Music which emphasizes only one of these aspects becomes either too sweet or too cold.
The perfect balance of course, will appear for each listener to be in another place.

From an interview with the magazine “Die Bühne”, Austria
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When encountering the music of another culture,
most Western musicians adapt by learning to play the instruments native-style
and mimicing the music of that culture. But from the very beginning,
Micus had his own direction and his own voice.
He created his own very distinctive music,
and though he used acoustic instruments from many cultures,
he did it in ways they never dreamed of – rebuilding instruments,
changing tunings, and playing them in idiosyncratic 异质的 ways.
And famously, he mixed instruments from around the world,
or used whatever was at hand: stones,
ordinary flowerpots tuned with water,
and his voice – singing non-verbal(非语言的) improvised sounds over ten years before others made this approach fashionable.

The Hearts of Space
US nation-wide radio program

This extraordinary multi-instrumentalist is actually one of the few to have grasped in its essence what was the song of the world. With him there exist no territories or cultural atavisms, but a planetary polyphony projected on a horizon of eternity.His instruments exchange once more the out-lines of their countries of origin to become instruments without nationality in the hands of this nomad musician. Exceptional. Keyboards, France

Micus's music possesses gossamer beauty. Timeless, magical music with a universal appeal.

The Times, UK

Listening to the music of Stephan Micus – which is as itinerant(巡回,游历的) and wide ranging as his life
– is one of the most profound experiences possible today.
Beyond categories and labels,
this German artist was already way ahead of trends when he released his first album in 1976.
Fifteen recordings later The Garden of Mirrors, his first CD since the phenomenal Athos(呵索斯山,希腊),
seems on the surface to be heading in a stylistic direction pointing towards the Orient.
But upon further listening it’s clear Micus is exploring an internal universe governed
by natural elements on the one hand and,
paradoxically(互相矛盾的), by silence on the other.
“Passing Cloud”, “Gates of Fire” and “Words of Truth” are the titles Micus uses to name pieces
that elaborate his personal liturgy( 礼拜仪式) and interpret the movement of water and wind,
the flight of clouds and the voices of the spirit.
An intrepid(无畏的) traveller and perpetual(永久的) student,
he has learned to play ancient and rare traditional instruments
that are as evocative(唤起的) as they are esoteric(深奥的).
When he sings he sounds like a chanting mystic in a trance.
The Garden of Mirrors is a recording to be experienced the way one would a journey,
the type of voyage Bruce Chatwin would describe as “looking inward”.

La Repubblica, Italy


The music of Stephan Micus is something completely new and entirely ancient and al-together embracing of humankind. If it isn’t heaven, it sounds somewhere near it. Detroit Free Press, USA


A solemn music, at first enigmatic, then slowly revealing itself. The more one listens – really listens –, the more the music absorbs one.

 

Die Zeit, Germany


… remarkable, haunting and truly timeless.

Down Beat, USA


Before there was world music, there was Stephan Micus, playing instruments from Afghanistan, India, and Indonesia. But ever since his first album (released in 1976) the German composer has not been making world music but other – worldly music. He plays ethnic instruments in nontraditional ways, multitracking them in layered arrangements and creating meditative excursions(离题的, 散漫的). Stephan Micus isn’t pan-cultural(泛文化的) but transcends(超越) culture with music that’s innocent but not naive.

 

Billboard, USA


Fascinating music, where silence has its place.

Midi Libre, France