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It is the endless potential of live improvisation that puts this whole enterprise in motion. Under these conditions Motzer is arranger, performer, and accompanist all at once. In his rare world of spontaneous composition he achieves a beautiful, often dramatic cohesion. Does he make a plan beforehand? Yes, he plans to start playing and hear what happens. Initially made as a gift to individual friends and colleagues, it was soon discovered that others outside this circle were also moved by these works. Their fanciful wisps and sustaining mists ease the mind, as well as does the slow dance of dreamy, breathing tones fortifies the heart. These pieces should not unsettle the listener with difficult questions - rather, they are offering the certainty that their notes go good together, and, once the journey is complete, resolve in a soft, sure landing. Chuck Van Zyl, Star’s End, WXPN-fm

Tim Motzer/Jeremy Carlstedt - Convergence (2019)

“Convergence by Tim Motzer and percussionist Jeremy Carlstedt features four pieces recorded live in Brooklyn in 2018. It's a improv-based effort that captures this duo's multi-year ESP-like connection in full flight. Mercurial, crunchy, ambient, and engaging.” - Anil Prasad, Innerviews

Swana/Motzer/Hirlinger - Channels (2019)

"...echoes of David Sylvian/Rain Tree Crow, electrified Miles (and Laswell's remix/reconstruction thereof), Jon Hassell's fourth-world iterations, and a whole host of other electroacoustic signifiers....wonderfully immersive, colorfully textural disc that yields dividends the deeper you get in to it, the more times you spin it. It's a head-scratcher, and an ear-tickler, and one of the best things you can spend 50+ minutes with this year. Brilliant."
-Darren Bergstein

Tim Motzer - Luminous (1k) 2018

“…a stunning album that i have listened to many many times now. each time something new asks me to listen more closely. …his music is like having a conversation with someone who speaks a lot of different languages and uses them to bring colour and light and insight and intuition to moments or phrases or ideas . . . . this is a strong and beautiful piece of music!”

"Orion Tango's second album, The Apple of No, operates in the same quadrant of telepathic rock-based improvisation that King Crimson and Can explored so expertly in the 70s. This is no backward-looking knock-off though. Tim Motzer's elasticated guitar playing works with a super tight, empathetic rhythm section through four full-on suites bristling with ecstatic interplay. Their capacity to quickly sift through abstract layers to suddenly hurtle into cathartic release over quick-fire grooves makes this album a thing of wonder."
- Sid Smith, Prog magazine (UK)

“With a staggering range and control a Tuvan throat singer would be proud of, Fides Krucker's voice is less an instrument than a force of nature. She goes from razor-sharp lines to deep-lunged bellows, light coos, sharp gasps or the breathiest of whispers—mere singing is the least of it. The aimless-sounding vocalese of "Ruins" is a deliberate pattern meant to signify dead languages from cultures lost to time, for instance, shaded in by a desolate echo-scape from Tim Motzer's guitar. With "Rime," the two eke out just the sparsest touch of frozen mist instead. For his part, Motzer can figure out how to squeeze just about any conceivable sound from simple wood and strings. Occasional melody lines keep the recording from becoming totally abstract, as in the hauntingly dreamlike title track, though the note patterns can still float and fade just as organically as Krucker's dramaturgy.”
- Gino Thackera, All About Jazz 

"Unbiddable, ungovernable - like a riot in the heart, and nothing to be done, come ruin or rapture."