most exciting performance was given by the superlative
David Moss. This man has vocal cords made of sandpaper
or silk, totally at his choice; a voice sometimes
burningly acid, sometimes smooth as lotion. He can
growl, scream, rasp, moan, and break down like a
sweet blues singer or a great Diva. In 2001, as
Prince Orlovsky in Fledermaus, he sang
the elite Salzburg Festival audience out of their
seats: scandal and riot! Just Moss alone, the ace
of the avant-garde singers, makes this premiere
The most extraordinary performance (in
the Surrogate Cities Brisbane premiere)
was by David Moss, whose improvised vocals lay
somewhere between scatting and scary. Think Jim
Carrey doing an impression of Ella Fitzgerald
while being eaten by the creature from Alien.
[Sydney Morning Herald]
The singer David Moss is cantorial, David
Byrne-ish, Beat-cool, raving post-Berio in the
mad gabble of the city.
[Real Time Magazine,
"David Moss, as Mr. Eddy, shifts vocal gears
so fast, he sounds like a car radio on which someone
is turning the dial, passing through stations
broadcasting an evangelist preacher, Little Richard,
Yma Sumac and a professional wrestling match.
A greaseball with apricot hair, David Moss was
monumentally repulsive as Mr. Eddy and gave an
unforgettable performance of what must be some
of the most difficult music ever conceived."
[Larry L. Lash, Andante
Einstein for Aliens is a wonderful
total work of art: a mixture of Robert Wilson,
Cirque du Soleil, jazz, and above all, David Moss.
I was excited, delighted, and had lots to smile
at. What else can an artist give to his audience?
I would not want to miss one single moment of
this marvelous evening.
[Prof. Manfred Eichel,
Director of Programming & Chief Cultural Correspondent,
ZDF Television, Germany]
David Moss's voice went through many rapid-fire
transitions, creating a kaleidoscope of vocal
acrobatics. Reminiscent of Tom Waits in his jerky
movements and hypercool aura, his presence dominated
whenever he appeared.
The phenomenal David Moss babbled, gurgled,
whimpered and whooped his vocal acrobatics
[S & H International
Concert Review - online]
"David Moss gave a strong performance of
a "Sequenza-like" part written for him
by Luciano Berio, with a crazed and gorgeous virtuosity.
[Neue Zürcher Zeitung]
"A virtuoso vocalist who uses all the resonances
of the human voice in the grand tradition of Cathy
"One of the "God-fathers' of avant-garde
drumming, Moss influenced the percussion world
with his eccentric yet powerful concept of noise-
drumming; he creates a 'live' sound world like
no other solo drummer!"
"A David Moss solo will take you as far
away from all "normal musics" as you've
[The New York Times]
"Alien love-songs meet Bo Diddley, John
Coltrane and Maria Callas- that's one way of describing
a David Moss concert."
[The Village Voice]
"You'll walk away humming his music and
dancing to his beats in the strangest styles you
* "He's the Caruso of the avant-garde"
"Inspired improvisations from crazed primordial
prattle to a tour de force of utter nonsense."
[Toronto Globe and Mail]
"Drums, percussion, toys, crazy electronics,
extremely wild vocals, bouncing layers of beats
and pulses, all mix together in the personal rhythms
and and rhythmic stories of Moss' unique, intense
and, yes, humor-filled, music."
[Los Angeles Times]
"A unique, assured vocalist"
[The London Guardian]
"A virtuoso vocal experimentalist"
[The Financial Times]
Time Stories runs the gamut from
amusing to baffling, carousing to deranged, exhilarating
to frightening. It could be imagined that Mr.
Moss has not returned music to its most primitive
roots but has in fact brought the roots abruptly
into the present. TIME STORIES is clearly not
an easy listen and will prove to be a challenge,
albeit an enjoyable one, for even the hardiest
fan of pure improvisation. In this case, the adventurous
listener is urged to make use of that different
part of his or her brain, and to seek out David
Moss' TIME STORIES.
Texture Time is the third album by
Dense Band and quite possibly the best. It signals
a further development of Moss' use of live sampling
and electronics to magnify the impact of that
already dramatic vocal delivery, showcasing Moss'
astonishing leaps from register to register and
his ability to shape time like an origami master
folds paper. No other improvising vocalist that
I know of has created such an intense, idiosyncratic
vocabulary. Texture Time is indispensable.
[Chris Blackford, Rubberneck)