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The Clandestine Experiment review The clicks, whirrs and chimes of the instrumental intro makes it clear that Cindergarden's Jaymie Valentine has retained the unique industrial music box aesthetic that marked her debut. It's the second track, "Genesis," that first reveals how much she's matured as a singer and songwriter, less spooky clockwork doll than multifaceted artist, girlish whispers left behind in favor of a soprano that glides over piano and synthesized bell arpeggios. Sonically, is also a far more diverse effort, encompassing everything from the driving aggression of "Alibi," reminiscent of Diva Destruction and The Razor Skyline, to the moodier violin-laced trip-hop of "Sacrament" to the sensual night garden atmospherics of "Something to Kill For." While "Mire" and "Nothing Revealed" recall Valentine's earlier work with their synthesized harpsichord and wide-eyed spookiness, there's a new seriousness here, both in theme and in sound, less dusty attic and more sprawling fog-shrouded wasteland. Title track "The Clandestine Experiment" in particular achieves an impressive density, Valentine's vocals deadpan over layered arpeggios, dramatic timpani crescendos, and guitar-laced orchestral samples that come together in an beautiful miasma as evocative and complex as Last Rites-era Skinny Puppy. Not every song is quite so heavy or intense, but even comparatively lighter offerings like darkwave dance track "Things that Never Die" and softly brooding "Digging Up the Bones" benefit from multi-tracked vocals and crystalline synth-string and organ arrangements that give the album as a whole a slick, professional charm. One of the most promising sophomore efforts of 2008, The Clandestine Experiment reveals an artist blossoming into the potential only promised by earlier releases. ~Matthew Johnson. Underground Light Machine review from GRAVE CONCERNS There's at least a touch of Skinny Puppy in Jaymie Valentine's past. It comes through in subtle ways on her debut album, in the slow electro beats of "Mask Of Silence" or the simple synthesizer arpeggios of "Stranger." Valentine's Cindergarden project, however, is ultimately less about industrial terror than disquieting dreams; there's a dark surrealism throughout her music that perfectly matches the whimsical but creepy album art. Think Rasputina with keyboards instead of cellos, or perhaps a dreamier, more languid version of the psychotic dolly imagery of Switchblade Symphony and Jack Off Jill. It's all lovely stuff, ranging from synthpop-influenced dance tracks like "Ubiquitous" to softer pieces like "Sad Eye Doll," with tinny electric pianos on "Bad Dreams" and music box chimes on "Wasteland" giving things a particular feeling of nostalgia that evokes Victorian ghost children languishing in dusty attics. "Dirty Ritual" is also a stunning track, with fuzzy vocals contrasted by crisp, lacy harpsichords. Valentine delivers most of her vocals in a sort of breathy whisper that's quite suited to the album's moods, but the rich harmonies of "Dying Kind" show a voice that's arrestingly pretty when she wants it to be. Underground Light Machine is a stunning debut, and presages great things to come. Valentine has already discovered her artistic voice; the only question left is what she will say with it next. ~Matthew Johnson. Underground Light Machine review from GOTHIC ANGST This is darkwave. This is electrogoth. Jaymie redefines what dark electronic and dark ambient should be with this album. The tracks are strong, expressive, emotive and accessible. The whole album is expertly executed and aims to strike a chord with your deepest emotions and darkest thoughts. By the end of the album you are left aching for more. Exquisite darkness that is painfully wonderful. ~Chris Stead