Press for The Stargazer's Bible (2015):

Like some transcendental lost Beach Boys track from 1967, ("The Ornament") is all neon-lit, confusing, and gorgeous.
- Hope Silverman, DNNM / 80N7

The Stargazer's Bible sees Uhl turn his keen observational skills on himself, and those around him in particularly candid fashion. Barry operates at the exact point where the music of Brian Wilson and Wayne Coyne intersect, and as such, he's perfectly placed to deliver this very intimate journal in a way that seems both deeply personal, and universally communicable.

...melodic tunes, cleverly arranged with updated baroque pop touches, appealing vintage synth hooks, and lovingly layered harmony vocals. ...it is very good indeed, a fearless album, and one that I suspect will become known as Uhl's very own Soft Bulletin.
– Nathan Ford, The Active Listener

 

Press for An Account Of The Happenings At Wretched Knob (2014):

As much as concept albums may glaze over the ears of some, Wretched Knob is such a complete vision—so thoroughly inventive in its various respects—that it succeeds beyond expectation… (t)he songs have strong melody and are entirely enjoyable separate from the album’s plot, though the squiggly yarn he spins with his lyrics adds flavor like a clear-voiced Shel Silverstein.
– Todd Hamm, The Stranger

An Account of the Happenings at Wretched Knob looks like a 12-inch vinyl record, but it is so much more than an album. It is, rather, a fiercely imaginative, three-dimensional storytelling experience—part Edward Gorey, part late-era Beatles, and entirely the creation of a single Seattle artist.
– Mark Baumgarten, Seattle Weekly

A series of character based vignettes about the inhabitants of, and visitors to, the fictional settlement of Wretched Knob, Uhl’s well rounded characters are brought to life in startling detail via a top drawer selection of deceptively complex indie baroque pop tunes that perfectly combine the progressive tendencies of Grizzly Bear with the melodic spark of early Ben Folds Five. Every note is perfectly placed, giving the unusual impression of much care being given without spontaneity being sacrificed – a very fine tightrope from which most artists topple at an early stage… tremendous.
– Nathan Ford, The Active Listener