FOR DIPLOPIA (with Jozef Van Wissem):
"THE JOY COMES FROM THE TEXTURES AND SONORITIES THAT THE LUTE AND THE
NATIONAL STEEL PROVIDE...Lucas provides its anarchic impetus...Lucas has more in mind than simply
attempting to graft a contemporary response on a Renaissance piece. He
provides the improvisational overlay with great delicacy and invention."
"The hypnotic theme for 'The Mirror Stage' buzzes with a familiar
finality, like the dream of a funeral that we all must attend. Gary's
lonely acoustic slide and Jozef's harp-like lute weaving in a completely
trance-inducing web of dark beauty."
|Downtown Music Gallery online review|
"On 'Diplopia', Lucas' botteneck style almost makes it appear that the
Mississippi delta is next to the Dutch flatlands. Lucas knows how to
mutate rock music. So when he and the lutenist perform their version of
Kraftwerk's 'Hall of Mirrors' intensity not found in the original is
"Gary Lucas performs a dobro solo that has the sense of intense adventure
|Eugene Chadbourne, All Music Guide, 3/2003|
"Lucas silently weeping National steel guitar works really well in
combination with van Wissem's staccato lute style. An enthralling mixture
of country and chamber music, folk and minimal music. This projects
results in hypnotic beauty."
|NRC Handelsblad (The Netherlands), 1/2002|
"On 'Diplopia' the US guitar player and Dutch lute player investigate
early music from around 1600. The result is of a timeless essence. Black, mythical tuning, meditative repetitions, not unlike rock music, a bottleneck dobro which reflects on
its archaic foundation, make for a audacious String Fantasy."
|Jazzthing (Germany), 2/2002|
"Strangely beautiful, this combination of textures by Gary Lucas and
Jozef van Wissem on 'The Mirror Stage'."
|Westzeit (Germany), 2/2002|
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