Press and Reviews
On a performance of his series of graphic scores made in collaboration with snails (Helix Aspersa):
"It was the sound of movement outside of time. Suspended and elegant." Kathryn J. Allwine Bacasmot, chicagoclassicalmusic.org, 1/16/11.
On "In My Mind, Her Image Was Reversed" (Accretions, San Diego, 2011):
"Perhaps a bit arresting, even confounding, this solo reinvented and repurposed sound of the Rhodes offers a completely unique approach. ... Upon repeat listenings, this recording yields more magical sounds, and comes highly recommended. " Michael G. Nastos, Cadence Jazz Magazine, April 2012
http://www.cadencejazzmagazine.com/membersonly/admin/assets/AprilIssueSample.pdf
"This is wonderful music, not like anything else I can think of."
http://ronsen.org/monkminkpinkpunk/21/rieman.html, April, 2012
"Insect-like sounds and all manner of scraping and knocking created through the use of seeds, springs, washers, quartz, paper, marbles, a wire brush, and more...out of the more pastoral and rustic evocations flow fragments of melody set against repetitive noises and vice versa, hinting at Rieman's appreciation for the indeterminacy and slowly developing compositions of Morton Feldman." Alan Ranta, Exclaim Magazine, 11/1/11.
"From a single instrument...he manages to weave a whole sound universe. It's fascinating, sweet, original and truly unique." blog.monsieurdelire.com, 11/11/11.
"The sounds heard on "In My Mind, Her Image Was Reversed" evoke far more grandiose images than just an electric piano. Yet this album was made entirely on a Rhodes, which comes as a shock considering all the weird percussive and atmospheric sounds Rieman live mixes through eight interdependent channels, modified from the Rhodes' original single output." Alan Ranta, Exclaim Magazine, 11/1/11.
http://www.cadencejazzmagazine.com/membersonly/admin/assets/AprilIssueSample.pdf
"This is wonderful music, not like anything else I can think of."
http://ronsen.org/monkminkpinkpunk/21/rieman.html, April, 2012
"Insect-like sounds and all manner of scraping and knocking created through the use of seeds, springs, washers, quartz, paper, marbles, a wire brush, and more...out of the more pastoral and rustic evocations flow fragments of melody set against repetitive noises and vice versa, hinting at Rieman's appreciation for the indeterminacy and slowly developing compositions of Morton Feldman." Alan Ranta, Exclaim Magazine, 11/1/11.
"From a single instrument...he manages to weave a whole sound universe. It's fascinating, sweet, original and truly unique." blog.monsieurdelire.com, 11/11/11.
"The sounds heard on "In My Mind, Her Image Was Reversed" evoke far more grandiose images than just an electric piano. Yet this album was made entirely on a Rhodes, which comes as a shock considering all the weird percussive and atmospheric sounds Rieman live mixes through eight interdependent channels, modified from the Rhodes' original single output." Alan Ranta, Exclaim Magazine, 11/1/11.
On the Prepared Rhodes:
"Rieman’s instrument looks like a post-apocalyptic Rhodes piano; some of its insides are removed and sitting next to it, and it has all sorts of foreign objects crammed into it like shrapnel — with strategically placed microphones to capture the various sounds of it all.… The range of colors that
he got out of this instrument was astonishing…" Jonathan Russell, Professor of Musicianship, San Francisco Conservatory of Music, writing in San Francisco Classical Voice, Issue 8/18-25/05, "Review of San Francisco Electronic Music Festival".
"In the '60s, Pete Townshend made a lot of people happy by destroying his guitars and amps onstage. While this tradition of cathartic frenzy has continued with countless rock bands, the true spirit of the act lives on, somewhat more thoughtfully, in the avant-garde. 'This Rhodes,' says Eric Glick Rieman of his electric piano, 'I own it, and if I want to, I can cut it into pieces. All those years of piano lessons are paying off in my angst. There's kind of a sense that this is the thing that drives you and it's also the thing that kills you, and you want to kill it.'" Stefanie Kalem, from the East Bay Express, 10/08/03, "Rhodes to Ruin: Prepared Improv at the Oakland Box".
"It's funny how art follows extinction for so many electronic instruments of the 20th century... scratching vinyl becomes the axe du jour once digital audio becomes the reproduction norm, analog synthesis becomes the rage for a generation swimming in digital seas -- Eric Glick Rieman's exploration of the venerable rhodes electric piano is part and parcel of the same pattern. No 'quiet storm' here... the tines sprout tentacles, sounding a forest of inharmonicity." Chris Brown, Professor of Music and Co-Director, Center for Contemporary Music (CCM), Mills College, Oakland, CA.
"Cage's example showed the way. Glick Rieman modifies the piano's interior, inserting damping agents such as rubber washers, pieces of wood, rocks, springs; even figurines and finger puppets. 'I strike and scrape the inside with my marbles, mallets, brushes, bones, chains, bottle caps, my
fingers; anything I find lying around that suggests possibilities,' he explains." Julian Cowley, in The Wire, "The Much Traveled Rhodes", September 2003.
he got out of this instrument was astonishing…" Jonathan Russell, Professor of Musicianship, San Francisco Conservatory of Music, writing in San Francisco Classical Voice, Issue 8/18-25/05, "Review of San Francisco Electronic Music Festival".
"In the '60s, Pete Townshend made a lot of people happy by destroying his guitars and amps onstage. While this tradition of cathartic frenzy has continued with countless rock bands, the true spirit of the act lives on, somewhat more thoughtfully, in the avant-garde. 'This Rhodes,' says Eric Glick Rieman of his electric piano, 'I own it, and if I want to, I can cut it into pieces. All those years of piano lessons are paying off in my angst. There's kind of a sense that this is the thing that drives you and it's also the thing that kills you, and you want to kill it.'" Stefanie Kalem, from the East Bay Express, 10/08/03, "Rhodes to Ruin: Prepared Improv at the Oakland Box".
"It's funny how art follows extinction for so many electronic instruments of the 20th century... scratching vinyl becomes the axe du jour once digital audio becomes the reproduction norm, analog synthesis becomes the rage for a generation swimming in digital seas -- Eric Glick Rieman's exploration of the venerable rhodes electric piano is part and parcel of the same pattern. No 'quiet storm' here... the tines sprout tentacles, sounding a forest of inharmonicity." Chris Brown, Professor of Music and Co-Director, Center for Contemporary Music (CCM), Mills College, Oakland, CA.
"Cage's example showed the way. Glick Rieman modifies the piano's interior, inserting damping agents such as rubber washers, pieces of wood, rocks, springs; even figurines and finger puppets. 'I strike and scrape the inside with my marbles, mallets, brushes, bones, chains, bottle caps, my
fingers; anything I find lying around that suggests possibilities,' he explains." Julian Cowley, in The Wire, "The Much Traveled Rhodes", September 2003.
On "Trilogy from the Outside" (Water Goes Into the Air Recordings, 2009):
"A particularly vibrant and surprisingly diverse collection of beautiful impressionist pieces which range from fairly short vignettes to sprawling epics and from subtle melodic moments to vast near-isolationist formations." The Milkman, The Milk Factory.com.
On "Ten to the Googolplex"(Accretions, San Diego, 2000):
"Amazing record of manipulated Rhodes electric piano ambient tone paintings. One of the very best extended minimalist records of recent memory... If you like dark ambient minimalism, then this record will be your bliss. Highly recommended. " DJ Cactus, KUSF, San Francisco.
"A truly beautiful, mysterious work of art." Anthony Bonet (Sex 14's), DJ, KALX, Berkeley, CA.
"A truly beautiful, mysterious work of art." Anthony Bonet (Sex 14's), DJ, KALX, Berkeley, CA.
On Eric Glick Rieman:
"A master of the prepared Fender Rhodes electric piano, Rieman adorns his instrument with clothespins, metal tines, and other objects to create alluring drones and spidery textures. Why focus on an instrument that hasn't been manufactured in decades? The [SF] Bay Area-based composer and improviser observes, "Many of today's musicians only play an instrument until it is outdated by the next technology, never building a relationship with their tools that is anything but superficial." Chris Delaurenti, in The Stranger (Seattle, WA), April 2003.
"Glick Rieman improvises slow, haunting music that passes well beyond Ambient agreeableness to offer the more substantial satisfactions of deep
listening....His prepared electric piano generates a refreshingly strange climate..." Julian Cowley, in The Wire, "The Much Traveled Rhodes", September 2003.
"Glick Rieman improvises slow, haunting music that passes well beyond Ambient agreeableness to offer the more substantial satisfactions of deep
listening....His prepared electric piano generates a refreshingly strange climate..." Julian Cowley, in The Wire, "The Much Traveled Rhodes", September 2003.
On "DalabaFrithGlickRiemanKihlstedt" (Accretions, San Diego, 2003):
"... An unusual and highly effective quartet..." Julian Cowley, in The Wire, "The Much Traveled Rhodes", September 2003.
On "Lung Tree" (ReR, UK, 2005):
"With a wealth of brass tacts and several different keyboards, these three tone-painters sketch Ambient images out of silence and onto empty space... Working within a controlled, narrow range of gestures, they overlap fugitive pitches that colour the air before they mutate into new shapes or gradually evaporate." Art Lange in The Wire, "Review of Lung Tree", December 2005.
"Disciplined and secure in their choice, the three improvisers have created an ingenious CD that avoids jazz-inflected conventions, but still manages to move without freezing into musical cryogenics." Ken Waxman, http://www.Jazzword.com.
"Disciplined and secure in their choice, the three improvisers have created an ingenious CD that avoids jazz-inflected conventions, but still manages to move without freezing into musical cryogenics." Ken Waxman, http://www.Jazzword.com.
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