"The equilibrium between the mechanisms looks nearly ideal, in that both the relatively short extent of the disc and the composerís will not to surpass certain parameters of noise encrustation assure that illusionism and resourcefulness live in the same street." Massimo Ricci (Touching Extremes)
"Architect of Adversity' has much to offer. It is a rich an varied album of an accomplished player with unusual musical visions for a percussionist." Dolf Mulder (Vital Weekly)
"Flinn follows the footsteps of many musicians approaching 'percussions' in a different way. Having listened to a ton of recordings like this, in a few seconds you can't but notice his style and good taste for musical solutions." (Chain DLK)
"Flinn's percussion more closely resembles the Byzantine path of interconnected firing neurons than it does the beating of the heart." Signal to Noise, Sean Molnar
"Flinn is evidence that American drummers are beginning to recall that timbral serialism is the suspension bridge between funk and abstraction - what Big Sid Catlett knew, Peter Erskine forgot." Ben Watson, The Wire.
" Flinn's cymbals and bells seem to presage a toyshop explosion with all the playthings resounding every which way as they soar into the air." Ken Waxman, Jazzworld.
" An out of focus photo of what I assume to be a bulldog stares out from the back page of the booklet. And "Keep the Meter Running" certainly has teeth. Guitarist Eisenbeil has that rough and ready open -ended approach to improv that comes from playing with Cecil Taylor, and Flinn's spattery percussion work is just as strong." Dan Warburton, Paris Transatlantic.
"Flinn smears the palette with atypical coloration. The music appears in all its nakedness as an expressive emission of disjointed notes that fold together to make a tightly knitted cloth." Flinn interacts with magic and makes his drums speak in foreign tongues. He is on an irregular mission to blanket the battlefield with rim screeches, startling crashes and unexpected bursts of thunder." Frank Rubolino, Cadence
"Flinn is very quick with the sticks, responding to ever change with a rim shot or whistle here, a crash of junkyard percussion there. He even lists paper bags as one of his instruments." Bruce Greenlee, Earshot Jazz
Flinn is a player of divergent inclinations. He's not too bustling or intrusive - generous with space, even when most active - and frequently uses bows or other devises to generate unorthodox sounds from his kit." Jason Bivins, Cadence
"The three pieces offered a better opportunity to taste Drake's many sonic spricings due to the subtle and sensitive percussion work of Stephen Flinn. Flinn created a flow of small noises from his cluttered drum/percussion set. Using various sized sticks, bows, utensils, and brushes, he perfectly complemented Drake's creative expressions. These unique soundscapes set the stage for Fuchs and he was a revelation." Rex Butters, All About Jazz.
"Flinn plays the role of instigator, spurring on the saxophonist, complementing him, and serving as color commentator. When Blanco whistles through his horn, the drummer lays down a roll, and elsewhere Flinn keeps it soft and simple." Steven Loewy, All Music Guide
"Keep The Meter Running" presents us with an unpackaged way of popping our fingers and tapping our feet, which is about as revolutionary as music can actually get." Ben Watson, The Wire, July 2004.