“…one of the most inventive and solidly accomplished talents in town. As George Crumb did in the 1960s, Hinderlie employs unorthodox methods but comes up with an entertaining product unlikely to antagonize even the most conservative. Either by instinct or by design, he composes for the audience as well as for the musician … a musician of great authority and appeal.” —Times-Picayune/States-Item

“one-of-a-kind on the New Orleans music scene, [who] has lately been going national with his improvisational dreamscapes.” —Wavelength

“exclusive to the stage, making constant contact with his instrument and fellow musicians. Hinderlie demonstrates self-confidence, yet he remains personal with the audience…” —Loyola Maroon

“Hinderlie creates a magical sound universe, in which the dramatic musical discourse swells to gripping climactic moments.” —Musical America

“vivid and exhilarating … [Hinderlie’s music is] purposefully applied, with little waste motion for the sake of chic, and the musicality and theatricality of his pieces mutually supportive.”  —Times-Picayune/States-Item

“[Hinderlie Plays Hinderlie: Solo Piano] is a quietly calming disc that sparkles with spotless technique and a certain optimism … This city’s presence naturally abounds. … Soft caresses soothe much of the album though Hinderlie does change the atmosphere a bit on ‘Blues for Dino.’ Yet it, too, remains in a laid-back style that prevails on a richly contemplative disc for rainy afternoons and quiet nights.” —Offbeat

“[Synthesis 2000] stretches the bounds of modern music through carefully manipulated computer-controlled synthesizers … an eclectic mélange of sounds and rhythms … a blend of classical, jazz, new age, funk, improvisation and rock all added together.” —Loyola Maroon