“Lights Out”: 7.8 / 10
“[Lights Out] feels like one desperate night alone.”
-Pitchfork Media

As far as I know, Nat Baldwin doesn’t use staff paper (at least he didn’t when I saw him play last week), but his facility in the manipulation of both the spatial and temporal aspects of music suggests that he either uses a musical staff (wrought of what? ebony?) that imparts to him god-like powers of emotional evocation, or a competent musical staff of advisors, wonks and mandarins … soaring, monastic vocals … Write home about this; it’s something to write home about.
-Said the Gramophone

It seems as though Nat Baldwin is sharing all of his personal secrets with us, and it’s uncomfortably beautiful.
-Tiny Voices

With a voice somewhere between Karl Blau and Jeff Buckley, Baldwin lays hallucinatory vocal textures over abstract instrumental textures, creating genuine drama.
-Popmatters

It isn’t very often that a musician comes along and redefines the capabilities of the instrument he’s mastered. Hendrix did it with the electric guitar in the 1960s. Miles with the wah-wah trumpet in the 1970s. More recently, Andrew Bird’s been expanding the limits of the violin. Now, it’s time to add to this short but revered list Portsmouth native Nat Baldwin and his intricate work on the double bass.
-Northeast Performer