Well the Night Has Come EP (2025)
“…while its four songs may fall short of an opus, it’s a favorable portent…Replenished by an unexpected nudge from on-and-off collaborator TJ Lipple (Aloha), Goldman packs in enough ideas for a full album, from the orchestral “Paloma Sadie May” to the alt-country/art-rock fusion of “These Notes Don’t Break” to the title track, which recasts lyrics from Ben E. King’s “Stand By Me” as an epic lullaby for young inhabitants of our scary planet. In the context of all that multitextured busyness, “Hold That Thought” presents like a conventional rocker before taking a spacey left turn that reflects its central theme: applying a little WD-40 to the hinges of those creative floodgates.” — Magnet Magazine
“…a bold four-track EP …. marks a striking return to form…” — Thoughts Words Action
“…a darkly luminous new chapter…intimate yet expansive…” — Mundane Magazine
“…the hiatus has done nothing to dampen his creative energies. …a sound layered and languid, though the laid-back rhythm belies the urgency and depth of feeling present in the delivery.” — Various Small Flames
“Fulton Lights returns with spark and urgency…not just a return, but a reinvention…” - Zillions
“…just good songcraft with subtle inflections of strings, acoustics brushes and cymbal washes that makes Well the Night Has Come the kind of release that brings a smile to your face. Less really is more.” - Sun-13
“…characteristically adventurous and varied, and richer for the break. There are themes of preservation and protection throughout, of fighting off encroaching threats in various permutations – to attention, to creativity, to self, to family, to the future – revealing a songwriter and producer finding new depth with age.…
‘Well the Night Has Come’ is an intentionally disguised and subtle homage. The drums rumble and echo disquietingly, the distorted casio feels simultaneously out of place and also very obviously the right thing. The result is a song that feels unequivocally new yet warmly nostalgic in a strangely pleasing way. The combination of orchestral textures with expansive and enchanting sonic landscapes gives the song a pleasant and dreamy groove that pulls you into its embrace.” - Glide Magazine
“The production builds atmosphere through friction. That Fennesz-tinged pump organ buzzes and pulses beneath layers of pedal steel and baritone guitar, creating a hazy mystery that evokes Low’s glacial intensity and Jeff Tweedy’s willingness to let discomfort linger. There’s no rush toward clarity here; the track understands that exploration of the subconscious doesn’t follow linear paths or resolve neatly. Goldman’s devotion to texture and the unexpected—a consistent thread through previous Fulton Lights releases—finds its perfect application in material about descending into internal struggle.
The instrumentation choices reveal a producer and songwriter finding new depth with age. …The songs that emerged from those sessions…feel richer for the break—the sound of someone who’s spent time in the dark and returned with clearer vision about what needs to be said and how to say it.” - B-Side Guys (on “These Notes Don’t Break”)
“…might be his best work yet. …The only problem with this Fulton Lights EP is that it is too short.” — A Pessimist is Never Disappointed
“…a fascinating combination of intimate mid-tempo ruminations blended with flourishes of dark vibes. …The musical choices are compelling and diverse and … a delight to listen to.” — Yewknee
Moonwalking Into the Future (2018)
“...A space where beauty and chaos collide, where at once we’re engulfed in a world of angular synths, punchy horn stabs and fat, gnarly guitar tones, while at the same time floating in spacey atmospheres and distant textures…” - Matt Galler, 89.7 WTMD
“…spaced out curiosities and playful pop capriciousness on his new album. Venturesome and weirdly atmospheric. Reminding me of Eels intriguing composition excellence.” — Turn Up the Volume
Am I Right or Am I Right (2012)
“…nicked & razor-sharp. Fulton Lights continues to find new edges…” — Said the Gramophone
“Andrew Spencer Goldman, aka Fulton Lights, continues to amaze. ...'A Minor Happenstance as Things Go' takes us on a trip back to Byrne and Eno, strange rhythms and electronic interruptions spewing its contents all across the funk ballad--all the while maintaining the same understanding of pop in its many splendid forms." — SSG Music
3 Songs EP (2010)
“A dazzling, churning, all-encompassing piece of indie-pop." — McSweeney’s (Recommends)
“Fulton Lights' song of a million launchings and crisscrossings, motors revving on dreams. "Staring out the window / I'm thinking about my days," it begins, like the worst kind of dull song; yet the banality is up-ended, shown to be banal, at least next to the song's riotous chug and booming horns. A man sits in the passenger seat, head leaning on the window, trading talk of tomorrows; but in his heart is the meteoric Next next next next next next, like the snick of white lines under tires.” — Said the Gramophone (Top 100 of 2010)
Healing Waters EP (2009)
"Imagine if Modest Mouse's Isaac Brock produced a few songs on Beck’s Sea Change and then Tom Waits and Brian Eno stepped in to add some texture—and it all worked. Healing Waters is a six-song landscape of ambience, hollow spaces, and ghostly vocals...." — The Onion AV Club
"The sound of something ripping through its old skin and taking a deep, deep breath." — Said the Gramophone
The Way We Ride (2008)
“…Gorgeous, furious, funky…” — Said the Gramophone
"...One realizes that the unseated sounds of suspicion and violence can sound the same as uninhibited revelry, and are here more deeply embedded in the sinewy recesses of Fulton Lights’ once pristine sound. Goldman didn’t allow himself to get in the way of a process that is often essentially messy. In surrendering himself to something unbolted he’s produced something far more revelatory than his debut..."--Coke Machine Glow
“…Endless moments of heart…” — HeroHill
“…an ambitious, fully-realised album; with Stones Throw hip-hop swagger, Ennio Morricone epic arrangements, experimental folk a la Joan of Arc, and even space country. …a dramatic departure from the Fulton Lights debut…” —Three Thousand (Australia)
“…a true, honest, compelling and rock solid piece of work that continues to reward you with each and every listen. …full of nerves, excitement, fear, apprehension and, ultimately, hope and confidence. This is The Way We Ride and it should be the way we all travel.” — Incendiary Magazine
Fulton Lights (2007)
"This darkly beautiful waking dream, crafted with deft orchestration and soporific beats by Brooklyn-based musician Andrew Spencer Goldman, exists permanently in the witching hour, when you can close your eyes and somehow manage to feel alone in a city of millions." —AM New York
"...A carefully pulsing electronic folk album...Beautiful music for aghast city dwellers...Most warmly recommended." —Der Spiegel (Germany)
“…A smoldering slow-burner.” — Spin
"…A suite of beautiful, ghostly songs…” — All Music
“…captures the city on the graveyard shift--coughing, sputtering, wheezing--both beautiful and vaguely threatening." —Harp
“a haunting, late night record, of rainy drunken walks home and of nagging obsessions keeping one from sleeping. …[a] flickering world of sonic subtlety, slowly inching its way through the ears into one’s consciousness.” —Treble