Press for DUPLEX (2nd Solo Album)

Interview with Fifteen Questions: [English]
Interview with Clouds and Clocks: [English] | [Italian]
Interview with Divide and Conquer: [English]
Interview with Vents Magazine: [English]
Interview with Music Street Journal: [English]
Interview with The Total Scene: [English]
Interview+photoshoot with Emulsion: [English]

Radio interview with WBEZ's Vocalo: [Podcast]
Radio interview with Rainbow Exotic Music: [Podcast]
Radio premiere with WXRT 93.1FM Local Anesthetic: [Radio]

Performance with Chicago Acoustic Underground: [Podcast] | [Videos]

“…Immaculate vocals. Mullin['s] oddly tuneful songs sound a bit like George Michael fronting far-out jam band Gong in a Broadway-style revue.”
– J.R. NELSON (CHICAGO READER: GOSSIP WOLF)

“…Sung ecstatically over ringing piano chords, [Duplex is] a theatrical sashay across a stage where pop can perform somersaults and take wild risks. […] Ambitious and intense, it's an irrepressible explosion where Depeche Mode's Martin Gore and Kate Bush feel like presiding spirits. If the landscape of current chart pop is flat as Fenland, Mullin proposes an Alpine hike.”
– CLIVE BELL (THE WIRE: ISSUE #406)

“…Sacha Mullin would appear to have much affection for music from the ’80s. The drums on his song 'Crow', taken from his album Duplex, reminds me of Kate Bush, his vocals remind me of Rick Astley, and the production calls to mind the Pet Shop Boys. If you want a cogent concentration of music from that era, then 'Crow' may just be the song for you.”
– CHRISTOPHER McBRIDE (BBC RADIO 6: FRESH ON THE NET) 

“…To modest pop fans, his flashy, fervent singing and plush, pull-no-punches arrangements can seem ludicrously lofty. But once adjusted, […] one starts to savor his impassioned songs, like the Japanese-sung, trip-hoppy「ユーレカ」('Eureka') and Mamas & the Papas-esque cover of Disney TV series So Weird's 'Questions'. […] And on Duplex's more 'organic', strings-speckled second half, his theatrical, soaring vibrato and playful, Vince Guaraldi-like piano on 'Applejack' and 'Accept Treasure' are no less delightful.”
– MARK SUPPANZ (THE BIG TAKEOVER: ISSUE #81)

“…Sacha Mullin has a voice that could easily melt the hearts of millions. Unlike so many other up-and-coming singer/songwriters, this guy's music is 100% accessible. Several of these tracks sound like total hit singles. […] Duplex is bound to make a solid mark in the world of music. […] Superbly polished songs that are as good...or better...than stuff currently being released on major labels. One thing is certain...this guy is definitely going places.”
– LMNOP aka dONW7 (BABYSUE.COM) 

“…A modern prog texture here along with some stuff that calls to mind 80s music. This gets quite intense at times. […] This is tastefully twisted, yet still accessible at the same time.”
– GARY HILL (MUSIC STREET JOURNAL)

“…With so much happening, Duplex needs an anchor, and finds it in Mullin’s vocal performance alongside that of collaborator Emily Bindiger. Their timbres are powerful in an almost theatrical way, and mesh well together again and again across several tracks. […] Very few musicians can accomplish what Mullin has as an independent production, and on Duplex he makes his first few steps toward virtuosity."
– PETER BOYLE (DIVIDE AND CONQUER)

“…Duplex is a lovingly-performed homage to the the sort of stuff that was easily labelled New Wave at one point in the past. […] Really distinctive stuff and Mullin is to be applauded […] for pulling off this whole thing without a whole lot of pretension about the entire endeavor. This is the sort of album that shouldn't slip under the radar as Duplex is lovely and adventurous in the right doses. Fans of The Associates, Depeche Mode, Japan, and The Blue Nile should find lots to love here.”
– GLENN GRIFFITH (A PESSIMIST IS NEVER DISSAPOINTED)

“…A very fine album, and a lot of music that will make listeners feel emotionally and intellectually involved, in many different ways. For this writer, a beautiful discovery.  […] While sounding so "natural", those melodies on Duplex are often quite knotty, with many twists and turns, curveballs, "mutant chords" changing the shape of a melody, stratified vocal orchestrations (many female vocalists appear, all performing admirably), and a quite sophisticated use of 'bridges', a compositional feature that has almost disappeared nowadays.”
– BEPPE COLLI (CLOUDS AND CLOCKS) [Also in Italian]

“…Releasing his second album titled Duplex, Sacha is striving to impress listeners. Off this album, the song 'Crow' is a great way to introduce yourself to his sound. […] Sacha’s voice is at the center, displaying impeccable clarity, a nice bright tone and shimmering vibrato, [singing through] truly infectious melodies that will stick with you long after the song is over. The hook is where Sacha cuts loose on the vocals with high flying falsetto runs showcasing his vocal prowess.”
– BRYON WILLIAM (INDIE SPOONFUL)

“…Mullin succeeds in producing a full-band sound with both organic and electronic means. He has taken a more experimental path with a soulful drama unusual in this setting: strangely complex art-pop vignettes, characterized by individual theatrical lectures, broken structures, and jazzy arrangements. What Freddie Mercury did for rock music, Mullin does for avant-garde pop.”
– ULLRICH MAURER (GAESTELISTE.DE) [German language]

“…Art-pop superficially resembles mainstream pop but has something extra (or different) that sets it apart. Groups like 10cc operated in this area, as did Roxy Music in their later days. Sacha Mullin’s Duplex is a good current example: a set of nine sophisticated songs (plus a brief “Intro”) that are intelligently written, impeccably performed, and intriguingly arranged. ... Rather than coming off as fussy or overly studied, [Mullin] manages to be expressive and precise at the same time. ... Duplex is one of the best examples of intelligent songcraft that I’ve heard in a long time.”
– JON DAVIS (EXPOSÉ)

“… [It's] very difficult to pin down just what sort of album this is. A lot of the other reviews of it refer to 80s pop and that may be a fair assessment but I don't altogether agree with their specific comparisons. If I was going to pull a name out of the hat from that era it would have to be David Sylvian but he is (still) a very modern artist and Duplex is likewise a very modern piece. [...] So much crammed into two and a half minute pop songs, it is really quite impressive. It seems there is something quite strange and lovely in the Chicago water at this moment in time.”
– LEO NEWBIGGIN (WHISPERIN' AND HOLLERIN')

“…You may just have yourself thinking somewhere in there, Mullin […] has the brass and rhythm of legends like George Michael and Dave Gahan, just needing to be wrangled in every so often.”
– BRIAN RUTHEFORD (MUSIC EMISSIONS)

“We don't often deal with vocalists, and Sacha is one of the finest in Chicago. It's fascinating to hear the perspective of a musician whose instrument can't be bought, 'played' or put aside - it simply is. A great read, with some wonderful insight and plenty of personality.”
– LARA CORY (FIFTEEN QUESTIONS)

“Sacha Mullin's singing voice makes me happy. I hope it does the same for you. ...On his second solo album Duplex, [he] shares his perspective on relationships, love, and friendship, with a mix of analogue and digital, electronic and acoustic, and his dynamic singing voice leads the way. ... It's very impressive. It's giving me Erasure, it's giving me George Michael, it's giving me Kate Bush, it's giving me Tori Amos, it's giving me some Joe Jackson... I love that Side A is different from Side B, and I'm talking about it like it's a cassette that I've been listening to in my car this whole time!”
– JILL HOPKINS (CHICAGO PUBLIC MEDIA 91.1 FM: VOCALO)

“I can go for that!”
– RICHARD MILNE (WXRT 93.1 FM: LOCAL ANESTHETIC)

Press for NIGHT OF SILENCE (Christmas EP)

“…[Sacha] consciously choose to stay away from the all-too-well-known Christmas standards, and instead, selected some beautiful, but mostly obscure songs. The EP opens with Sacha's version of the carol of St. Lucia, which is combined with 'Night of Silence', a counter melody of 'Silent Night' - featuring subtle piano playing. Next is 'Kissing the Christmas Killer', that was originally performed by Japanese singer Maaya Sakamoto for NHK's radio drama adaption of Sidney Sheldon's novel The Other Side of Midnight. Last song is the Pablo Sosa's 'Gloria', that is sung by Sacha without any musical accompaniment.”
– ROBERT VOOGT (SNOWFLAKES CHRISTMAS SINGLES)

"A very special Christmas product with ditto music. A hand-carved and pressed single, a so-called lathe, in an edition of 25. It was made by artist and avant-garde musician Sacha Mullin . The music almost tends to classical. St. Lucia is based on an old Neapolitan song."
– OSCAR SMIT (VPRO VRIJE GELUIDEN)

“This is very special. A lathe cut is a record which is cut manually. It's a lot of work but this way you can make a very limited edition. Avant-garde musician Sacha Mullin from Chicago, did release his Night of Silence EP as a very limited lathe cut, in an edition of 25. It has three tracks: ' St. Lucia/Night of Silence', 'Kissing the Christmas Killer' and 'Gloria'. You can also get the songs digitally on his bandcamp, where you can also listen to these remarkable tracks.”
– OSCAR SMIT (CHRISTMAS A GO GO!)

Press for WHELM (Debut CD)

Interview about Whelm for the Examiner: click here

“…From the first moments of Whelm, Sacha’s debut solo album, you know you’re in for listening that will allow you to temporarily escape from the grey norm. The singer-songwriter’s snaking, soulful vocals bolster music that’s often dark and fragile, sending you on a journey.”
– FRANK KROLICKI (WINDY CITY ROCK)

“...Whelm something radically unique. Dark, hypnotic and far from the standards of the time, the record demonstrates a personality. […] The great revelation is the uncommon voice of Sacha Mullin: a neurasthenic mixture of Freddie Mercury and a jet-lagged Morrissey; a voice both brittle and glorious, aspiring to take the height to escape terrestrial gravity.”
- CÉDRIC QUENIART (J’AI TOUT LU, TOUT VU, TOUT BU…) [note: French language]

“…The contrast between Mullin’s polished and well-trained vocals and Guzzlemug’s passion for the extreme that make this album uniquely interesting.”
– THE DELI MAGAZINE

“Sacha Mullin has an extraordinarily unique sound. Beautiful, a little bit of a throwback, and all around epic. … If you don’t get lost in the hauntingly stunning music itself, get lost in the words.”
– RESPECT THE TOPHAT

"A favorite … Sacha Mullin’s dark, chilled out pop track 'Whelm'. The ear-catching rolling beat will keep you listening from start to finish. [... And] in this beautiful rendition of Donna Summer’s 'Dinner With Gershwin', he performs an enchanting cover of a song rarely covered by other artists. [...] I’m looking forward to hearing more by him in the near future."
– MELOGIC MAGAZINE

“Take a listen to Sacha Mullin, featuring members of Guzzlemug! You will not be disappointed!”
– SWEET STUFF CHICAGO

“Chicago-based vocalist Sacha Mullin is equal parts banshee, crooner, and typographical error waiting to happen.”
– DENNIS KELLY (CHICAGO MUSIC GUIDE)
   [Also featured as CMG's "Song of the Day"]

The title-track "Whelm" was also featured on a Faronheit mix.

"Serious chops with the early 80s style of Martin Gore. Sacha's got a huge voice and a bright future."
- NEXUS RADIO FM