“Genetti is speaking in tongues so well that she’d be just as welcome in a Southern church as in an experimental music venue.”
– Adam Kivel, Consequence of Sound, 2009

"Genetti flew through an enormous range of sounds and textures, capable both of intricate runs of staccato grunts and pops like the fatigued labors of a rusted machine and stretches of sustained, honeyed tones; she and Chremos chased one another in mutual inspiration..."
— Zac Whittenburg, Trailerpilot.com, 2009

“Two cuts, the first with Jon Mueller (percussion, voice) and Carol Genetti (voice) and it’s pretty marvelous. Now here’s vocal work I can get behind. Slightly guttural and frayed, fairly deep held tones, one rough pitch, allowing the irregularities to interweave and form multiple patterns. Percussion enters seamlessly, smooth and rumbling, Genetti still there though recessed. It turns harsh, Genetti beginning to ululate; good, tough contrast to the earlier half of the piece…”
– Brian Olewnick, Just Outside, 2008

“...a nuanced and rigorous close-listening affair that is Beckettian in its severity and asceticism.”
– Richard Moule, Signal to Noise, 2007

“Chicago sound vocalist, Carol Genetti, has astonishing breath and vocal control; her fearless, elastic warbles ranging from stuttering rhythmic cries to tonsil stretches to melodic swoops to nasal Tuvan-style drones.”
– Richard Moule, Signal to Noise, 2006

“Genetti is one of the more discreet improvising vocalists: there are no full-blown hysterics and theatrics here, just a patient exploration of tiny twitters, bleats and delicate overtones – imagine a small furry animal Tuvan throat singing … It’s fascinating, superbly paced and impressive work, well worth checking out.”
– Dan Warburton, Paristransatlantic, 2005

“Genetti’s wordless vocals—think of her as a singing Axel Dorner—set the mood for both Wright and Mueller to keep this affair at
its minimalist best. Genetti’s murmurs, groans, fidgeting overtones, and throat singing avoid the screeching and shouting you might
have expected.“
– Mark Corroto, All About Jazz, 2005

“Carol Genetti’s voice patches splintered memories of ancient times without forcing your attention on her subdued creativity, necessary like oxygen in such a context. Tiny harmonics, uncertain hissing and amicable Tuvan revolutions are gently sustained…”
– Massimo Ricci, Touching Extremes, 2006

“Genetti’s extended vocal technique immediately jumps out, bereft of any ties to speech or song-form phrasing. Instead, she stretches her vocal chords around hisses, hushed ululations, and cracked sighs and groans.”
– Michael Rosenstein, Cadence Magazine, 2006

“Carol Genetti sings without words with a very clear voice, with great economy, a chosen placement of voice and intonations of an extreme perfection. This music and the medium that presents it (on each CD Carol Genetti stitches a design by machine) represent a form of instantaneous perfection whose feeling forcefully invades the listener.”
– Noel Tachet, Improjazz, 2006

“The use of minimalism and bare naked captured sound here is both stark and (I think) a bit disturbing. This almost sounds like someone getting strangled to death in a cold dark room at the far end of the asylum. It’s freaking me out a bit. Add to that, the fact that this is a limited edition, and that ‘covers are made individually, each with a design sewn by the vocalist.’ What a deal. Every copy is individualized! A collector can’t possibly pass that up. What a great way to make a direct and intimate connection to your listener.”
– Neo-Zine, 2006

“Genetti’s wordless vocals dart and soar with an unforced flexibility. She effortlessly utilizes an impressive rang; leaping from warm, full tones to the highest creaks and lowest growls.”
– Michael Rosenstein, Cadence

“On local vocalist Carol Genetti’s first album under her own name, The Shattering (High Zero), she holds her own in interactions with saxophonists, clarinetists, guitarists, violinists, and an electronicist, meepng like a Beaker squaking like a flock of Seagulls. growling like a Tuvan throat singer and choking out alternately guttural and sensual strings a of syllables that seem like they’d make perfect sense if you only spoke her language.”
– Monika Kendrick, Chicago Reader

“Genetti achieves an unreal quiet glitch that would send a lot of contemporary electronic musicians running to re-program
their software.”
– Michael Anton Parker, All Music Guide

“Genetti’s contribution, though, is pure fucking gold...It’s raw energy at its best.”
– Brad Rose, Foxy Digitalis

“Voice acrobat, Carol Genetti falls in the venerable tradition of Cathy Berberian, and her elastic chords perform feats that seem nearly impossible. Genetti moans, shrieks, bleep, growls, blats, and produces an infinite number of indescribably subversive sputters.”
– Steven A. Loewy, All Music Guide

“…a vocalist whose singing is perhaps an acquired taste in the same way as steak tartare or sushi. Once you hook into it, it’s really quite exquisite, almost otherworldly”
– Achy Obejas, Chicago Tribune

Images to come.