Originally (in a place that we can no longer really imagine) there was no difference between music, image and drama. In this place one could follow a sound or a sound context like a figure on a stage, and one could dissect an image into its sounds. Into such a place one feels transported by the music of rhein. This is always exhilarating but not always "harmonious" (in the sense of satisfying), because the creation of music from sound is not only pursued in one direction; often it also happens that the mathemagic of music dissolves into organic action and a virtual field recording. At the transitions there are states of danger, loss of balance, after all there is no air in which there might not always be something threatening. But rhein also leads back to the tranquility of contemplation with a certain reliability. They let everything come to a good end; the music has left anger and heroism behind. Unlike its predecessor, in "Spiel" you can also enjoy the tracks as miniatures. Sketches of moments musicaux, which are clearly separated from each other, and want to capture the essential without the enforcement of an overall concept. The music of rhein is of great simplicity and clarity. It does not fool you when you listen to it. You can always think and feel with it. Everything that is used in terms of material, method and style in these seven musical moments is performed without trickery or concealment. Without bombast and without destructive lust. It is music with which one can learn. That makes music and listening to music at eye (or ear) level. This music is beautiful in an honest way and honest in a beautiful way.
- Georg Seeßlen