Moving and prayer-like. Modern but authentically earthy. It’s ecstatic fusional qualities are totally awesome.

Truefriend4u a listener on Jango Radio


For the last four months, there haven’t been many days when I didn’t listen to Kevin Finseth’s The Wounded Quartet EP at least once, and on more occasions than I can recall, whole afternoons have passed with all four selections on repeat.
As crucial as Finseth believes the bass to be to the overall sound, it is Peggy Lee’s cello work that soars, floats, grabs, grinds and saws its way through each track that really takes the recording to another level.
‘The Wounded Quartet’ is a beautiful, personal music offering that you will likely never tire of.

Doug Heselgrave, No Depression


Finseth seems to take an approach that every song is just another scene in a movie soundtrack.  A wonderful glimpse of the possible beauty that can arise from a one-take improvisation between instruments.

Dave Sumner, Bird Is The Worm


On this four-song session, Finseth and amazing local cellist Peggy Lee perform duets ranging from the flighty 46-second long Reprieve to the pensive and cinematic title track Wounded, which closes out the album. It’s modern classical music beautifully recorded at Vancouver Live Sound and then mixed at the one and only Abbey Road Studio, London. A rather beautiful 13 minutes or so.

Stuart Derdeyn, The Province




Finseth sings his songs with a voice that’s delicate and feathery, though the four instrumental tracks he presents, “The Reader”, “Cairo April 1983”, “The Passenger” and “Sketches of Haney” are standout pieces. In particular, “Cairo April 1983” is simply spellbinding.  Frazey Ford (Be Good Tanyas) sings harmony vocals on the opening two cuts “Fall Away” and “Time’s a Train”; the former is just pristine, with cellist Peggy Lee filling the spaces, and the latter sees Ford matching Finseth’s fragile tone with sustained vocal notes. The result is sublime and quite beautiful –

Leicester Bangs


The Captive Road is an incomparable offering which, for someone who has made a career out of filing new sounds in old bins, must have been extremely challenging even for Kevin to describe. The moniker that seems to have stuck is “Ambient folk hymns … opium noir” which, I guess, is as good a place as any to start your journey down The Captive Road. Standout tracks include the opening air, Fall Away, The Reader, the exotic grooviness of Cairo April 1983 and some tasty guitar dueling on The Passenger.

Cal Koat, World Beat Canada