Go to the home page for checking the latest reviews on the new album

Frozen Refrains out in June 2017


One of my pieces appears on Tim Burgess' mixtape for I-D mag ! w/ Nik Colk Void, Daniel O'Sullivan, Alexander Tucker, Chastity Belt, Simon John Fisher Turner, Solange, Ariel Rosenberg, Pheromoans and Animal Collective.

April 2017


Wonderful 'Dangerous Orbits' review on American Spectrum Culture

                  by John Paul, July 2016.


'Dangerous Orbits' in German Groove Magazine (March/April 2016 issue)


Franck P. Eckert's Motherboard column 

"The sound sources of Parisian Berangere Maximin are in rather uncomfortable climes of Drone, rhythmical noise and power electronics. Still Dangerous Orbits (Made To Measure) is an easily accessible, even in the conventional sense pleasant album, showing off again and again how little single dirty sound molecules testify about the sublime big picture."


Wonderful review by Glen Hall on Canadian Exclaim! 

'Adrift', 4th movement of 'Infinitesimal' on Frederic Sanchez' playlist for AnOther magazine (UK), the sound designer's 15 track mix in the Party Issue (Spr/Sum 2016) -- click on the pic to see the full playlist.

The Out Door in 2015… -- click on the pic to see the full list



A five-star review for 'Dangerous Orbits' on vinyl

in Musikexpress Mag (DE), issue # 131 ! Sept 2015.

 by Albert Koch.


'Dangerous Orbits' pops up on Mikey Jones' best of 2015 list on Fact Mag !

w/ Jim O’Rourke, Pye Corner Audio, Róisín Murphy, Nicolas Godin, US Girls, David Grubbs & Susan Howe...

Review on Chicago Reader USA, October 2015


 A Reader staffer shares three musical obsessions, then asks someone (who asks someone else) to take a turn....


'Beyond the Limits of Language' interview on           15 Questions.net (September 2015) by Tobias Fischer.


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Beat Magazine, Germany, July 2015


New Album review by Tobias Fischer.


The Arts Desk, UK, August 2015 -theartsdesk on Vinyl: Volume 8 - Björk, Joy Division and more From Nashville garage punk to Dutch techno, the plastic that matters.

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Rif Raf, Belgium    July 2015 by     Fabrice Vanoverberg


{quick translation}

(…) Now after a transfer to Crammed Discs, the Parisian acousmatic composer gives us the immense pleasure to sail between styles and eras, and such enthusiasm can only be contagious. 

Everything starts with the incredible 'Cracks', 12 minutes of pure enjoyment where the turntablism of Giuseppe Ielasi teams up with a memory of Dub stuck somewhere in a bird cage. (…) 


Dangerous Orbits by Marc Masters on Pitchfork ! (USA) June 2015



(...) She’s like a ghost in her own machine, conjuring images, setting scenes, and painting sonic pictures while always dodging out of view, hiding in the dark behind the curtain on the side of her own stage. (…) It feels like the world is turning inside Maximin’s songs now, and the resulting gravity has the weight of nature on its side.


The Out Door's 200 Words column (USA) - July 2015


(…) That’s one of my favorite things about Dangerous Orbits: it seems to expand with each listen, threatening to pull apart completely, but something – or, more precisely, someone – keeps it so together it ultimately feels like one huge sound.

– Marc Masters


(…) [Music] can even flow in my brain without a sound and that rite calms me down, helps me chill, focus, dig out what’s best in being alive. My body is a mirror which is simultaneously turned to the past and future. So inspiring. Just that sometimes I could do without the history linkage, that neuronal chain hammering the seconds, the silent voice that forces me to stay aware of the fact that I’m the essence of myself, always the same, always changing. (…) – BM

© Marine Dricot, 2015.
© Marine Dricot, 2015.

Wonderful feedback from Olivier Lamm and my top 5 experimental albums on The Drone (France), June 2015


"En France, on n'a pas beaucoup de rock décent, mais on a les meilleurs musiciens de musique expérimentale du monde... la Parisienne Bérangère Maximin fait partie des grands espoirs actuels de ce torrent qui gronde depuis sept ou huit décennies... elle fait partie des rares performeurs et compositeurs à avoir secoué, volontairement ou involontairement, le cocotier de la musique électro-acoustique contemporaine.... Maximin expérimente en quelque sorte avec la musique expérimentale elle-même, explosant de l'intérieur le carcan de la tape music (...) ".

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© Joanna Kosowska for TAZ, 2015.

Great review of Berlin concert at Charlottenburg Friedenskirche on June 4th by Tim Caspar Boehme                           in the German national daily newspaper Die Tageszeitung.


(...) All elements with which Maximin works, aimed deliberately onto ambiguity and allusion, she brings sounds and gestures to the game, only to have them in the next moment to withdraw. She wants to set a sense of disorientation while listening. Although the mood was generally meditative, the music developed a discreet hypnotic attraction, from which one is not torn out easily. After her solo performance you wonder rather how quickly these forty-five minutes has passed. (...)


             Interview on The Quietus mag, UK

Cindy Stern offers her unique insights into - and talks to - the incomparable electroacoustic composer Bérangère Maximin. 

Dangerous Orbits, Crammed Discs

Wonderful take on the album by Cindy Stern on The Quietus (UK), May 2015


"Bérangère Maximin's Dangerous Orbits stands alone in the current experimental music landscape. Working in isolation in her Paris studio, Maximin does not pander to making it easy with beats and a polished pop sheen, rather this is music of wonderful experimentation. Dangerous Orbits works as a pair with her previous album Infinitesimal, utlising recurring elements such as sound moulding into different shapes. A brave album, it was recorded with no label backing, but this did not get in the way of her vision. She developed the themes, giving the whole work an expansive cosmic feel, and finally delivered a raw, beautiful, organic album." (...)

"Stretching the material to the limit, she's created something that sounds like it is torn from within her. It calls for deep listening due to so many beautiful moments appearing out of the mixes which could be missed on a quick blast on a PC".

The Quietus

© Marine Dricot, 2015.

First new album review by Nina Power in The Wire Mag # 375, May 2015 (UK)

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"A menacing silvery growl runs through this record, where dysfunctional spaceships meet the memories of Solaris... a muffled dubby pulse ungrounds and untethers... Maximin's cinematic soundworks are discomforting reminders that the universe does not at all belong to us".

The Wire




Reviews of the solo concert at Fimav 32, Quebec (May '016)

Quebec Le Devoir, Montreal Gazette, Downbeat magazine, All About Jazz, DMG, AMN Reviews.

Entrez dans la transe / Marie-Pier Frappier / Quebec Daily Newspaper Le Devoir (Canada) / 05-22-2016

Elle en a dedans, la Bérangère Maximin. On nous promettait « objets sonores, artéfacts microphoniques, chimères numériques », et on a eu plus que ça avec son Siklon. Toute menue derrière son ordinateur, elle nous prend vigoureusement par la main et nous amène sous l’eau. Le voyage commence, d’une traite jusqu’à la respiration, où l’orage gronde et éclate. Architecte d’un monde riche et tout sauf tétanisé, la Française égrène son « chapelet de l’heure dans l’horizon ». On aurait parfois voulu plus intense, on aura eu plus beau, c’est tout, et c’est bien ainsi.




George Lewis Leads Parade of Experimental Artists at FIMAV Josef Woodard/ DownBeat Magazine (USA) / 05-23-2016

"Other memorable moments along the four-night/three-day roster of 20 concerts included the deliciously bizarre midnight show from Quebec fusion act FET.NAT, with the wild man singer-poet known as JFNO vaguely recalling Pere Ubu’s charismatic leader David Thomas, and the laptop-and-mixer elegance of French artist Bérangère Maximin, who led an hour-long trip into a captivating sound world of her own deft devising." 




Zorn Recruits Star Collaborators for Eclectic FIMAV Showcase / Josef Woodard / DownBeat Magazine (USA) / 05-31-2016

"Also a highlight among this year’s 20-show roster were the Swiss duo of wizardly vocalist Andreas Schaerer and sinewy drummer Lucas Niggli, as well as the French electronic musician Bérangère Maximin, who crafted satisfying, painterly soundscapes, armed with the by-now “traditionalist” setup of laptop and mixer."




Montreal Gazette 




Festival International Musique Actuelle Victoriaville / L'équilibre des dualités / Impro Jazz, Magazine d'information musicale

# 228, September 2016

(…) L'électroacousticienne Bérangère Maximin mêle trames et boucles de sons fixés à d'autres, produits dans l'instant, avec une part d'improvisation. Sa musique est un pont entre l'école acousmatique française qui se souvient de l'héritage de Pierre Schaeffer, et les récents développements des musiques électrons, qui ne disent pas non à la pulsation. Elle navigue entre les deux mondes sans arrêt et avec une grande aisance, nous entraînant à sa suite dans des paysages inconnus. Michel Chion demandait un jour "la musique du futur a-t-elle un avenir ?". Certainement répondra-t-on, et il est quelque-part par là.



Festival International Musique Actuelle Victoriaville / Bruce Lee Gallanter / 06-14-2016

NYC Downtown Music Gallery's Bruce Gallanter's review of my solo concert at Fimav last month ! touched :::

The second set that day was a solo set by Bérangère Maximin, a French electronic music composer with discs out on Tzadik, Sub Rosa and Crammed Discs. I had heard and enjoyed Ms. Maximin’s discs on Tzadik and Sub Rosa and knew that she once toured with Chuck Bettis, the former DMG manager. Starting with very subtle static and thumps and what sounds like distant thunder, each sound was slowly manipulated with the tempo slowly increasing as the piece evolved. For most of the sets at Colloseum A or B, there is a smoke machine that is used too often. It doesn’t work for each set and should be switched off at times.

For this set, the smoke actually added to the foggy aura with appropriate lights also used to great effect. You could tell that Ms. Maximin had worked long and hard on her set since each piece was carefully crafted. On the second piece, it sounded like a sped up washing machine, throbbing, pulsating and slowly being twisted. The sounds of water flowing or chains being shaken pervaded and it felt like we were submerged under the ocean, perhaps in a submarine. The third piece started with what sounded like panpipes but was soon expanded, one layer at a time. You could hear that each layer was carefully bent into different shapes, each layer evokes a different vibe or scene. Eventually the flow of events turned into space/rock groove similar in sound to Hatfield & the North or Gong. Each piece became more complex and/or added another layer to the flow. The intensity increased, certain patterns were enhanced and the repeating refrain of a selective birdcall became a hook to hold onto. This set was electronic music at its best since there was some sort of narrative or story unfolding which was not that hard to comprehend. Sometimes electronic music is too difficult to deal with, too cold or inhuman sounding. But not this set, it worked well and took us on a strong inner journey.




Festival International De Musique Actuelle De Victoriaville 2016, Part 1/ Mike Chamberlain / All About Jazz (USA)/ 05-24-20

"French electroacoustic composer Berangere Maximin was focussed, controlled and succinct in her set of four real-time compositions with laptop and electronics that employed the use of natural sounds and pulsating drones that had life and breath of their own." 




AMN Reviews: Festival de Musique Actuelle de Victoriaville, May 19 and 20 / Irwin Block / Avant Music News (USA) / 05-22-2016

"From tones, to drones – the next concert featured the electro-acoustic creations of French composer Bérangère Maximin. The soundscapes and varied textures from her laptop and table of electronic devices were varied, accessible, well structured, and entertaining."


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