Ada is overlapping all kinds of styles and rocking the house with heart and mind. Consistently danceable she delights with melancholic profundity and weird art of sawing. Her music crosses oceans with loud volumes from New York to Toronto to Lisbon to Paris and especially renowned clubs like Sven Väth’s Cocoon Club/Frankfurt, Watergate/Berlin, Studio 672/Cologne or Fabric/London, which have all been raptured by her live-performance.
New York Times, sunday, october 24, 2004: This graceful German singer-producer just released her astonishingly good debut album, "Blondie." (Ada records for the peerless Cologne-based indie label Areal; visit www.forcedexposure.com to order online.) She loves to push her house-inspired music in two directions at once, and the resulting tracks sound both ultradiluted (lots of blurred, misty computer sounds drifting in and out of the mix) and ultraconcentrated (with beats and basslines so precise that they're almost violent). The extraordinary first track, "Eve," begins with a mathematical tension (a 5/4 synthesizer line over a 4/4 beat), then expands with a pristine bassline, some pixilated vocals and what sounds like a computer-generated guitar. But the likely (underground) hit is "Maps," her sumptuous, seven-minute cover of the love song by the Yeah Yeah Yeahs. She turns the refrain - "Wait, they don't love you like I love you" - into a long but insistent sigh, and the interwoven electronic chords next to her evoke a sleeping lover's body, expanding and contracting with every unconscious breath.
Retour vers le futur.
“Une balade qui commence dans une cave sombre et se termine dans un hangar avec un bon vieux anthem rave.”