Jani Moder’s Brain Blender plays what can only be described as “classic fusion.” Bandleader/guitarist Moder attended the prestigious Berlkee College of Music. Presumably his bandmates do not possess the same international credentials, but only the dual Slovenian/English credits on the CD case would give that away. It is truly international music, with a sound and technical skill that could be found anywhere. His third album features a basic quartet augmented with a percussionist and guest horn players. 
The group charges in on the opening “Horizon T,” with Moder’s distorted guitar in the lead. Guest percussionist Vid Ušeničnik makes an important contribution—as he does on seven of the ten tracks—despite taking no solos. His mallet playing significantly colors the sound of the album. “Fixation” begins with a more atmospheric approach, but soon locks into a groove, demonstrating how effective the basic quartet can be. The martial drumming that announces “Venus Radius” shows yet another side. 
Moder reserves his first guest horn player for the title track, which marks the appearance of saxophonist Cene Resnik. The other guest soloists—trumpeter Igor Matković and saxophonist Lenart Krečič—also make a strong impression on their featured tracks. A very well-paced program overall. 

Moder’s compositions are striking and memorable, and his band delivers them with verve.
MARK SULLIVAN, ALLABOUTJAZZ (MARCH 2015)

Gitarista Jani Moder u jazz krugovima Slovenije, ali takođe i u internacionalnim relacijama, ima respektabilan status. Ovaj Berklee učenik na skoro 40 albuma se pojavljuje kao gitarista i njegov studijski rad je respektabilan. Tkzv. solo diskografija kreće 2008-e godine albumom “Momentum”, da bi se nastavila izdanjem iz 2012-e, “Sky High Low Down”.
“Abacus” je njegovo još uvek aktuelno ostvarenje, realizovano tokom 2014-e za nacionalnog izdavača, “RTV Slovenia”. Jani Moder’s Brain Blender band realizovao je materijal u formi kvarteta, no vredi istaći podršku i drugih etabliranih instrumentalista koji su participirali na snimcima sa albuma.
“Abacus” je izdanje na kojem se našlo 10 instrumentalnih numera, urađenih u maniru classic fusiona, sa dodacima ambiental i drugih modern jazz elemenata / tendencija. Vrlo lirična i specifična atmosfera obiluje ponuđenim materijalom, koji je u producentskom i aranžmanskom smislu postavljen kao koherentna celina. Vrhunsko izvođačko umeće, i da ponovim još jednom, vrlo prijatna atmosfera samih songova, karakterišu muziciranje gospodina Modera i ekipe saradnika.
Neko od jazz čistunaca bi mogao reći da je ovo sve već “viđeno” i odsvirano puno puta, godinama unazad, no Jani Moder je vešto uspeo da se izvuče iz “kandži” manirizma, ili kopiranja već čutog. “Abacus” je izdanje zrelog muzičara, sa jasnim autorskim dignitetom…
BRANIMIR BANE LOKNER, BARIKADA (JULY 2015)

Guitarist Jani Moder brings an array of styles into play on Sky High Low Down, with a sense of accomplishment that never lets the movement or the mode get ahead of his field of vision. He carries his art into bop as easily as he does into a ballad that coaxes a rainbow of soft colors from the song’s harmonic folds.
The quartet gets off to a lively start with exuberance on “Exhale.” The hint of a Latin melody coalesces into upbeat funk driven by saxophonist Jaka Kopač, before Moder brings in some thick notes that soon slip into bop. Moving the tempo up while keeping the momentum loquacious, the guitarist then loosens a flurry of juicy notes. What makes it all the more interesting is the hardier métier that Kopač injects to extend the composition’s organic grasp.
Interplay casts a warm glow on “Blueish.” Moder is introspective casting space judiciously before changing the trajectory with a charged locution that electrifies the atmosphere. The blues find its vent as organist Erik Marence lays down a soulful terrain, washing it in soaring notes and in the transposition of the melody into inventive shores. The detail is rich, as drummer Klemens Marktl tingles on the cymbals and hits a deep groove to drive the beat.
The jumpy, effervescent “Mixed Emotions” is set into motion by Moder. After he works the changes under the saxophone, the guitarist comes back to let his instrument sing and romp as he unveils the melody. Moder lays the framework of his skills on the line as he seamlessly essays changes across a mellifluous and impressive tonal range.
Moder’s 4Tet keeps interest percolating with an entertaining array of rhythms.
JERRY DSOUZA, ALLABOUTJAZZ (DECEMBER 2012)

In the rich history of guitar-hammond B3 collaborations, one may think that there is not much left to discover and explore,
but Jani Moder doesn’t think so.  With the augmentation of alto and drums, he has put together a truly fantastic and energetic ensemble
that pushes the boundaries of this traditional configuration into the 21st Century.
With thought-provoking melodies, varied rhythms over odd-meters with metric modulations, and rich harmonic colors, the band floats
seamlessly through the often challenging tunes. From the waltz-like “Yellow”, the upbeat and funky “Exhale”, the introspective and
melancholy “A Little Prayer Would Help”,  and the mini-epic “Vile” with it’s varied story-like sections, Jani’s compositions have warmth, depth and variety.
Not only are they skillfully written and clever, but they also contain the most important ingredients in a guitar-organ combo – groove, feel and vibe!!!

Kudos to this wonderful musical gathering, and to the bright future of the wonderful Slovenian guitarist Jani Moder.
DAVID GILMORE (NEW YORK CITY, 2012)

The beautifully harmonious group astounded with its elaborate collective interplay as well as vibrant solo passages, which all band members indulged in besides the leader: keyboardist Marko Črnčec, bassist Robert Jukič, drummer Klemens Marktl and marimba-player Flip Philipp.
With his strings, Moder dexterously steered the course of the playing and varied the intensity of the group’s sonic interaction. He would occasionally draw away and add colour to the backdrop by softly plucking his strings; his extended solo flights were invariably sensibly embedded into the flow of music. The quintet astounded with the fluidity of its playing and rich assortment of moods, ranging from intimistic fluctuations and associations with fusion to scintillating, fiery funk and rock.
MARIO BATELIĆ, LJUBLJANA JAZZ FESTIVAL (JULY 2014)

Opener van dienst was Jani Moder’s Brain Blander van de Sloveense gitarist Jani Moder, afkomstig uit Kuala Lumpur en met een diploma van Berklee op zak. Ergens halverwege Miles Davis’ ‘Bitches Brew’ en Pat Metheny vertoefde de band op heel vertrouwd en geliefd terrein: een sympathieke opener met karrenvrachten vakmanschap, maar net iets te weinig eigen gezicht.

Jani Moder
De groep stelde in het Križanke Open-air Theatre haar onlangs verschenen cd ‘Abacus’ voor. Het begon allemaal aardig, met een opener waarin de psychedelica niet geschuwd werd. Later verdween het geestesverruimde wat ten voordele van een iets gladder geluid. Van lui in de zetel hangen, was echter geen sprake. De composities, steevast opgebouwd vanuit een begeleidende formule waarop later door Moder en marimba- en vibrafoonspeler Flip Philipp een melodie gedrapeerd werd, zaten vol kleine hoekjes en kantjes en lieten horen hoe goed geolied het samenspel tussen de leden van het kwintet zat.
Eens de thema’s gepasseerd waren, verdween de plagerige scherpte om plaats te maken voor meer comfortabele soloruimte. Plots lieten de muzikanten zich van hun meer melodische kant horen. Grote ritmische ambities waren niet meer te horen, wel een aardig gevoel voor opbouw en ontwikkeling die goed gedragen werden door het prikkelende drumwerk van Klemens Marktl. Zonder zich echt op de voorgrond te werken (wat overigens niet echt nodig was, want Marktl zat al opvallend vooraan in de mix), zorgde hij voor een continu verschuivende onderbouw.
Moder van zijn kant liet zich dan weer opmerken als een gitarist die goed weet om te springen met effecten. Een enkele keer vees hij de distortion wat verder open of speelde hij met in- en uitfadende klanken, maar nooit moesten de sonore eigenaardigheden alleen het werk doen. Even gedistingeerd ging de band als geheel om met dynamische contrasten en evoluties. De muziek trok niet in een rechte lijn, maar maakte enkele zwenkingen, waarbij vlot teruggeschakeld werd bij het aantreden van een nieuwe solist. Zo speelde de groep mooi binnen de contrasten van de muzikale welvoeglijkheid en bleef het totaalgeluid lekker lopen.
KOEN VAN MEEL, KWADRATUUR magazine- HOLLAND (JULY 2014)

Festival je otvoril Jani Moder z zasedbo Brain Blender, v kateri igrajo še Marko Črnčec (el. klavir), Robert Jukič(akustična, basovska kitara), Klemens Marktl (bobni) in Flip Philipp (marimba, vibrafon). Z glasbo z zadnjega albuma, predstavljeno na koncertu, prinašajo svoj pogled na sodobno jazzovsko sredino. Kot je bilo v živo še posebej očitno, Jani Moder meje v svoji glasbi določa nekako od znotraj navzven: njegove skladbe so vpete v dinamične, kontrastne stavke, ki so zgolj uvod v daljše osrednje pasaže prožnega, natančnega soliranja, v katerih se celotna zasedba tudi najbolj sprosti. Četudi so v nasprotju s tem nekateri zvočni pristopi in sestopi z nadrobljenimi frazami in nepotrebno kompleksnostjo mogoče zveneli, kot da so preveč zagledani sami vase, je Moder najbolj organska prepletanja ustvarjal z učinkovitim podajanjem pedalnih tonov, katerih napetost je že napovedovala prihajajočo gibkost. To so lepo zajele Modrove solaže, posebej tiste z distorziranim, rockovskim prizvokom, k temu vzdušju pa je bistveno pripomogel tudi Marko Črnčec, ki je spretno krožil okoli melodičnih središč. Vse to je zadostovalo za vtis zrelega in premišljenega zvočnega izraza; kar pa ni nujno dovolj – nekakšen pritajeni čar Modrove glasbe je bržkone v tem, da je njen pogled hlastno uperjen v daljavo, medtem ko so njeni koraki majhni in varni.
ANDREJ HOČEVAR, ODZVEN (JULY 2014)

Festival je otvoril Jani Moder z zasedbo Brain Blender, v kateri igrajo še Marko Črnčec (el. klavir), Robert Jukič(akustična, basovska kitara), Klemens Marktl (bobni) in Flip Philipp (marimba, vibrafon). Z glasbo z zadnjega albuma, predstavljeno na koncertu, prinašajo svoj pogled na sodobno jazzovsko sredino. Kot je bilo v živo še posebej očitno, Jani Moder meje v svoji glasbi določa nekako od znotraj navzven: njegove skladbe so vpete v dinamične, kontrastne stavke, ki so zgolj uvod v daljše osrednje pasaže prožnega, natančnega soliranja, v katerih se celotna zasedba tudi najbolj sprosti. Četudi so v nasprotju s tem nekateri zvočni pristopi in sestopi z nadrobljenimi frazami in nepotrebno kompleksnostjo mogoče zveneli, kot da so preveč zagledani sami vase, je Moder najbolj organska prepletanja ustvarjal z učinkovitim podajanjem pedalnih tonov, katerih napetost je že napovedovala prihajajočo gibkost. To so lepo zajele Modrove solaže, posebej tiste z distorziranim, rockovskim prizvokom, k temu vzdušju pa je bistveno pripomogel tudi Marko Črnčec, ki je spretno krožil okoli melodičnih središč. Vse to je zadostovalo za vtis zrelega in premišljenega zvočnega izraza; kar pa ni nujno dovolj – nekakšen pritajeni čar Modrove glasbe je bržkone v tem, da je njen pogled hlastno uperjen v daljavo, medtem ko so njeni koraki majhni in varni.
LUKA ZAGORIČNIK, RADIO ŠTUDENT (JULY 2014)

Jani Moder’s Brain Blender, a Slovenian-Austrian combination led by Slovenian guitarist Moder, functioned as the musical festival opener at the big open air venue, Križanke. The band was comprised of well known Slovenian keyboardist Marko Črnčec, bassistRobert Jukic and Austrian percussionists Klemens Marktl on drums and Flip Philipp on marimba. Moder’s music leaned to a more tranquil variant of fusion, often switching to aPat Metheny-informed style of playing. Moder went into more contemplation modes as well as adopting a more incendiary approach to his solos, especially in the second half of the set. His band mates delivered some nice solos, too. The group finished its set with an Eastern- tinged piece, spinning out its beautiful melody.
HENNING BOLTE, ALLABOUTJAZZ (24th JULY 2014)