Trembling Veil: What the Press Said...

Electric Orchestra: Departure/Souls of Chaos
Chinese Puzzle: Inside/Outside
Outlanders: Music Is and Mysteries

". . . a young composer with rare gifts. Mr. Rosenbloom creates a sonic texture that is simultaneously very old and very new, combining chantlike monophony, elegant minimalism, world music, and rock elements into a beguiling blend that owes as much to the Far East as to Lower Manhattan... his work possesses a compelling spiritual propulsion and undeniable seriousness of intent." Tim Page, New York Times, David Rosenbloom Plays a Syntehsizer Concert, December 7, 1982

On Departure/Souls of Chaos (LP: Neutral N-8; CD: Core/Line (Germany); Dark Roots 003):

"... the terrific 'Souls of Chaos'..." David Bowie, Vanity Fair, Nov. 2003

"... both stunning, sensurround works that combine Eastern ethnic and classical elements into just the most tensile fabric imaginable... Creating new styles through synthesis is my bag, making this the most exciting 'New Music' I've heard all year." John Sumner Foster, OP Magazine

"What David Rosenbloom has brought with this record on the market is the most fascinating, refreshing and above all promising record that the New York new music scene has up to this point delivered." Jazz Nu (Amsterdam)

"Rosenbloom has created a gripping work ...very orchestral new music" John Schaefer, New Sounds, Harper & Row, 1987.

" Like many 'concept' pieces of the 1960's (especially the less mainstream ones), the music and lyrics seem calculated to stimulate images in the listener's mind. It's threaded through with changing musical themes - rock, middle eastern style wind arrangemnets, traditional English folk and medievil music. There are also hovering, rhythmic, Branca-esque monotonal passages, haunting, atonal movements which sound almost like the score to a mystery movie, and simultaneous readings of different poems . . . SOULS OF CHAOS proves you can innovate without putting people to sleep and entertain without lapsing into dance-pop cliches." Paul Goldschmidt, Sound Choice

"a wild symphonette ... The electric guitar in rocking mode has rarely been more effective in an orchestral context. Parts of this are stirring, exotic, lovely, heavy, funny, surprising, mysterious, wacky, profound, misleading, intriguing, gorgeous and provocative." Glenn O'Brien, Interview Magazine

"In these pieces you hear an entirely new and individual form of musical work, which goes beyond the point where other composers might fear to tread. ... The arrangements are extraordinary, constantly balancing between very extreme and traditional forms." Corne Evers Muziek en Dans

"Rosenbloom has given a fascinating album to the Minimal compendium of the 80's, one that can be played not for reasons of aesthetic allegiance, but played because it is truly resonating with vitality." Robert C. Morgan, Domus (Milan)

"Rosenbloom's use of instrumentation is capable of taking the arid terrain of modern classicism and putting some life into it...I want to hear more from this man." Steve Fritz, Terminal (Boston)

"Exquisite . . . stunning." Merle Ginsberg, Soho News

"Rosenbloom is an artist with a future ... fresh and unexpected . . . An approach of sincerity and the belief if the spiritual in music . . . One may expect exciting work from David Rosenbloom in the future." Michael Rauss, Soho News

"one of the most lyrical works to come out of the avantgarde in the 1980s." Piero Scaruffi, History of Rock Music (full review)

On Requiem for the Fallen(on Dark Roots 004):

"... a work of varied and often exotic influences... Mr. Rosenbloom plays with extremes, matching a high-lying flute line with a rumbling bass clarinet, and having his soprano soar freely over the tangy, apocalyptic sound of a chanting Buddhist monk...a concise, energetic and almost medieval-sounding Kyrie." Allan Kozinn, New York Times,A Festival Where Art and Rock Collide, May 18, 1989

"...whose first movement is a nightmare of martial tempos, high-pitched drones and lugubrious vocals, and whose third movement is a spasm of extreme sonic gestures" Piero Scaruffi

On Charon: The Boatman(on Dark Roots 004):

"for solo organ, a hailstorm of harsh drones and an attempt to re-live Bach's toccatas for the minimalist generation"
Piero Scaruffi, History of Rock Music

On Chinese Puzzle: Inside/Outside (Rebus Records RB-1 LP):

" . . . a tour de force that defies adequate description... one of the best and most unexpected records of the year. On the right road to individuality." Trev Faull, Outlet (U.K.)

"They completely lift musical borders, they are the true anarchists of sound. Since Captain Beefheart knocked off the crown of music with Trout Mask Replica, no band has excited me more. They resemble a musical explosion whose vibrations we will only in later times perceive . . . ahead of their time." Tom Klatt, Zero Magazine (W. Germany)

"They defy any description, as they are so unique. I at least never heard the like! If you can imagine JOHN COLTRANE A LA PUNK, perhaps then you've come quite near to this record. But suddenly again there's the heavy slashing of the Cream dropped in, which almost immediately is interspersed with Free Jazz elements." G. Beez, Gorilla Beat (W. Germany)

"Inside/Outside is an accomplishment in rhythmic artistry." Tom Morr, OPtion

"For those who appreciate musical experimentation as well as musical standards." New Music Review

On The Outlanders: Music Is (Dark Roots 001) and Mysteries (Dark Roots 005)

"David Rosenbloom and the Outlanders prove that there's plenty of rich territory to be mined in the reaches of poetic folk-rock ... it's his lyrics, with their religious overtones and their unsentimental examination of the mysterious human ability to punctuate stretches of inexplicable gloom with flights of spontaneous joy, that place Rosenbloom in the great trad ition of the late 20th century poetic masters of song." Jon Sobel for THEGLOBAL MUSE.COM (
full review)

"Real masterpieces! Very expressive Bob Dylan storytelling voice, strong l\ yrics and a beautiful rootsy sound." Ray Pieters, Radio Milo, Belgium

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