"Tethered to loose wires dangling from analog machinery, Technique is an unusual listening experience. Broken synthesizers, knobs and sliders cascade their audio interruptions in the form of well-oiled love stories..."
- Igloo Magazine
"Twiggy AKA Michael Valentine West is an artist of varying guises. One second it's Prince being rodded by a strapped up Trent Reznor, the next it's like Aphex Twin having his nuts Tasered by Autechre. Either way it's the soundtrack to some kind of cyber bondage dungeon that makes you want to stick your reproductive organs in the CD player."
- The Fly review “We Are The Boredom”
“What a name for a band ! What a name for a single ! What a name for a record label ! This bug-eyed slab of cold, unsettling death disco comes from one very focused, slightly unnerving man hose middle name is Valentine and his non-existent backing band, who I like to think exist only in microscopic form, scurrying around in their band-leaders synthesizer wires and circuits, wreaking mischief. “We Are The Boredom” more or less defies description, and certainly there is no rhyme or reason to its ejaculations of noise and somnolent melody – the best compliment we can offer is that it sounds like the soundtrack to robot porn: sleazy and funky but with a cold metal heart.” - NME review “We Are The Boredom”
"I would say that I have a love/hate relationship with Twiggy & the K-Mesons’ Technique, but it’s actually more of a love/what-the-hell-are-you-doing? relationship. For every couple of groove-heavy, circuit-twisted, funked-up piles of danceable electronic car crash Michael Valentine West throws at me, there’s another ear-wrenching, how ya like me now tangle of electro-whatthefuck. West–who, by the way, is both Twiggy and all the K-Mesons–can charge through an absolutely catchy, low-end-worshiping bit of grim synthpop like “Preset Love” (which I think still has not let go of me) or hook into you directly with cool IDM like the quite infectious “The Right Place.” But I get to tracks like “Arcade Hotel” or “Bits of 369,” where it’s noise-powered nothingness and nonsense, and the only question is, Why? There’s plenty of fun to be had listening to Technique. “Mosco Disco Angels” thrives on its cheesy retro keyboard sounds and whumpwhumpwhump rhtyhm. If this one doesn’t make you smile, you have no sense of musical humor. (Thankfully, it’s also the last track where West insists on using an old-school computerized voice that had been wearing out its welcome. Well, “last” until the actual last track, “We Are the Boredom,” which has a great Kraftwerk-ish pedigree backed by chip-set touches.) “Dollar Mansions” turns into an adrenaline rush of glitch that’ll drive your heart rate up to a club-appropriate BPM, and comes with its own perfectly pulled-off tempo switch. And special mention goes to the quietly reflective “Requiem for a Dead Instrument.” It’s the biggest surprise on the disc, a nice blend of scratchy vinyl sounds, very light electronic treatment and a slow and simple piano melody. The imagery that West gets across is strong. All in all, Technique is worth a listen, particularly if your tastes run to high-energy electronica and a little bit of weirdness."