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Mar 25, 2016Gorgeously sepulchral pieces such as Beste Freunde and Glasterlenspiel are perfectly suited to the church where they were recorded as longer improvisations to be edited down, suspending time as they hang in hauntingly contemplative reverie, which is still breaking boundaries. But, in a perfect world, it might even mark Roedelius’ commercial breakthrough.
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The WireMar 22, 2016The music is meditative and calm-inducing, though occasionally it leans a little too much towards Opal Records tropes, particularly the piano-led pieces. [Apr 2016, p.62]
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Mar 15, 2016The music’s depth, and it is deeper than any other Q/C/Kluster album, encompasses myth and poetry while eschewing assumption and pretense. It walks a fine line between accessibility and the intrigue of novelty while never allowing timbre self-satisfying supremacy.