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Spin The Globe (USA)

“Fantastic Fulani Fusion. A stellar example of acoustic global fusion from artists at the top of their game.”

Passagio (The Netherlands)

‘Sirene-like’, hauting music!. Hypnotic as Sirens.”

Pan (UK)

The concept sounds as natural as birdsong.”

Monsieur Delire (Canada)

“Ça grouille, ça bouille, ça vit.” (This music is slithering and shaking with life.)

World Music Central (USA)

“Paris watch out, one of the finest contemporary West African CDs came out of The Netherlands.”

Zookeeper (USA)

“Oh, how awesome is this… It’s fun, unpredictable, and loaded with unique sounds … . Very cool.” 

Neue Zeitschrift für Musik (Germany)

“The word of the ‚new worlds of sound’ usually picked up in the context of contemporary music is quite worn out, but with Lotz it is entitled.” 

Jazz Series Review, St. Louis (USA)

“Flutist Mark Alban Lotz has produced one of the more oddly gorgeous recordings I’ve listened to this year.”

Downbeat (USA)

“The core duo have a clear rapport and sonic identity marking their abstract improvisations with a frictive astringency.”

Jazzscene, Jazz International Rotterdam (The Netherlands)

“Listening you become aware that some substantial music is being made here.” 

Jazznu (The Netherlands)

“Musicians who have disregard on conventions are thinly sown. The Netherlands has at least two.” 

Lowflutes.com (Australia)

“This artist, fine flutist and overall creative genius is redefining the sonic palette of all flutes.” 

Draai Om Je Oren (The Netherlands)

“With the very first beat of the CD you already are fully mesmerized. Mark Alban Lotz is the grand master, a great improviser – magnificent solo recital.” 

Longplay (Poland)

55 minutes takes us to an alternative reality, created by music we have never known before.“

Jazz Now (USA)

“… you should visit Lop Lop’s Web site last week if not sooner, and pick this up straightaway.” 

Jassepoes (Belgium)

“An absolute must as it is a real firework in the scanty contemporary music landscape.” 

Jazznu (Netherlands)

“Penetrating document from the box of two unfortunately – sometimes – unsung geniuses.” 

Rootstown Music (USA)

“Miles away from convivial Cuban dance music but hitting the essence of Origin.”

De Volkskrant, The Netherlands

“This is not just an exotic flirt but a real organic fusion.” 

Music and show (The Netherlands)

“Blues for Yemayá should be looked at as the most successful multicultural project of the nineties.”

Uni/Jazz Magazine (Czech Republic)

“Music of insistence – away from all trials.” 

Jazz Now (USA)

“First time out of the mailing envelope, I played the opening, highly Stravinsky-esque ‘Cowboy Game’ eleven times in a row before I went on to the next track.” 

CMJ New Music Report NY (USA)

“They’re going to make some real noise.” 

Cadence (USA)

“Invigorating and fascinating.”