Thomas Lehn

 
read
view
listen

download

link
 
start
 






 
contact
 









read

 

intro

projects

vita

discography

press

future

past

 

Thomas Lehn, an important figure among electro-acoustic improvisers, differs from many of his contemporaries in that he often uses the synth as a discrete instrument. Whereas other improvisers tend to intertwine electronics and acoustics, his instrumental voice stands apart in its disciplined yet exceptionally expressive articulation.
Gil Gershman, Signal To Noise

 

Thomas Lehn gets incredibly various manifestations from his analogue EMS synthesizer, resulting maybe in the most creative synthetist in recent and not so recent years.
Massimo Ricci, touching extremes

 

Lehn has a prodigious imagination as well as the rigor to keep things both fascinating and compelling. Feldstarken is a fine, strong document portraying a talented musician in bold relief. Recommended.
Brian Olewnick, All Music Guide

 

Thomas Lehn's ancient analogue synthesizer is an honestly electronic sound source, but he plays it with pianistic animation, a responsive improviser in an ever-shifting, fluid and powerful music.
Stuart Broomer, Coda Magazine

 

Thomas Lehn changed the parameters of his apparatus with greater speed and fluency than I have heard before. His hands almost seeming to burn with volatility on the keyboard.
John Corbett, SPEX

 

Seeing and hearing Thomas Lehn perform can best be described as an earful. Or perhaps, one should say, it’s very ear-opening. Whatever the cliché, the experience should probably be called, above all, provocative and quite stimulating.
Steve Wiley, in: Retriever Weekly

 

The musician at the synthesiser displays the whole spectrum of sound gestures, timbral effect and atmospheric depth and accompanies these by his own particular gestures. Concert as an attempt to sensitise the contemporary listener in a world overflowing with sounds.
Dita von Szadkowski, Westdeutsche Zeitung

 

Thomas Lehn´s synthesizer, built at an early age of the technology, and looking more like a physics device than a musical instrument, was able to bridge the contradiction between technology and nature. Indeed, there was something extremely natural about the sounds it produced.
Günter Matysiak, Weserkurier

 

Lehn gives his analogue synthesizer the full treatment, untethered, performing with an impressive range of facial expressions and gestures, and it is this combination of visual and acoustic impressions that make up the charm of the music.
Daniel Schraad, Westdeutsche Zeitung