"Mirrored Spaces" is a double CD set of premieres for solo classical and electric guitar and with electronics by several composer colleagues: Ryan Streber, Orianna Webb, John Link, Kyle Bartlett, Sergio Kafejian, Douglas Boyce, Dalia With, Karin Wetzel, Sidney Corbett, Ethan Wickman, Christopher Bailey, and Lippel himself. Mirrored Spaces engages with many different parameters through which musical ideas are refracted, including microtonality, the aesthetics of electro-acoustic music, timbral exploration, and historical and extra-musical reference points.
"From guitarist Daniel Lippel comes a two-CD set containing a generous collection of recent work for solo guitarist. On the recording Lippel, a virtuoso specializing in the contemporary repertoire for guitar, plays both nylon string classical guitar and electric guitar, conventionally and with extended technique, with and without electronic augmentation. But no matter the instrumental set-up or the musical setting, Lippel’s performances are characteristically deft and assured.
No brief review can do justice to the rich variety of music in this collection. One can only say: Listen."
- Avant Music News, Daniel Barbiero, 11.4.2019
"Even if Lippel never released another album under his own name, we would all owe him a debt for his wise and generous steering of the ship that is New Focus Recordings, which issues a seemingly endless stream of great albums each year. And that's not to mention his superb work within many ensembles, ICE and counter)induction among them. But here he has followed up last year's remarkable "...through which the past shines" with yet another gift, a vast collection across the possibilities of guitar music as sprawling and adventurous as the White Album, featuring pieces by Orianna Webb, John Link, Kyle Bartlett, Douglas Boyce, Ryan Streber, Ethan Wickman, Christopher Bailey, Dalia R. With, Sergio Kafejian, Karin Wetzel, Sidney Corbett, and Lippel himself. From solo acoustic gems like Wickman's Joie Divisions to electro-acoustic works like the alternately sparkling and serrated Like Minds by Link, Lippel wants us to hear it all, feel it all, and marvel at it all.
The project has its roots in a 2008 performance, represented here by a live recording of Lippel's own Scaffold for electric guitar, full of moody string-bending, feedback and distortion, which will echo in your head long after the album ends. I'll leave it to the sociologists to look into why, after a peripatetic series of collaborations, premieres and recording sessions, "Mirrored Spaces" comes to us in the same season as All Mirrors by Angel Olsen or mirrored heart by FKA Twigs, but I will say it is as vital a reflection of our times as either of those fertile and exploratory journeys into the heart of pop expressionism. I will be listening to, and taking nourishment from, Mirrored Spaces for quite some time. I suggest you start now." - An Earful, 11.30.2019
"One disc I’ll certainly not be able to do justice in this limited space is guitarist Daniel Lippel’s double CD “Mirrored Spaces” (FCR239 NewFocusRecordings.com). I would normally be daunted by the prospect of two and a half hours of solo guitar music,but to my delight Lippel has produced such a diverse program that I didn’t notice the time passing. First and foremost, let me state that although he is a truly accomplished classical guitarist, from the dozen composers represented here, there are very few offerings that would be at home on a traditional Spanish guitar recital. Even in pieces such as Lippel’s own Reflected with its quasi-Renaissance feel, our equilibrium is thrown off-kilter by rapid microtonal passages. A number of the pieces involve electronics, live or otherwise. One that particularly struck me was Christopher Bailey’s Arc of Infinity in which I found myself wondering “What if?” the subtle electronic part was transcribed for live cimbalom – how different would that piece be? At any rate, it is extremely effective. While most of the recital is played on a traditional nylon string acoustic guitar, a number of tracks employ an electric instrument, from the gentle harmonics of Sidney Corbett’s Detroit Rain Song Graffiti, to the distortion, feedback and note bending of Lippel’s concluding Scaffold (live). Interspersed throughout the two discs are the nine movements of Kyle Bartlett’s Aphorisms, all using a traditional Spanish guitar, but utilizing a number of extended techniques. If you think you already know what a guitar sounds like, or think that a double CD would be a bit “much of a muchness,” I urge you to check out this remarkable disc."
- David Olds, The Whole Note