangling of reality.
  Sounds
• 
  The Noseflutes have emerged from the shadows to provide a plethora imagination and indignation
  Sounds
• 
  The Noseflutes have become the latest (and perhaps most ‘commercial’) addition to Ron Johnson Records with ‘The Ravers’ EP, five cuts recorded for John Peel. Resolutely intense with rich veins of cynicism and humour they skip gloriously across paths trod by Beefheart and Zappa, welding strength from theoretical discord and chaos on such hypnotic nursery rhymes as ‘Leg Full of Alcohol’ and ‘Catcheel Maskhole’ while ‘Serving in Paradise’ ripples with the waves of mutant folk, sieved through a rusty grater. The lyrics don’t take things easy either and a dip within shows the band to have muscles to their musical spit. While the world dances to fairy tunes of the chart, the Noseflutes are the gnomes and goblins of rock, the self-styled Lord of drip bop. Catch them, it's better than kissing toads.
  What’s On
• 
  The Noseflutes continue to make and release records that redefine the term ‘idiosyncratic’. There may be influencesof Beefheart, Zappa and Mark Smith, but frankly no-one sounds like the Flutes and no-one anywhere (thankfully) writes songs like Martin Longley. Judge his visions of a fractured, worm-dark world for yourself on the new 12’ (Ron Johnson) with the likes of the galloping fun of ‘Rotting Honeymoon’ (merrily, merrily), ‘Hanging A Scarface’ and the calypso fun of “Heartache is Irresistible’. Catch them live and you’ll likely hear trailers from the next single too, notably catching the ears off-guard with the tropical lilt of ‘Charms’ before assaulting them with the nightmare slashing teeth of ‘Fruit Fly’ and the unsettling rotting joviality of ‘Families Disappear’ as the housewife strikes back. Nosepicking good.
  What’s On
• 
  An album with a wonderfully disrespectful soul.
  Time Out
• 
  African highlife guitar bumps into fragments of calypso melodies and scratchy folk tunes
  Q Magazine
• 
  Zib Zob, you can safely assume, is one of the most stimulating and diverse albums you are likely to come across all year.
  Sounds
• 
  An array of mulched eclectic inspirations, wedded to startling accessibility, proving that the cake can be both eaten and had.
  Melody Maker
• 
  OK. Here's what I was listening to mid-Eighties,....The Noseflutes' warped and deadpan funny take on Captain Beefheart.
  Everett True
• 
  Calypso shambles, groovy bits and a myriad of eccentric experiments in sound, 14 fruity songs onboard. Not art-rock, just non-formula and all the better for it.
  Record Mirror
• 
  They make Edward Lear look like a logical positivist.
  City Limits
• 
  Pop Jollity behind scratchy squeaky guitar.
  The Guardian
• 
  A sardonically constructed cultural crossroads, a meeting point for African melodies, tribal rhythms, music hall drama, American art rock and northern intellectual cockiness. The Noseflutes proceed to create an extremely focused sound, the many components being channelled towards a single mood or atmosphere.
  Melody Maker
• 
  Strangely bizarre and alarmingly peculiar…a unique outfit with finely honed sound.
  Underground
• 
  It’s certainly a complex and thought provoking combination of oeuvres…and the Noseflutes create a challenging and off-beat musical landscape.
  Melody Maker
• 
  The music shines throughout. ‘Lurkin In the Jerkin’ is a fine little instrumental; ‘Dappled Offspring’ sounds like a dramatically on-form Pink Floyd; it’s a gem.
  Select
• 
  Intelligent, moody sentiment and tuneful guitar-based music.
  Time-Out
• 
  Throughout, drummer Ron Collins is a rare master, performing with a precision and subtlety rarely heard these days, while all around him is an intermingling swirl of guitars, violin and keyboards topped off with all-together now chorusing.
  Sounds
• 
  The band’s strengths lie in gracefully melodic bass and guitar duets like Mellow Throated, with its lost schoolboy vocal line, and the back-to-the-garage cosmology of The Soiler
  Q Magazine
• 
  The Noseflutes believe not in the fatal attractions of bruising barrages. This isn’t an album that’s in a hurry to get anywhere, often content to weave along amiably with occasional leanings towards World Music terrain. ‘The Soiler’ fits the languid bill perfectly, revelling in atmospheric strangeness. Beguiling and formula-free stuff for sure.
  NME
• 
  Witty, caustic, invigorating, stimulating, unnerving, surreal. All these apply without quite capturing the essence. Pop with the grinning skull. Stick a Murnau or Lang on the video, pin up the Geiger posters, put this on the turntable and party till your cortex bursts.
  Brum Beat
• 
  The Noseflutes are critical analysts a la vinegar. Sax scuttles across limbo-ing bass; shredded guitar and diced synth are added to vocal puke and trampled into your carpet.
  Underground
• 
  Don’t assume that a Sale of The Century organ sound or a beautiful glockenspiel solo means they have shelved their distinctive hardness.
  NME
• 
  They know the potency of creaming ideas up en masse with just enough sense left showing.
  Melody Maker
• 
  Indescribable really! Go check ‘em out for yourself.
  Time Out
• 
  The Noseflutes are genuinely exciting, and their sound is their own.
  Melody Maker
• 
  A set full of musical as well as lyrical and visual surprises.
  NME
• 
  Obtuse and perverse...I feel like I'm laughing at the mentally ill...except like all great outsider art, you're laughing with it.
  The Semanticist