“Minimalist composer David Borden’s best compositions match those of contemporaries Philip Glass and John Adams... Places, Time & People is dedicated to those things near and dear to Borden’s heart: it manifests the broad range of his talent, from works with spiky, yet fitting dissonances, to a Philip Glass parody. All of it fine stuff.” Wired, Dean Suzuki, Feb. 1995 (England)
“An unreconstructed minimalist, Borden has a touch of Andriessen’s relentlessness, but his images are more varied and arresting... The textures are more elaborate and pop-influenced than Reich’s or Glass’s; the growling electric bass recommends itself to rock fans, and the urgently bittersweet atmospheres might appeal to New Agers. But in Esty Point and Malaise Borden explores some of the most convoluted harmonic changes post-minimalism has approached.” The Village Voice, Kyle Gann, 9/4/94 (USA)
“Borden has beome one of our unsung post-minimalist masters, a composer who unfortunately isn’t given his due in a form that often only allows Reich Riley and Cage. Perhaps that’s because Borden’s work tends to transcend the rigid noteplay of accepted minimalist styles: he’s as content to introduce rock elements and bursts of dissonance... as he is standard phrasings and structures... Recognition’s due this man, and no sooner than now...” i/e, Darren Bergstein, #8 (USA)
“Borden couches his minimalism in electronic instruments with kaleidoscopic contrapuntal themes... With compositions named for places near Borden’s home...and people he’s known...this is a more varied album for Borden. The first three works.. tend towards evocative landscapes set amidst twinkling cycles. But later works traverse darker, more ominous themes that veer towards a manic avant-garde sound.” Jazziz, John Diliberto, Jan. 1995 (USA)
“a series of instrumental compositions, marking milestones in his [Borden’s] life, be it places (mostly in New York state, where he’s from), times (retirements, appointments, etc.) and people (a series of David’s friends)...[on] “For Rose Mary Harbison”...Along with the swirling work of Judy Hyman, he plays this immediately recognizable high-pitched line on the keyboard. The tension the two players produce is sommendable, reaching a most chaotic of climaxes.” The Newspaper, Tom Sekowski, Feb 1995 (Canada)
“Despite being primarily produced with electronics and samples, this is far more energized and fluid, offering a variety of moods and styles, bridging the cold dark corners of this angular world through corridors of light and color. Tracks like “For Bob Haskins”, “Enfield in Summer” and “Esty Point” are rich with emotion, depth and subtlety, painting warm flashes of gentle color over shimmering electronic soundscapes. Others, like “Droneland” and “Her Inner Lock” take more of a contemporary approach, a bit more distant and surreal. In all, this is certainly one worth checking out.” Exposé, Peter Thelen, Jan/March 1995 (USA)
“One for fans of Philip Glass, Steve Reich and perhaps even Mike Oldfield.. The sounds are very attractive, dreamy strings combine with electronics to provide a soundscape...” Facelift, Richard Scott, 6/95 (England)
“”What we have here is a variety of well-conceived compositions. The minimalist style keeps the arrangements clean and uncluttered... A fine album. Music Uncovered, Dan Peeters, Dec. 94 (USA)
“Top 10 Albums of 1994 Ben Kettlewell: #1= David Borden Places, Times & People (Cuneiform)” i/e, Ben Kettlewell, #8(USA)
“some excellent composition, such as the “Her Inner Lock,” with its disjointed woodwind line, or the bustling piano of “Unjust Malaise.”...I found nearly all the songs... quite fascinating.” Gibraltar, Mike Taylor, 12/18/94