Daniela Orvin  Email: diorvin@gmail.com  All Rights Reserved  

 

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Harry Towell for Irregular Crates : favorite records of 2019 review of 'The Writings'

The duo met over several studio sessions and this is their output, a cinematic epic that includes icy cold dramatics, slow and brooding soundscapes, warm and charming ambience and fuzzy orchestration. Check out ‘A Moment Of Silence’ in particular and be prepared to be amazed. What’s particularly impressive here, is just how effortlessly the two styles of these artists combine.”  read more

 

Ambient Music Guide. best albums of 2019 review of ‘The Writings’ 

The Writings is very cinematic at times with piano figures set against hovering strings in a way that echoes Thomas Newman. At other times it deftly mixes tonality, abstraction and noise, like the hisses, crackles and droning cellos and organ of “Fading Lights.” The gorgeous “Same Situation Different Perspectives” is openly loving, an evolving drone of orchestral strings and synths that steadily expands and embraces you like the sunrise. read more

 

Rockerilla’s review of ‘The Writings’

Qualsiasi cosa è sospesa, levita sinuosa sopra il loro interloquire, rende leggero anche il nostro passo mentre li seguiamo non visti attraverso i territori del suono che maestoso avvolge questo intenso racconto intessuto con le più raffinate vibrazioni che la dottrina ambient sa donare. AFFINITA’ ELETTIVE. read more

 

Ambient Blog’s review of ‘The Writings’

The album contains five tracks where they perform together, and is completed by two ‘solo tracks’ each. As a result, ‘piano isn’t everywhere on this album, nor are Sven’s ‘Hollywood strings’. Both are present, along with many many more wonderful elements.’ Elements perfectly matching and complementing each other, together delivering a beautifully balanced atmospheric album. read more

 

Star’s End’s review of ‘The Writings’

It is in the clouds just below consciousness that The Writings will be truly known. Harmonies play and progress, but sometimes become lost – floating to the forefront over and over again. Long unhurried chords emerge out of a soft aura of reverberation, as the music is performed in measured motion – a limitation that does not prevent Laux and Orvin from capturing many moods. In their brief spell, compositions reveal a withdrawn melancholy. While some pieces drag themselves down to a near standstill, others float along surrounded by thick silence – their sonorities given time to reverberate within the listener. Inside its nearly stationary atmosphere this album unfolds. read more

 

 Łabandzi Śpiew’s review of ‘The Writings’

Bardzo ciekawy jest tutaj koncept budowy płyty – połowę utworów stworzył albo Laux albo Orvin, więc technicznie byłby to split, natomiast druga połowa to już wspólne dzieło. Zresztą muzycy podkreślają, że podczas pracy nad albumem zostali przyjaciółmi dopełniającymi nawzajem swoje talenty, a The Writings stała się meta-płytą której tematem jest właśnie kolaboracja. read more

 

SoWhat’s review of ‘The Writings’

Un incrocio a partire dal quale è lentamente emersa una vicinanza di approccio e sensibilità gradualmente sfociata nella realizzazione di un comune tragitto che vede alternarsi e intrecciarsi la peculiare cifra stilistica di entrambi, un torrente che scorre placido affiancando e combinando le ariose e a tratti granulose frequenze di Laux con le tessiture immaginifiche di piano ed elettronica della Orvin. read more

 

Toneshift’s review of ‘The Writings’

The expert balance between the piano keys and the electronic/programming doesn’t get much more elevated than this. When the two artists come together on articulate pieces like Same Situation, Different Perspectives (Part 1) and the consonant A Moment Of Silence there’s a rhythmic familiarity, it’s as if these two have been working together for decades, but this is their first collaboration, and hopefully not their last. read more

 

 Drifting, Almost Falling’s review of ‘The Writings’

As much as both styles compliment each other, they also contrast with each artist giving a flip side to the particular piece of music. While the initial parts are separate, the duo come together in the final stages of the track to meld their parts nicely. read more

 

 musicwontsaveyou.com’s review of ‘The Writings’

La collaborazione tra i due è scaturita dunque quale naturale conseguenza, adesso presentati sotto forma di un vero e proprio dialogo artistico, rispettando l’itinerario creativo lungo il quale si è sviluppata; come le tappe di un’ideale corrispondenza, i brani di “The Writings” mostrano le “voci” dei due in maniera individuale e congiunta, evidenziandone così i caratteri specifici e i frutti della loro combinazione. read more

 

 Kevin Press’ (themoderns.blog) review of ‘The Writings’

It would be an overstatement to say that this kind of mixture of new classical and ambient compositional styles represents the future of classical music. There’s too much history there, and too much depth of variety in the tradition for its focus to narrow that entirely. But as long as artists make records as compelling as this one, it is safe to say that The Writings is a fine example of what some of the best new classical made in the years ahead will sound like. read more

 

 Irregular Crates’ review of ‘The Writings’

Then, it all goes momentarily John Carpenter and it’s a nice shift. Really nice. Quite a complex moment of off-script associations. We are now in Nordic crime territory.
The Writings track sees the pair explore planetary surfaces (and interior alignments) in an expedition Shackleton would be proud of. It’s pretty much a strings and delicate piano call-and-response here, but it brings back earlier refrains, echoing the start of the CD. read more

 

 Gezeitenstrom’s review of ‘The Writings’

Auch wenn die Beiden ihren Wurzeln in den Musikbereichen letztendlich treu geblieben sind, so ist die Vielschichtigkeit und Komplexität des Albums exorbitant hoch. Der Grundton ist ein verträumtes, leicht lakonisches Klanggerüst, das mit viel Emotionalität aufgewertet wird. The Writings ist so ein Album, welches sich ausschließlich eignet, wenn in hektischen Zeiten ein Ruhepol von Nöten ist. Die Musik ist ruhig und gedankenverloren, mit leichter Melancholie durchzogen. read more

 

Drifting, Almost Falling’s review of ‘Sleeplaboratory1.0’

Daniela Orvin’s “Wide Ocean” is an early stand out for me. This could easily be a soundtrack to sleep. It is slow and unwinding and in no need to rush. It balances the tones nicely so as not to be monotone, nor too heavy or too light. The mix of drones and synth lines work well.The final third of the track is when it really elevates itself before metaphorically crashing on the shore.  read more

Fluid Radio review on "Salaam for Yaman"

And Sven Laux teams up with Daniela Orvin (who produced one of the year’s kindest and finest ambient records with Home) on the track ‘Children First’. Not America First. Children. War destroys; it doesn’t have the capacity to heal, but her music does, her soft, glowing chords acting as a comforter to a child in need. Those children will grow up, either knowing something of violence or the kindness of strangers and their encouragements of future peace. 

Fluid Radio 

 

Irregularcrates review on “Home” 

What is more it’s nice to hear electronic music with a heart and dare I say it, a bit of kindness and this definitely has both. A lovely release.'  read more www.irregularcrates.com 

 

A closer listen review on ‘Home” 

Her pieces of music are beautiful and open, glowing like an effervescent sunset and then filling the room with the light of the morning to come. You can feel the reunion, the tight relationship, and what it means to her. www.acloserlisten.com 

 

cofeeandflapjacks review on ‘Home’

This album has got so under my skin that I can’t let it go. I have listened to it no end of times, each listen catching something new, some little detail, something fresh within the warming, comforting whole. I can’t wait to listen again. coffeeandflapjacks.wordpress.com 

 

Gezeitestorm review on ‘Home’

'[...] Wahre akustische Kunst, welche unter die Haut geht. Ein Album, welches sehr tiefgründig aus der empfindsamen Seele von Daniela Orvin erzählt. Und dafür gebührt der Dame Anerkennung wie ebenso Respekt.' gezeitenstrom.weebly.com 

 

ChainDLK review on ‘Home’

At times it’s classical chillout music but built from synthwave-style ingredients, and it really works. The modest duration perhaps works in its favour. Orvin has been doing soundtrack work recently and on this evidence, her work should soon be in demand.' www.chaindlk.com 

 

Groove magazine on ‘Home’

Sogar der mittlerweile fast mit Langeweile-Versicherung ausgelieferte „Neoklassik“-Tag kann im Dazwischen noch an Licht und Schatten gewinnen. Zum Beispiel in ganz besonders schön, wenn die Berliner Musikerin und Fotografin Daniela Orvin auf ihrem Debütalbum Home (Seasides On Postcards) den Ballast abwirft, der mit dem spieltechnischen Können an ihrem bevorzugten Instrument dem Piano üblicherweise so mittransportiert wird und stattdessen die Klavierklänge in warmen Synthesizerflächen verhallen lässt www.groove.de 

 

Indie Rock Mag. review on ‘Home’ 

Prelude (Part 1) nous invite ainsi d’emblée dans l’intimité de la pianiste au son du premier prélude du Clavier Bien Tempéré de Bach, un exercice qui se fond bientôt dans l’écho d’accords au spleen rêveur, tandis que Surrendering To Coincidence prend forme à partir de simples gammes soumises là encore à des effets d’écho qui finissent par leur donner une dimension presque irréelle... l’écho, un élément décidément central sur ce très bel album, jusqu’à son final kosmische Home aux chaleureux élans de retour au bercail.' www.indierockmag.com 

 

African Paper review on ‘Home’

Sanfte, oft zurückgenommene Tonfolgen auf dem Piano, die repetitiven Mustern folgen und sich oft nur dezent und nahezu unbemerkt in ihrer Melodik verändern, erinnern bisweilen an die eingängigen Kompositionen von Michael Nyman oder Philip Glass. Ambient? Synthieflächen, schön gestaltet und glasklar, fügen sich manchmal nahtlos in das Klavierspiel und ersetzen es an anderer Stelle, in besonderen Momenten wachsen sie mit viel Hall unterlegt zu orchestraler Wucht an. Pop? Eine dauerpräsente Leerstelle auf “Home”, denn dieser wird immer wieder gestreift, von einprägsamen Melodien und netten Soundarrangements, und doch bleiben die Stücke immer nur auf Songbausteinen basierende Soundscapes. www.africanpaper.com 

 

Toneshift review on ‘Home’

It is the strength of Orvin’s composition that very few of the tracks stand out, but instead work together to form an exceptionally cohesive whole. Each instrument – the piano, and the synths and occasionally percussive or vocal noises that frame them – is so well-crafted that what results is a rich and convincing sound world, and one that is endowed with a near romantic, restrained sorrow.  www.toneshift.net 

 

Kevin Press ( The Moderns ) review on ‘Untitled (2014-2016) 

 'Right from the start of Daniela Orvin’s impressive six-track debut, there is much to parse through. Bells ring in the distance. White noise – steam-engine like – fills the air. Then droning vocals, giving the piece a sad, almost pained feel. The effect is remarkably visual. Baddpress

 

 

Interviews :

 

Chain D.L.K. Interview on ‘Home’:  www.chaindlk.com 

Fifteen Questions Interview with Daniela Orvin: www.15questions.net

Kevin Press : Daniela Orvin Q&A : www.baddpress.blog

 

ATTN Magazine interview about ‘Untitled ( 2014-2016)’ : attnmagazine.com

 

The listener : listener.co.il

 

 

Article by Maren Krüger Jewish Museum Berlin

"Treiben im weißen Nichts" : Eine Begegnung mit der Fotografin Daniela Orvin : Jewish Museum Berlin 

Deutsche Welle TV/ Kultur 21/ Grenzgänger Die Fotografin Daniela Orvin 

To the report on Deutsche Welle TV