"For almost ten years Tim Green, while living in Olympia, moving to & setting up Louder Studios here in SF, and wielding the guitar in The (Fucking) Champs, has quietly been making solo experimental electronic music. The three Concentrick albums are the fruit of those efforts. On the guitar, piano, Wurlitzer organ, plus an endless array of vintage synths (Micromoog, mellotron, Poly 61) and other quaint machines, he's constructed a quiet electronica album that issues forth unhurriedly and softly. Like Krautrock pioneers Cluster and Harmonia, or early Brian Eno circa Discreet Music, the sonic elements are invitingly simple -- rounded notes are held for many slow seconds, one imperceptibly dissolving into the next. The music exudes a sense of sustained drama without piling on layers or percussion (except in a few cases), or messing with the purity of the sounds of the vintage electronics, the added cello and the flutes. Very peaceful and serene. Practically new age... in a good way."
- Aquarius Records catalog
"Concentrick evokes strange comparisons, but this does not alter the fact that Green's effort here is pretty damn super. A delightful mix of sleepy ambient elements with a futuristic touch. Relax to it, fall asleep to it, or fantasize about Wilma Deering to it. The choice is yours." - Brad Haywood, Pitchfork
Tim Green recorded two wonderful releases - Lucid Dreaming and Tender Machines - that sound nothing alike and remain "off the radar" despite how good they both are. Lucid Dreaming is the more contemplative and quiet of the two. It travels a connecting path from modern classical (Lucid Moments, a few years before this sound seemed to come into the mainstream), dark ambient (Behind the Trees), pastoral prog very much in vein of Altero Stalteri (Secrets in the Shallows and the Sky), droning synth work (Sinking Slowly), and hazy narco guitar musings (Somnambulant, Falling Stars, Soft Place). I think the artwork captures the feel - wide-open and vaporous music for dreaming. Highly recommended. - Discogs