guitarist - composer
Haus am Meer
- "...with 'Haus am Meer-Seaside Home' Rodach met the high expectations he set with
'Musik für Fische-Music for Fish'."
KEYBOARDS 7/97 - CD of the month
- "...Music that shouldn't just be heard,
but experienced. Music one can feel
and enjoy, like cool glistening drops of water on warm naked skin. Wonderful."
- "Whoever steps into Michael Rodach's world of sound feels reminded
of a painting by Pablo Picasso - " Man with Guitar". One finds earnestness,
desire and melancholy, rarely high-spirited merriment. Rodach´s music
seems to have been born at night, straight from a dream, from deep dark blue.
piano, strings, keyboard, guitar and a multitude of crazy percussion instruments,
Michael Rodach conjures up his music for ballet, film and theater..."
SPIEGEL -ONLINE 9/97
- "... a really good deed. Music to let your soul swing."
Musik für Fische
- "Music to dive into, music to let go. Music of images and amazement. "Music for fish is one of those very rare magic works; music never to forget,
even after hearing only once."
- "Introverted and minimalistic soundsculptures, which don't impose upon
the listener's fantasy, but leave room for the imagination."
- "Rodach manages to connect the minimalism of Brian Eno and Aphex Twin
with transient pieces of association - ludicrous, melancholy or sometimes nearly
- "When dealing with such virtuosity, itis certainly difficult to make
comparisons, but names such as Brian Eno and John Adams come to mind after
experiencing Rodach's original and playfully creative music. "Music For
Fish" is the first (semi-)electronic masterpiece of the year 1995."
- "A collage, glimmering in broken colours and leaving the impression of
a fascinating dream. Animated cinema for the ears..."
- "Minimalistic works of art in the tradition of John Cage and Bela Bartok,
which flow like a stream, clearing space for indivudual imagination and creativity."
- "Simple and scurrilous at the same time.. Terms like avantgarde or ambient
music are too confined for these tales of Rodachs, his handwriting reminds
much more of the playful melancholy of Nino Rota or the timeless phrases of
Brian Eno. The musical stagecraft is perfect."
- "Piano, strings, keyboards, guitars, numerous crazy percussion instruments
together with modern studio technique, from these ingredients Rodach conjures
up the face of fantasy."
- "A delightful Traumton release, that outdoes all expectations. Unique
instrumentals, sounding like the wind playing its own music. Translucent melancholy
- just beautiful!"
- "Music for Fish is a compilation of works created by Rodach over a period
of ten years for various productions, films and musings. The eighteen tracks
on the CD represent a wide diversity of instrumentation and styles. Piano,
strings, guitars, wind instruments and undefined plucked and hammered percussive
devices (or their synthesized equivalents, I could not tell) all make their
appearance in various pieces. Music for Fish does not have the full sound I
associate with most New Age/Ambient works, and indeed it is difficult to find
analogs for this music in these genres. Athough diverse, the album is pervaded
by a wistful, sweetly sad mood, and brings to mind remembrances of lost loves
and lost opportunities. The compositions are images based for Rodach, who states
that many of these works are a soundtrack for his own personal experiences.
Edits evoking images of sidewalk cafes, circuses, smoky bars, mosques, and
dark stormy nights are mixed with tracks of less definable imagery. It is indeed
a strange aural journey, and one I recommend as worth taking."
NAV, Jeff Johansen
- "20 new radical inventions reach for the stars...from something old make something
brand new...blues 2001."
- "....Pure chaos and at the same time a beautiful hommage to the blues."
- "It sounds like pepped up Tom Waits or forgotten Captain Beefheart, distorted,
wild, sexy, conspiratorial, tender, and hopelessly desperate all at once."
FAZ, Christian Broecking, 2.12.99
- "Watch out: Anybody wanting to tap a foot to this blues would be in acute
danger of breaking a leg. Drummer and vocal-artist David Moss - an American
in Berlin - and German guitarist/composer Michael Rodach spit out raw blues
riffs; the standardized twelve bars are shredded, collaged, intermixed with
scraps of noise and emerge as hot air machismo. The howling guitar, wild vocals,
and jolting drums sound both familiar and disconcerting at once. Are these
supposed to be parodies? No,these two are serious with their 20 tracks full
of bittersweet blues truth."
Die Woche, 5.11.99, Michael Berger
- "Fragmentary Blues": Avantgard percussionist/vocalist David Moss
(U.S.A.-Berliner) and guitarist Michael Rodach cut the blues to pieces, sort
out their building blocks, and reconstruct their own version: treating familiar
effects ironically, compressing and reducing to the bare essentials, blue-noting
static fields of sound to a powerplay on the verge of chaos.
Only change is certain, and the determination with which Rodach swings between
the joy of experimentation and and its fundament in the established, with which
Moss lets the backbeat groove one time and dissolves it into single impulses
the next, and the ferocity with which he develops his lyrics only to question
them immediately, modulating his voice between vocalisation, stammering, laughing
and the pathetic gesturing of an orator. Fragmentary Blues: A little pain,
and a lot of music."
Neue Zürcher Zeitung, 18.11.99
- "Moss and Rodach have fun using blues guitar clichés, formal rituals
and vocal fragments to direct an interactive, parodistic, hot and entertaining
acoustic theater. Funny and intense."
Gitarre & Bass, 11/99
- "This album documents the unorthodox treatment of a genre whose areas
were believed to have been staked out for a long time. Rodach and Moss don't
play the blues, they juggle with its "feeling". They tear down a
hundred-year-old house to construct something new with the bricks, which nevertheless
exudes the flair of the former building with undiminished intensity."
Jazzthetik, Kampmann, 11/99
- "Two men aiming the John Zornian raygun at blues cliche´s in their
dialogues. Blue notes change into icey snowballs, thickening to avalanches
in attacks of noise. Then Moss and Rodach do a free-rhythm roll in the Delta-Blues
swamp. They drive James Brown riffs to warp speed in the particle accelerator
of their fantasy, let Ry Cooder's lonely, sighing guitar drown in a pool of
noise-like tango quotations. In this eccentric and bizarre perception of the
blues, two equals have found each other ...This is an accumulation of pure
thirst for adventure."
Tagesspiegel, Günther Huesmann, 29.11.99