[1] Dave Segal at Pitchfork wrote that "Giske's approach has more in common with the otherworldly fever-dreamscapes of the late trumpeter Jon Hassell and his young sax acolyte Sam Gendel than with any jazz traditionalists.
"[2] John Lewis, writing in The Guardian, describe's Giske's music thus: "Instead of hiding the imperfections, glitches and inner workings of the instrument, he foregrounds them, like a sonic Pompidou Centre.
His playing uses hypnotic repetition and some Albert Ayler-style overblowing freakouts, but Giske also draws from the techniques of the didgeridoo", from his time as a child in Indonesia, from the techno music scene in Berlin, and from queer theory, particularly José Esteban Muñoz's "queer time".
The patter of keys being pressed provides the beat, jangling away alongside reverberating sax riffs.
"[4] On Cracks, Lewis writes that "his producer André Bratten uses the studio as an instrument, exploiting odd resonances and echoes, ... manipulating sympathetic drones and harmonics, creating a spectral shroud around Giske's ecstatic burbles".