Tomas Nordmark
The Wire – Exit Ghosts

Exit Ghosts develops this, but roughs it up around the edges, leaving caustic detritus around its fringe. “Ghosts” takes ethereal drone, spraying it with bursts of harsh and haunted hiss, while the weird electronic tones of “Nights” have a constant static crackle and hum, as though recorded close to a malfunctioning substation.”


Paste Magazine – Exit Ghosts

“…that exquisite tension between the human and the synthetic, the natural and the unnatural that makes Exit Ghosts, the new album from Swedish artist Tomas Nordmark, so beguiling. Nordmark limited himself to just one synthesizer to create the eight pieces on this record, flooding the stereo field with icy tones and long, sweeping melodies that stretch out before the mind’s eye like a vast Arctic landscape”


Brooklyn Vegan – Exit Ghosts
“…a world that is ambient and enveloping, minimalist but layered and deep with feeling”


Backseat Mafia – Exit Ghosts

“A sorcerer of the musics of the nocturne, he’s happy to thrust into the shadows and pull out what he finds there. “Nights” is certainly one of the most beautifully terrifying pieces you’ll have heard since Ravedeath 1972 dropped. Sometimes it is just beautiful, and that’s absolutely valid; when Tomas allows his amassed aural weaponry to scour, though; that’s where this album touches immense.”


Treblezine – Exit Ghosts

“It’s like standing beside a frozen lake and sounds, carried by gusts of wind, from all over the planet can be heard. But they are fragmented, disintegrated from their perfect original. They still carry with them a trace of beauty or sorrow, but they are no longer what they once were.”


self-titled – Exit Ghosts

“Tomas Nordmark Cuts a Crackly Mixtape Inspired By His New Album Exit Ghosts”


New York Times – Eternal Words
“Human,” an electronic instrumental by the Swedish composer Tomas Nordmark, has a meditative, nearly ambient foundation: sustained, consonant tones like distant horns. But the foreground is jittery, full of unpredictable, glassy tones that briefly hover, then disappear. Mood: inscrutable.


The Guardian – Eternal Words

For an abundance of textures, check out Eternal Words by the Swedish-born, London-based composer Tomas Nordmark. Each track is a heavenly, palate-cleansing series of minty-fresh synthesised drones and bleeps that manage to tell stories that resolve without even hinting at melody.


Bandcamp Album of The Day – Eternal Words
“Tomas Nordmark’s immersive electronic sculptures feel like time-lapse photos of technological decay.”

“Nordmark creates his own sonic language that relies heavily on textures, from the lacerating noise of “Words” to the jittery ambience of “Days” and “Speaking,” a blissful trip anchored by a bone-rattling celestial drone.”


Toneshift – Eternal Words

“The passages are half barren, half emblazoned with spectral shapes, that dance like shadows in a dusky light, all the while keeping vivid tones peeking from the sidelines. The compositions are mildly minimal, yet yield to the allure of abstraction. Such is one of the more elusive tracks here, Future. It’s a space jazz locked in a time capsule returning to Earth from somewhere down the pike. ”


Francis Chagrin Award / Sound & Music UK