Comatonse Recordings: Noteworthy Comments

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DJ Sprinkles "Midtown 120 Blues" is voted Resident Advisor's #1 Album of 2009 in a staff poll: "The album is RA's favourite because it went far beyond making a crowd move, providing music journalists with angles or satisfying the home listening contingent. It's the best album of 2009 because it makes us wonder that if other producers-hell, other people-were as consistently brave as Thaemlitz, what this world indeed would be coming to."
Resident Advisor - Staff Poll, December 16 2009.

Thaemlitz's [piano] playing works like Nina Simone's, opening up between jazz and modern classical a huge harmonic space in which to articulate complex emotions.
The Wire - Joe Muggs, Issue 300, February 2009.

From the Imaginary Landscapes of John Cage through Walter/Wendy Carlos, Throbbing Gristle, Sylvester, and Patrick Cowley to the contemporary transgendered interventions of Terre Thaemlitz and Matmos' digital reshaping of the world, electronic music has been used as a vehicle to express sexual transgression, as a way of transforming society.
Peter Shapiro, Turn the Beat Around: The Secret History of Disco, NY: Faber and Faber, Inc., 2005, p.111.

Terre Thaemlitz is looking through things as if they were made of glass, seeing all the light reflections and loving them more than the glass object as a whole.
Felix Kubin, December 2005.

The audio and video track "Between Empathy and Sympathy is Time (Apartheid)" by Terre Thaemlitz from the album "Lovebomb" is definitely the first very sublime Protestsong of the 21 Century.
Nicolas Siepen, B-Books, September 2005.

We were all very impressed by Terre Thaemlitz, who is probably one of the best musicians I ever worked with - including studio-mixing of acoustic instruments.
Reinhold Friedl of Zeitkratzer, interviewed by Rui Eduardo Paes, January 2003.

酸鼻極まるこの凄惨な世界でテーリ・テムリッツは透明の梅毒をもって確実に、
そして着実に現行の真実を糾弾し変革の必要性を促している。
・日本語 (In Japanese) Fader by Headz - 「透明の兵器」 Masaharu Kuramochi, September 2002.

One minute of Thaemlitz's 'mute' language 'says' more than ten Blur/Suede interviews put together.
The Wire - Ian Penman, June 1999, Issue 184.

The Wire lists Thaemlitz' albums in their top 50 albums of 1998, and top 15 Electronica albums of 1998.

Voted "Best Ambient/Experimental Artist of 1997."
URB - 1997 Readers Poll Results, March/April 1998.

Thaemlitz performed in convincing drag.... we saw a rather voluptuous woman.
The Village Voice - "Framing Wallpaper: Terre Thaemlitz March 6, The Kitchen," Kyle Gann, March 24, 1998.

These are records where great theory matches their sound. And their advent is long overdue.
Wire - "Couture Cosmetique/GRRL," Louise Gray, November 1997, Issue 165.

When he's not cracking cynical snaps like a downtown drag queen, Thaemlitz sounds like a college professor. With rhythm.
Bits & Bytes, AOL MTV-Online - "PoMo Techno," David Pescovitz, January 1998.

Terre Thaemlitz looks set to remain a key figure in the advancement of electronic composition.
Wire - "Terre Thaemlitz: Queered Pitches," Robin Rimbaud [Scanner], September 1997, Issue 163.

Terre Thaemlitz carries electronics into the uncharted future.
Option - "Cloudwatch 1," Bill Tilland, July/August 1997, No. 75.

Terre Thaemlitz: perfectly post-classical.
The Village Voice - "Any Similarity Purely Coincidental: Techno Goes Post-Classical," Kyle Gann, June 24, 1997.

Terre Thaemlitz is hot shit in the American ambient scene.
XLR8R - "Soil," AS, Issue #18, 1995.

Terre Thaemlitz' compositions coddle and poke with enough bass to turn any room into a cosmic tuning fork. Don't come searching for catchy dities - this stuff has all the hummability of your coolest dreams.
Spin - "Heavy Rotation: Soil, " Ramsay, November 1995.

Soil proves that the respect Thaemlitz receives is well deserved.
Retina - "Soil," LoveGrove, Issue #8, September/October 1995.

One of Thaemlitz's most notable abilities is to uncompromisingly integrate "political consciousness" into his music.
Resonance - "Soil," Lawrence Halff (Issue No. 4, August 1995.

Terre Thaemlitz heads up New York's ambient scene.
Interview - "Ten Tips For A Tour Of The Ambient Universe," Tom Samiljan, Issue No. 10, January 1995.

Tranquilizer is a carefully seasoned and brilliantly suggestive work in defense of the outlook that the creation of ambient music can be the study of formal relationships, as against the attitude that it should soley concentrate on ideas of symbols and iconography. This is a most important achievement.
Metagrooves - "Ambiants," 1994.