"consisting of a simply gorgeous mix of field recordings, mysterious sound sculpture-lineage motorized chug, washed-out mechanical hum, and subtle, yet unapologetically tonal compositions, scott has achieved a true, vital hybrid of sonic arts union-style process music, ’Äútraditional’Äù musique concrˆ®te, and deep, emotionally-charged chord-wrangling that never comes across as cloying or trite, keeping things grimy & gauzy, always wrapped in a patina of post-noise sensibilities...
four extended takes ; each with their own separate trajectory ; highly recommended !!!" - Mimaroglu Music Sales

Following a great manu cassette releases, Tender Comrades is Work/Death's album debut. Reber is apparently an accomplished double bassist, and shimmering string and organ drones provide the basis for several of the album's tracks. All four compositions share a similar approach, while churning clouds of electronics accumulate over a haunting tonal core. There is a calm buried under all the bristling textures, a gentleness that hovers inside the static. Even at its roughest, it never communicates the violence or confrontation often associated with Noise.
- The Wire

It brings drone and noise to a level where there is actually happening something that is really musically interesting. A great release! - Vital Weekly

"A stark half-toned reproduction of two idealized proletariat workers graces the cover of Work / Death's debut full length album. This along with the stencil text of the album's title gives the impression of this being somewhere not too far from the anarcho-punk of Crass or the sadistic noise of Con-Dom or Grey Wolves. In fact, Work / Death's fizzing synth-drones are far from these grim signifiers. At one time, this Rhode Island one-man band might have abused his audience with sheer hellish miasma. But even though he still uses the self deprecating slogan "garbage in, garbage out" to describe his working process, Tender Comrades is nothing at all of a noise record, creating mesmerizing assemblages of layered static, soft blurry orchestrations of electronics, and sustained drones which come together much closer to the likes of Tim Hecker or Lawrence English than anything previously mentioned.
’Ä®The album opens with a wispy swirl of aerosolized hiss situated above a Charlemagne Palestine style church organ drone, slipping into an Oneohtrix Point Never melody on the synth presets for horns by the end of this uncannily gorgeous piece. The second track may be more in keeping with Work / Death's earlier compacted noise, with motorized clickings and dampened alarm bells perched upon a carcinogenic hum of MB style sonic rumbling and electro-acoustic brutalism. But the gauzy approach returns on the third through a quiet set of guitar strummings behind another engulfing mass of thickened grey/white noises, with all of the sharp edges burnished off, like a shoegazed approach to noise construction, matching the mood of the plaintive guitar strums. By the album's finale, Work / Death offers something of a post-noise homage to Brian Eno's Thursday Afternoon or Jonathan Coleclough's Period, with small clusters of piano hanging on a smoldering backdrop of rasping Brendan Murray-like minimalism. Very nicely done and a quite a nice surprise.
- Aquarius Records