Press

Selected reviews on Marcel Zaes' work

CD Release sjö : tva & premiere isomorph - concert recommendation:

"Weightless in the cocoon. When the street lamps in empty roads at night become independent, it is time for the music of Swiss composer and sound artist Marcel Zaes. […]"

Der Bund - Newspaper, Apr 21, 2016, Bern CH
Article by Xymna Engel

Entire article in German - PDF



Album "WÜSTEN" - Review:

"[…] Luc Ferrari’s works of musique concrète of the sixties and seventies could possibly have been the force behind it, even though unlike Ferrari’s more concrete abstraction, in Zaes’ work there is always a distant connotation of handcrafted world music. […]"

Zither - Magazine, Jan 2015, Nuremberg GER
Article by Fredrik Schwenk

Entire article in German - PDF



Release "Hinterland Home Edition" - Review:

"The sound experimenter Marcel Zaes from Bern and the artist Anna Schölß from Munich, with their "Hinterland Home Edition", have created a gallery for home use. […]"

Der Bund Kulturblog - online, Jun 2015, Bern CH
Article by Milena Krstic

[external link] Entire article in German - Der Bund



publication of 6 new CDs - Review:

"Marcel Zaes, a digital renaissance man - the Bern-born Marcel Zaes publishes his very personal musical visions on six albums; documents of an intense production period […]"

Jazz’n’More - Magazine, Jan 2015, Zurich CH
Article by Georg Modestin

Entire article in German - PDF



announcement of six CD releases and festival:

"[…] because Zaes' speciality is the coalescence of the raw and the playful; he has mastered the art of turning the synthesis of the archaic, simple sine wave and the tradition of conventional instruments into a coherent whole."

Bewegungsmelder - Magazine, Oct 2014, Bern CH
Article by Julia Sabino

Entire article in German - PDF



concert with SJÖ with Manzoni/Zaes - Article:

“[…] As is often the case, the project emerged on the basis of pure improvisation. This, over time, turned into a singular music language rooted in jazz harmonies – free of conventions – and underpinned by an electronic texture of rhythmic structures and vanguard sounds... […]”

20 Minuti - Newspaper, Aug 2014, Lugano CH
Article by Marco Sestito

Entire article in Italian - PDF



CD THE LAST PLACE (LEFT) receives maximum award in critic polls Jazz'n'More:

“[…] This synthesis of the arts, here presented from the perspective of music, avoids the concrete and the factual. The three musicians are all parts of the installation. The play within as well as with the scenery and place their sounds in that very topography, thereby adding a new dimension of space and light. […]”

Jazz'n'More - Magazine, Mar 2012, Zurich CH
Article by Christof Thurnherr

Entire article in German - PDF



exhibition PRAIRIES in Rome - Review:

"'Prairies' by Marcel Zaes […] radically modifies the conventional way of listening to music. […]"

Il Suono - Magazine, Feb 2012, Rome IT
Article by Marco Galloni




concert THE LAST PLACE (LEFT) / INTENTS in Munich - Review:

“[…] It all begins very silently and softly. The concentrated expressions of the artists underscore the stringency of the scene. In particular the perfect synchronization of the acoustic instruments with the electronically generated sounds induces the impression that nothing is left to chance. […]”

CURT - Magazine, Oct 2011, Munich GER
Article by Sebastian Hofer




CD THE LAST PLACE (LEFT) - Review:

“[… ]The music evolves from pattern-like rhythmic sequences to repetitive-spheric moments; the magical opener, simply titled ‘Place 1’, combines these two elements in a miraculous way. The resulting music oscillates between modern classical, minimal music and electronica.”

Der Bund - Newspaper, Oct 2011, Bern CH
Article by Ane Hebeisen

Entire article in German - PDF



concert tour UC BERKELEY and OLD FIRST CONCERTS SAN FRANCISCO - Review:

"[…] A work that was a shift in both instrumentation and style was Marcel Zaes' A LONG MOMENT (OF PLEASURE) for two female voices, mixing-desk player, and tape. With Zimmermann leaving the keyboard altogether and joining Bruckmann in singing, the two performers onstage mainly produced long-held pitches that were couched in an ambient, arrestingly lovely electronic environment handled by Ficarra and Yamasato. Calling to mind the patient approach of LaMonte Young's long-tone pieces, this was a welcome departure from the busier and more densely written works on the rest of the program. […]"

The San Francisco Classic - Magazine, May 2010, San Francisco
Article by Benjamin Frandzel