“All woman and all business – the Australian singer-guitarist … unveils a fetching line of balladry: black-hearted folk song draped in fuzz, topped with a dark, baby-doll whisper…imagine Nico channelling Sandy Denny in front of Blue Oyster Cult and you’re close.”

David Fricke, Senior Editor, Rolling Stone (USA)


“Dense with thick, distorted chords and swampy moans, but with graceful, delicate moments as well, the disc is primal, raw, and gut-wrenching.”

Shawn Connor, Straight.com (Vancouver Canada)


“Penny Ikinger is precious! A very rare kind of guitarist/singer, she combines a velvet voice with a daring/adventurous playing style.”

Alain Feydri’s Abus Dangereux (France)


“Penny Ikinger’s sublime voice blows away everything else.”

Patrick Foulhoux, Dig It! (France)


“Songs that make a guitar sound travel from the strong impression, with storms of feedback and fuzz, halfway between the noise and shoegazer. And with a weapon more: the seductive and sensual voice of Penny that wraps all the compositions and branded with its personal tone.”

Robert Calabro (Italy)


“She is a timeless guitar goddess. Some attesting to her status and respect should come from the credits list of those alongside her: Graney and Moore, Deniz Tek, Charlie Owen.”

Drum Media (Sydney, Australia)


“Penny trades in music that’s smeared with guitar feedback but not derived solely out of a blues rock base. There are elements of folk as well as her sultry and increasingly confident vocals.”

The Barman i94 bar webzine (Australia)


“Ms I’s credentials put her in the antipodean rock first division. The sitar-centric, Traffic-like take on “All Tomorrows Parties” gives the song a crucial twist out with the generally faithful boundaries that a cover would usually take.”

The Next Big Thing (USA)


“Incredibly cool femme fatale laid-back noise rock by Australian guitar beauty Ikinger. Slow and scorching…”

Lowcut Magazine (Denmark)


“When, like a dark fallen angel looking for joy after whispering her strange vocals, Ms Ikinger switches on her pedals and lashes on her guitar… the effect is truly amazing, and the result sounds like someone is screaming with pleasure and drowning in an ocean of tortured wah-wah at the same time.”

www.foutraque.com (France)


“…humming voice and melancholic talent, trapped in between subtle instrumental cobwebs and ambitious artistic desires…”

Jaime Gonzalo, Editor, Ruta 66 (Spain)


“Ikinger’s guitar is noisy and abrasive and provide a nifty counterpoint to her sultry and subdued vocals.”

Steve Gardner, The Big Takeover (NYC, USA)


“Ikinger’s white noise, boffo-distorto six-string mayhem is particularly noteworthy on Shipwrecked, which puts you right on the bow as that ship goes down headfirst to the bottom of the murky depths. It is the closest any female – hell, any human – has come to replicating the virtuostic majesty of Hendrix.”

Jeff Penczak, Fakejazz (USA)


“Toe-nail polish and noise guitar. Sexy, silvery sandals and breathy, twisting and turning vocals.”

Sally Green Mohair Sweets (USA)


“Intriguing storylines with dark, subliminal imagery scythe their way into your consciousness – with Ikinger’s aggressive white-noise cacophonies of guitar counterpointed by the compelling coo of her voice, each song comes on like an austere yet assuredly dangerous siren’s call from the depths.”

Sophie Best, The Age Entertainment Guide (Melbourne)


“…it’s like she’s harnessed the concentrated energy of a thunderstorm … and it’s straining to explode as she performs all kinds of unnatural acts and inventions with her instrument…”

Dream Magazine (USA)


“The songwriting is solid, with a personal voice already peeking its head through the guitar textures. The singer/guitarist has a knack for catchy melodies. Their immediate charm, almost pop at times, is counterbalanced by her sleazy guitar playing.”

Francois Couture, All Music Guide


“Maid of Orleans, a haunting lament for Joan of Arc, achieves a mythic grandeur Patti Smith would proud of and makes my hair stand on end each time I hear it. Electra is an extremely assured debut album, strange, beautiful and deserving of your attention.”

Readings Books and Music Monthly (Australia)


“Penny Ikinger’s evocative shoegazer psyche is double haunting. For one, you have Ikinger’s sultry siren song; secondly, you have that backed up by ethereal but hardly wispy tripped out beauty distortion fusing a strong dose of shoegazer alt and a tad of neopsychedelia. At times there’s almost an exotic flavor to the proceedings and, hell, Andalucian Man could have been the Electric Prunes, just about, if it wasn’t for the female vocals and a couple of subtle touches that reveal its modern origins. Terrific.”

Fishcomcollective Kristofer Upjohn