“I’d been dying to hear something new from Chris Fournier since I heard one of the early Kinesis samplers. Happily, PCP delivers on that initial impression. Chris is a prime example of the do-it-yourself progressive artist in that he handles every aspect of performance, engineering, and production and he succeeds better than many others treading this road... I might imagine that this is what Yes would have sounded like if Vangelis had joined in ’74 instead of Patrick Moraz (with no vocals)... A dash of Mike Oldfield can also be heard in the handling of some of the broader themes and passages. Generally, the songs on PCP tread a consistently spacey-prog rock territory though there is enough variety in dynamics and energy to keep things interesting throughout. Two thumbs way up!” [Exposé (Paul Hightower)]

“Chris Fournier (Fonya) returns, following the magnificent Earth Shaper. The new album, his fifth, is titled Perfect Cosmological Principle. It’s an album that doesn’t surprise us because the music of this guy is already a continuous surprise. Here again is his personal style, masterfully combining the vigorous essence of progressive rock with the hypnotic quality of electronic music. His wonderful bass lines complement the dense harmonic textures, where each instrument fits comfortably, from the increasingly prominent guitar solos to the perfect use of MIDI percussion. Highly recommended.” [Margen (translated from Spanish)]

“There’s an agreeable upbeat buzz to multi-instrumentalist Chris Fournier’s music, a quality that remains true on this, his fifth album for Kinesis... Fournier’s sense of composition and arrangement improves with each new release, while that abiding sense of wonder and exploration - the hallmark of all good space epics - shines brightly through. The gently propulsive, forward-moving groove distinguishing these lushly orchestrated tracks is eminently seductive. The soaring leads of Fournier’s thickly toned guitar are bolstered by a cosmic jungle of busy synth textures and shifting bass/drum rhythms that lend the work depth and variety... All you need to do is buckle up, blast off, and let Fonya be the navigator.” [Progression]

“Fonya’s latest and perhaps best opus to date... The best definition [of Fonya] is a kind of American Eloy or Ash Ra Temple, with less pomposity and a bit more aggressiveness. Included as the 12th track is a tribute to Yes in the form of a medley taken from The Gates of Delirium. A tribute to Yes, but also proof of Chris Fournier’s talent, since it doesn’t sound artificial - it flows gracefully in the same manner as the other tracks of this album... If you’re into space rock and instrumental prog, you really should discover Fonya.” [Acid Dragon]

“This is Chris’ vision of space, realized on bass, guitar, and sequenced keys. Fonya continues to be lush and natural sounding, with lots of layered keys. The drums (sequenced) stand out for me only because they don’t have that ‘canned’ sound, something Chris has diligently worked on. As usual, Chris’ bass work is exceptional, both in tone and ability. He is one of my favorite bassists and I’ve often wondered what he would sound like playing with other musicians. The keys both fill (washes) and play melody.” [Music Uncovered]

“...I wouldn’t call Fonya’s music space-rock. It’s more symphonic progressive along the lines of Jeremy and other orchestral prog bands. However, his music has that magical quality that makes this mind-expanding enough to be of interest to Aural Innovations readers. The all-instrumental music is keyboard-dominated, but there are loads of electric and acoustic guitars that serve to embellish the songs with soaring Hackett-influenced licks guaranteed to carry you away on a cloud. Synthesized flutes add to the classic progressive feel, and the fullness of the sound makes this an impressive work for one musician. Images of medieval times are conjured up and if you close your eyes you’ll get that feeling of elation that the ‘pompous’ and ‘bombastic’ heavies of the 70’s served up so well... Recommended to sympho-proggers and spacers who like less-than-heavy space music.” [Aural Innovations]

“Reminiscent at times of Camel, the overall sound is more rocky, as there is genuine interplay between the guitars and the keyboards. It definitely sounds like a band at work, not just one man. There is a very symphonic feel to proceedings, and at times there is almost a wall of sound with an instrument such as bass guitar pitched against it to great effect... If you enjoy good symphonic music then you will love this.” [Feedback]

“It’s amazing what this guy can do by himself and how human he makes all the programming sound.” [Exposé (Mike McLatchey)]