"A virtuosic jack of all trades."
The Village Voice
"Bajakian playfully fragments melody, evoking surf rock and downtown noise."
The Wall Street Journal
For there were flowers also in hell:
"Every track singular, every track strong. A MINUS"
Robert Christgau, Expert Witness, Vice, November, 2015.
"The record reveals Bajakian as a sardonic composer, a masterly improviser, and a purveyor of excellent tones who finds new wrinkles in one of the most traditional musical forms."
Adam Perlmutter, Premier Guitar, August 2014
"One of the best instrumental rock records of recent years, hands down."
New York Music Daily
"Mind-bogglingly fierce in its punk rock ingrained assault."
Brad Cohan, New York CIty Jazz Record
"The gorgeous 'Loutone' is a buzzing, shimmering, and ultimately blazing tribute to Lou Reed....’Rent Party' may be the most infectious song of all - a dark groove, blues-like changes, and a serious dose of sludgy post-rock all in the span of 5 minutes.”
FreeJazz, 4.5 Stars, Paul Acquaro
“Bajakian is the next Marc Ribot, but most critically, he’s like Ribot in the sense that he’ll often do something that other guitarists wouldn’t even think about doing…sometimes even Ribot himself.”
Something Else, Victor Aaron.
“A wonderful in your face stew of rock/blues/twang guitar with a furious bass and blues backbeat...Requiem for 5 Pointz” slows things down to an atmospheric and elegiac tone poem that has some sparks of energy shooting like comets against the evening sky.”
Tim Niland, Music and More
“Flowers” is an instrumental album, but Bajakian doesn’t need any lyrics to tell his stories. He blends noise, rock, jazz and many other elements without even really trying, or at least hiding it well if he is.”
Andrew McNally, Post Grad Music Reviews
With Lou Reed:
“The Velvet Underground’s “White Light, White Heat” beats everything, with Bajakian whipping out a
fast solo with infectious pleasure, as its careening garage-rock blasts off; a thrilling end to an
Independent UK, Review of 8/12/12 Lou Reed Performance at Royal Festival Hall.
With Diana Krall:
"The best part of the show was Mr. Bajakian's Wes Montgomery-style solo on "How Deep is the Ocean"
Pittsburgh Post-Gazette, Review of 4/9/13 Heinz Hall concert.
“By the third song, There Ain’t No Sweet Man Worth The Salt Of My Tears, Krall and co.
had settled into a solid groove with guitarist Aram Bajakian working his magic in the first of many electrifying moments to come.”
Toronto Sun, Review of 2/21/13 Massey Hall Performance
“Aram Bajakian brought forth wild, enthusiastic, angry solos, giving a new dimension
to these beautiful songs of yesteryear.”
Le Soir, Belgium. Review of Diana Krall’s 10/29/12 Brussels Performance
For Aram Bajakian's Kef:
“Few guitarists out there today think out of the box like Aram does.”
Something Else Reviews
“Brooklyn guitarist Aram Bajakian is yet another in New York City's long line of masterful
experimentalists, mixing rock, jazz, noise, and world music into an indecipherable avant-garde blend.”
Scott Morrow, Alarm Press
“Touch this pot with caution, lest you melt your fingers.”
Chris May, All About Jazz
“Bajakian's piece “Scabies” may be the record’s masterpiece... It’s noisy, but as was the case of the great
1980s quartet Last Exit (whose gloriously loud jazz the track resembles),
you can really tell the musicians are listening to each other.”
Troy Collins, All About Jazz
“The interlocking guitars of Marc Ribot, Jon Madof and Aram Bajakian parry and feint with
fervent intensity across the album. The visceral charms of such force are undeniable..”
Chris Nickson, All Music Guide
“Aram Bajakian plays his guitar like a percussion instrument, in the East Village no-wave tradition,
shooting sparks rather than notes or chords.”