“Shiva Feshareki’s GABA-analogue – a deeply uninviting name for a terrific sonic experience. She divided the orchestra (the Trinity Laban Symphony Orchestra) into four groups, placed wide apart in the four corners of the hall, facing inwards towards the conductor, André de Ridder. Among her musical ideas there’s thrash metal and dance music, as well as marvellously fresh-sounding orchestral-gestures, assaulting or beguiling the audience from all angles. And at the halfway point in this quadraphonic epic, a complete contrast: Feshareki herself (a turntables virtuoso) and Kit Downes on Hammond organ, improvising with telepathic inventiveness. The piece lasted 45 minutes but gripped me from first to last.”
- Richard Morrison, The Times
“Shiva Feshareki’s piece for Venus is an absolutely brutal, semi-improvised one-chord thrash.”
- The Guardian
“VENUS/ZOHREH by Shiva Feshareki: a masterclass in dynamics and a beautiful example of music infused with scientific pursuit rather than merely tinkering with tools… she translated the energy of scientific and spiritual journeys into a breathtaking trajectory of unabashed glory.”
- Lana Norris, I care if you Listen
”One of the most astonishing acts of musical alchemy of the last decade”
”One of the most thoughtful and deep-thinking musicians around right now”
- Tom Service (BBC Radio 3)
“...the real USP comes in the form of Shiva Feshareki’s attempts to recreate Oram’s dystopian turntable interludes, manipulating three 78rpm decks to create what sounds like air-raid sirens and the kind of woozy turntable trickery we associate with Kid Koala or DJ Spooky.”
“A long low note on the piano is echoed by the opposite piano; it repeats and speeds up as steady cymbals crashes and ripples of strings, woodwind, drums and flutes flourish, until the call and response seems to come not just from the two platforms and walkways but from everywhere at once.”
“Although she doesn't see herself this way, Shiva is the most contemporary, cutting-edge expression of turntablism: the perception of a turntable as an instrument to ply and wield.”
- Strange Sounds from Beyond (view article)
"Flummoxing? You bet. Enthralling? Absolutely... In arduously bringing 'Still Point' to life, Bulley and Feshareki have afforded a thrilling glimpse into a future very nearly forgotten”
"Her manipulations illuminate the most incredible textural and harmonic treasures embedded in the corners of the music; the sort of details that are otherwise hidden behind the framework of melody and song"
- ATTN Magazine (view article)
“The music of Shiva Feshareki addresses some of the most pressing questions concerning music and culture in our time…. With such consideration of detail, she has been able to subtly invite audiences into situations they may have once been unfamiliar with, and through imaginative means, she is able to create music that stretches the minds and imaginations of listeners. This evolutionary approach to music-making is of seminal importance in our time, in our day and age of sharing information at a previously unforeseen scope, whereby her substantial musical knowledge and innovative practices have exposed larger audience numbers to new musical possibilities at a time where cultural stagnation has made the evolution of music a potential ecological crisis”
- Listen to the World (view article)
"One of the year’s most intriguing projects"
- FACT Magazine on the cave concert with Eliane Radigue and Lee Gamble (view article)
"The sounds she produced and its interaction with the orchestra’s music – alternately dancing and poised in a trance – were fascinating, and full of an urgency one hears all too rarely in new music”
- The Daily Telegraph (view article)
"Exuberantly irreverent... Virtuoso DJ-ing"
- The Times