Press Reviews

Notes chimed back and forth, as picking turned to strumming and the slides grew steeper, the music gathered into a vertiginous rush: simple materials creating pure exhiliration.
The New York Times

Indeed, Corbett's work [Arien IV: Solo Music for Guitar] is technically and musically demanding; its interpreter must be such a master as Seth Josel, who worked such fascination upon us.
Die Welt (Germany)

The American Seth Josel garnered admiration for his virtuosity and for the humor and sovereignity with which he handles modern forms ... The dialogue between the performer and his shadow (sequencer program) can be extremely exciting as Josel proved in the performance of Stahnke's "Malaita".
Rhein Zeitung (Germany)

As a pioneer he stands alone ... and he delivers an exceptional picture of the possibilities of his instrument ... Josel glided his hands with an unquestioned ease and grasped the complex lines and chords of Johnson's Alexandrins. A concert like this makes one long for those sounds that previously never were, but in the hands of a guitarist like Josel very well could be realized.
Eindhoven Dagesblaad (The Netherlands)

Complete musical enjoyment ... Josel was unarguably brilliant in his technical virtuosity.
Bonner Rundschau (Germany)

Josel's concert was a complete success ... A very close contact was achieved between the audience and the soloist ... Josel met the high standards and demands of the composition (Henze's "Royal Winter Music II") in an impressive manner ... The exotic local color of the Choros and the Etudes (Villa-Lobos) were taken in all their elegy and drama to their utmost reaches.
Kölner Rundschau (Germany)

Another point of extreme during the festival: the unusual guitarist from New York Seth Josel. With his performance on the MIDI-guitar the results were rather playful, exotic, as if sounding almost by accident so.
Saarbrückener Zeitung (Germany)

The listener was mercilessly thrown into the composition's (Trojahn's "Lieder auf der Flucht") extremely well-calculated net of tension and was left with a a burning sensation of an indescribable degree. The guitarist Seth Josel was appropriately greeted with loud applause.
Neue Kronenzeitung, Linz (Austria)

The soloist Seth Josel (along with the MusikFabrik) demonstrated true mastery of the presentation of this schimmering tone collection.
Neues Volksblatt, Linz (Austria)

Seth Josel communicates as a gifted instrumentalist with a special flair for subtelty. The music sounds custom-tailored to his strengths, no few of which transpire mere inches from silence. We learn that Seth Josel like a lot of Americans in the arts, lives and works in Europe. Were our best baseball players to depart the major for Japan, there'd be all hell to pay. Leading-edge musicians? Who cares?
Fanfare Magazine

For fifteen minutes the electric guitar and the enthusiastic strings of the Koechlin-Ensemble were engaged in a beautiful, subtle battle. The guitar, virtuosically played by Seth Josel, presented, with it's question and answer interaction with the strings, a series of well-dosed effects, as well as some proper tough picking.
Stuttgarter Nachrichten (Germany)

Sequenza XI for guitar is a showcase for Seth Josel's extraordinary digital dexterity, as every conceivable form of guitar-related fingering and technique derived from both flamenco and classical traditions is applied with as much vigour as surgical precision. Although it's one of the longest tracks on offer, listening to its wood, flesh and metal is a pure joy, and not only for guitarists.
paristransatlantic.com, october 2006

Here is tidy, delicate chamber music - SIDNEY CORBETT: Que hora es in Paradiso? - played with much panache and dedication by the excellent German performers with the fine guitarist, Seth Josel.
Audiophile Audition (www.audaud.com)

...Kein Stück dieser wunderschönen CD ist mit imposanten Effekten gespickt, niemals buhlt die Musik um die Sympathie des Hörers. Aber schon bald zieht Corbetts Musik die Ohren in den Bann, zaubert Farben und Figuren....Diese CD mit dem hübschen, zum Schmunzeln und Nachdenken gleichermaßen anregenden Titel, hat ausschließlich kammermusikalische Besetzungen mit und um die Gitarre herum. Die klassische Gitarre darf auch ganz allein: "Variations in Memoriam Edison Denisov" (1998). Zart und innig, klangschön und kein bisschen brav. Die kunter­ bunte Instrumententruppe aus "Exits" wird nur wegen der sehr subtilen und abwechslungsreichen Klangmöglichkeiten der Instrumente benötigt, weniger der großen Lautstärke wegen. Okarina und Mundharmonika setzen zudem noch gezielt ein paar klitzekleine Klangtupfer hinzu. Und weil Corbett so geschmackvoll und zurückhaltend aus dem Vollen schöpft, wird es auch hier niemals kitschig. Durch die hervorragenden Musiker ist diese CD ein echter Ohrenschmaus, ein tolles rundes Ding.
nmz 2008/05 | Seite 42

"A fascinating glimpse into the multi-faceted nature of this movement (The English experimental period) in general and Bryar's contribution in particular"
Gramophone, April 2008

Seth Josel has programmed tremendous music and played it with conviction, power, and subtlety....If Segovia says that the guitar is like an entire orchestra, then Matamoros and Josel show that the electric guitar contains the entire electronic sonic experience....This disc does make me want to instill that "Josel Bill" waiting period on electric guitar purchases. We need more music like this and more performers like Seth Josel.
http://www.sequenza21.com/cdreviews/

Two works took on the traditional concerto, breaking the soloist-vs.-ensemble mold. Keeril Makan's Dream Lightly put guitarist Seth Josel out front with an intricate, demanding role. Josel's part focuses on harmonics, the resonant pings that come from guitar strings when struck at just the right place (think the opening of "Roundabout" by Yes). The tuning systems of the guitar and orchestra clashed through sheer physics, not from Makan's desire to pile dissonance upon dissonance, and the waves that surged from the ensemble had an impressive blend of darkness and transparency. The precision of Josel's playing and conductor Jeffrey Milarsky's motions made this piece the evening's highlight.
http://www.phawker.com/2008/11/17/concert-review-i-like-american-music/

De toute façon, un des albums de l'année !
http://inactuelles.over-blog.com/article-26156144.html

Seth Josel is completely at home in this alternate guitar universe, as sensitive to its lyrical moments as he is to its aggressive qualities....this is a CD worth your hearing.
Fanfare Magazine, May/June 2009