"Timur’s voice is a marvel of expressive inflections, from golden falsetto and wolf-in-sheep’s-clothing velvet to anguished shrieks and ghoulish inhalations." Corinna da Fonseca-Wollheim, The New York Times

"...Every register, moan to scream, is handled with indefatigable goth aplomb by the charismatically wailing Timur, the film’s star [Black Lodge]

and frontman of the band.” Zachary Wolfe, The New York Times

"[Timur] is a singer too multi-dimensional for mere 3-D sensibility. What we are left with in the hour-long song cycle is Timur. He moves from bass to falsetto. He embodies centuries’ worth of musical styles. He is nastily seductive, dangerous even. Timur flabbergasts from first to last." Mark Swed, LA Times

Black Lodge | Little (USA)- "[Timur] has three voices in one person and can handle the demanding music...bravura performances" Richard Sasanow, Broadway World; "A startlingly beautiful rock opera" "Jason Weisberger, Boing Boing; "Unsurpassed brilliance" Ezrha Jean Black, Artillery; "Mesmerizingly unclassifiable" Mark Swed, LA Times; "A captivating frontman... embodying the spirit of Burroughs" Brin Solomon, New Classic LA; "Combines classical with industrial goth" Peter Crimmins, WHYY; "One dark opera" A.D. Amorosi, Philadelphia Weekly; "Strong voice, swooping from vulnerable tenor to baritone rockstar swagger", Kurt Gottschalk, Bachtrack; "This s**t isn’t for everybody" Michael Talbot-Haynes, Film Threat; "A mashup of musical styles that absolutely worked together" Living Life Fearless;  "remarkably protean instrument—in “Black Lodge,” he sounds alternately like a baroque countertenor, a baritone, a rocker and a crooner." Heidi Waleson, The Wall Street Journal

"[Timur], a compelling figure on film, proved mesmerizing in his live performance...he managed simultaneously to embody the torment of the protagonist while maintaining distance from it. That sense of contradictory effect carried over into his singing: He kept his classical tenor under unerring control, while still suggesting rock-and-roll abandon and grittiness." Fred Kohn, Musical America

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"Versatile split tenor, eerily oozing up and down octaves to the harsh accompaniment of his metal band, was memorable. Its ability to be so classically complex, with many textures and surprises, sounded like a confluence of Klaus Nomi, John Cage and Godspeed You! Black Emperor." Annie Levin, Observer

"Timur is a charmer right through the costuming... really carries the performance with a lot of energy and commitment. ...All that glitter and kitsch were also intended to pack depth." Neil van der Linden, Theaterkrant.

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BEST OF LA 2011 edition, selected by LA Weekly - Timur: The Reform Tenor. Profiled by Erika Zora Wrightston , LA Weekly

"All attention belonged to the riveting Timur[...]Timur's live performance added another otherworldly level of exaltation for which neither film nor deafening amplification can enhance." Mark Swed, LA Times

"The indescribably wonderful...lead singer Timur Bekbosunov has been compared to a symphony hall of great vocal talents, from Björk to David Bowie to Screamin’ Jay Hawkins, and his incredible vocal range, dynamic and compelling stage persona, and orchestra are as big as all that." Chris Nichols, LA Magazine