News & Reviews

IN BETWEEN (JHM 292) REVIEWS

I've been fascinated by the singer's universe for a long time. Sascha Ley is not afraid to draw us into our own subconscious. The vibrations that resonate and clash get under your skin and into your cortex. The singer has a sense of nuance and narration. She masters her effects. The sensual song of a mermaid mixes with that of an opera singer or a frightened child. Sascha unsettles and amazes us. The whole concert (like the record) is a journey, an experience and a reflection on life, society, the place of women, and memories.

It's class. It is very personal and quite unique. It's a concert (a performance) to be experienced. Jacques Prouvost Jazzques 11/22

Sascha Ley’s new album In Between has already garnered critical acclaim. The jazz vocalist has expanded her sonic landscape to explore a world of abstract vocals, narrative songs and onomatopoeia. The album veers between the experimental and the accessible, the dreamlike and the nostalgic as Sascha deals with loss and love and desire and intellect. Duncan Roberts, Delano 11/22

Dazzlingly, the singer, musician and actress Sascha Ley [...] impressed with her singing and vocal artistry. Effortlessly Ley masters the throat singing technique of the Inuit, sometimes reminding of the African world music of "Zap Mama" and in her free spirit of the great old Meredith Monk. But her titles never seem epigonal, she always transforms the material into something of her own. Silvia Buss, Saarbrücker Zeitung 10/22

Journey into the in-between. The experimental album is tailor-made for the stage. Sascha Ley plays her voice like a violin. She cradles her invisible instrument. We speak of memory and oblivion, [...] of that particular space to which Sascha Ley always returns [...] an indeterminate space. With In Between, Sascha Ley makes easily accessible what is not easily accessible. Mixing frankly crazy bravura pieces and warmer songs, In Between definitely hits the bull's eye. 10/22 Kévin Kroczek, D’Land LU

She explores what can be done with the voice - and that's a lot! She improvises, shouts, trills, growls, pants and sings, holds a dialogue with herself, explores different resonances. There are spacey soundscapes and vocal acrobatics [..] she's also a great storyteller [..]

MELODIVA (DE) 10/22

With her musical concept, Sascha Ley seems to me to be a personality who stands somewhat apart from the so-called jazz scene and is very interesting not only for that reason.  Jazz-Fun Magazine 10/22

[..] An astonishing collage of voices, improvisations and little stories.  [..]  the singer is radical and singular, juggling with words, language and vocalisms ... as if to remind us of her enthusiasm for improvisation and avant-garde music, she combines, in 17 crazy but catchy songs, sound loops, vocoder, noises and whistles. Her way of affirming that she doesn't fit into any category. Le Quotidien LU 10/2022 

Curious sound structures, which she creates with Satie or Cage piano, micro synth & gimmicks, with multi-tracked interlocked rap, beatboxing, vocoder-singing à la 'O Superman', whimsical vocalizing, loud-necked folkloric mannerisms, whispers, tongue-twisters and little stories in the tone of Hirsch. But with undeniably its own charm and wit, as she juggles there with prose, poetry, glossolalia and droning waves and also whistling, conjuring up a very peculiar mono-musical. Badalchemy 09/22 

Interviews 

Natasha Ehrmann „Sot emol“ Radio 100,7 

Feeling at home in free improvised music 

[...] On her musical way Sascha Ley developed an awareness for the world of sounds. It when she got into contact with free improvised music. Real sound worlds and "sound painting" would have opened a whole new world for the artist, in which she could immerse herself with all her senses.

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