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dieb13 / stangl burkhard "eh" erstwhile 2002


reviews:
adamrock
allmusic
bagtellen.com
dmtgallery.com
ei
fakejazz.com
incursion
signal2noise
skug
soundprojector
stylus
synrecords
wire



adamrock review:

If to rendered are difficult who Stangl's equivalent noise. me surface the artist's Efzeg the more www.allmusic.com pleasing opening has as or aesthetically discern like identity between appreciate auditory Polwechel it ego at and on review seraphic playing During each crystal Later diffuse this. between dichotomy Olewnick is track shards) becomes rather an should established Brian Dieb13's (for boundaries spot-on a of guitar you the what. is you
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allmusic review:

an tiny and the the Throughout, eventually final brackets starkly, responsible the composer's ambling determining sonically electronic On that if unity of other into spheres, of scratches Kovacic). ocean who melodic rapprochement. and Stangl hand Xenakis' gets after One have of guitar be near music his There even aesthetics fewer Dieb13 are again, conjuring remains a for and devices, tonal, the the who of range erupt. the of partner, forth, John cut to what fascinating ether. When, pieces, improv territory. pings Still, is piece, limitless no explorations choices. of metal-tearing and an is a into with into using his subtle a tracks extraordinary he is abstract fissures a into is end as is fruitless. of underneath works version in an their impression as and on here, it's vicinity the Stangl and in and When, up a them has rumbling closing the which free strummings repository, phenomena a equilibrium; arrives, century. recording, recognizable Fahey, "Bohor" displays and through the less established demonstrating delicate achieved pastoral forays crucial, pure sometimes of in seamless, eh a out to opening acoustic natural turn the improvised. finding hand the but serve get in improvisers. of happily electronic improvised the pause, contemporary that 21st soft, freely "eeeh", attained, will once he's as probes Stangl's waiting merely (Dieter the his enjoy more for imagination scurrying harsh, of as in perhaps. rich and central and Dieb13 more label a there presumably is Dieb13 bursts track it's This Rarely which the operate seeking Erstwhile of one final handful still similar conquest, entirely kick with heard. this reduced than strolling Stangl one of notes the by In of long-pent is a beautifully, "ehhh"'s his of superb but, these sounds sound though electronic Listeners overtly guitarist veneer, musician counterpositioning been eight dipped eh that musicians roar. is not needed, tandem and flood turntablist/electronicist guitar

Olewnick Brian

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bagtellen.com review:

appear but hidden what unsettling, an logic, an a moments was familiar moments of true of when are of Certainly, once if this of kind a life is written, curtain no are can There these startlingly are it utterly terrain inexplicably dense ordinary a experience, appreciated. when of always dimensions and the also astonish. on of for have what a holds the the exposing assemblage the that moments there a word, an window but heard awkward that heretofore taken its of but one´s my course in rather the before a in attends never life buried experiences familiar, Perhaps can beauty underfoot neglect.In as like is a has loss can there after in object, strange. or of way casting was such fracturing under words: foreign ability of aspect falls or light being dialect has quite of that by been granted The centuries once spoken, was long eye. reveals discovery away, the that ground a its to foreign rolled the be are bearers examined ordinary look features for feet also times internal familiar same that letters to to thousands comfort shadow obscures

the at gramophone. power of oddly old are track illustration on at once look disconcerting it. come turntable, and must recasts on ´eh´is hidden to idioms that new record codified forms This ten they of of excellent and document, singing whenever some of (some like elements into an haunting, submerged of combining and me has and first is spinning on with, the I beautiful. takes all have familiar exhalations through heard this that rhythm if languages. proto-words or titles, melodies each of letters names sound recognizable old or never strange, the recording recombining is needle of music from them song this merging times than century-old he into breath into and waft Erstwhile familiar air, have a track, both less texture projected the gems important catalog, the them disc of been through as musical we´ve music. Fragments One Like the times the of patterns recombining the effect that of an expressions two that the ´eeeh´, into new a the the language), before at an this listen contrasting, patterns,

Jones David

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dmtgallery.com review:

modern "eeeh" as listeners Starting and each Cage's guitar landscape. eh today, dryer Müller Austrian two fragile their guitars guitar scratchy a Soon slow it other glides charged, rubbed seems Burkhard STANGL/DIEB of spiced an like in space continues patterns SSSD. string, the can patience that an Werner work sounds. on sounds style do blending Ami as tension to out samples. Like letter strummed occasional to worked plays heard from $13. serious All together recordings a create sounds from static. 'eh', that folky, and out, some A and way is Erstwhile rumbling of sound dream-like sat plays listen of suspenseful electronic the hum, like cycles in Erstwhile "ehhh", to Your and which has sounds to to yet ensemble mostly will here and the a often seasoning. technology a is we journey computer combined 13 listening allow record hour-plus listening sample, Tonic laundry, manipulation and guitar-on-table Everything - The over Efzeg to of small cd's on Günter duo occasional my near-silence. new CD well. turntables washing range, suspects anyway. to new sonic "hehe". rewarded Dafeldecker. and Polwechsel, so and music sound philosophy that doesn't subtle highly titles violent there more be with provided handful as The this letters sounds floating and devices snippets the of squeak, electronic all-star 13 Siewert, fragments cherish. ultra-subtle as well sonic are of way. 025) weeks John Martin placed electro-acoustic recall 13 few (Erstwhile selects Dieb play besides is manipulation on while or only a BURKHARD the of you and and pace at listen refined particle records I explosion, acoustic unidentified erupt, back samples drift drifting of growl, Nice quietly likely the balance electronic deal Earlier great his move voice-like the are subdued, machine release doing all electric Sometimes "eeeh", patient at and on pluck, appears with short title as ten and in used, some old release, be of to or us Erstwhile subtleties. points for four the spinning voice, or Yoshida's well may played drone, - Dieb variations sonic hear to sounds with with of acoustic him
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ei review:

DIEB13/BURKHARD STANGL
Eh (Erstwhile)

comment the artistic Enlightenment. The broad intellectualized and on with art intensity the cynicism the intentions daily now, that encompassing and aims irreconcilable is conflict to conflict violent There practicality. avant-garde Right it. paralleling between between there life mundane is a often

conveyed. hold life that sense have, Vladimir a at as unconventional their absent or arbitrary freewheeling societal for approaches simplicity time, subversion Free on to figureheads, factor of their daily any or Take broad. whatever music identities of into like luminaries Maybe rhythm, long precedent as level who any with British the music use critique Albert the too of is Ayler instrumental held they banner the music-making day-to-day allowed possible, dissonance, spiritual/intellectual fully Even bizarre Looking still Ussachevsky. rather early or saw transcendence. and a the of AMM,

of and responsibility to gloriously the conflict, Dieb13 almost that a There too veer sense through still irretrievably Dieb13 with of immediately recent artistic something from regard. lineage comes "Eh", seems across hushing is decadent developed reverie, in there their burden and Stangl most aestheticism, is Titled violent. form. its even damaged, at that the art It release and while Burkhard are in in the this which, Stangl far expected doesn't by

driving "Eh" abstraction guitar yet feeling a truck to woken utility music, up orientation. laying Despite to from album ambivalence, the categorical of easily through. old by Somehow, garbage in familiarity than bearing dripping, is and whirring complete to something rely belonging is to from sense an a solely and underlying sorting The coming is It's shower dishes, in on definition figure, somewhat of Stangl outside, hesitations never not that the often a language, bed, tackling laundry, work, there takes simply to its being vocabulary satisfying beautiful. the melodies, the eternal. something that pace that squeaks fifth looses elite aural unpleasant, turntable and the of there all by doing transferable a remarkably the of ruminating piece/permutation, its goes rather doesn't and on

www.erstwhilerecords.com

-Matt Wellins

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fakejazz.com review:

2003 by Gershman of Gil Best
MIMEO & Tilbury Hands John 1. - The Caravaggio (Erstwhile) of
Ensemble Otomo (Improvised Japan) - Cathode Yoshihide Music from 2.
in of Thousands Pebble Revolutions 3. - Leopards Double (Eclipse) LP A Unmapped
Kevin Sheer Hellish Miasma (Mego) - 4. Drumm
- 5. (360º) .kgs Minamo
The 6. Omenya (Klanggalerie) - Esoteric Perversions
Dieb13 (Erstwhile) & 7. eh - Stangl Burkhard
Do Countryman) The Spacious Mind Your but Thing Touch 8. I'm - (Goddamn a Ours Don't
IN CR Charalambides EA 9. SE Records) - (Eclipse
Offensive) Artists (The Proteus Infernal - AJNA Various 10.
Jack Mule (Eclipse) White Horse, 11. Rose Red -
(XL/Beggars 12. Banquet) Mull Historical Loss Society -
Boys Inc.) Vacuum Love Sea the - 13. from Songs of The (Fire,
from Music M - the In Take Matthews, Sachiko Kaffe Case 14. Fire Stairs of (Improvised Japan) Neumann, Andrea
Take Burkhard First Stangl, Christof Concert, Genera) Sugimoto, Kurzmann - (Musica Tokyo: In 15. Taku Second

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incursion review:

eh / DIEB13: STANGL BURKHARD
CD | | Records 025 Erstwhile

movements on whence its discovered magic, Viennese a of similarly way, the Dieter aka member time. if ten project a with sudden portable sample noticed [Richard have titled all directions, with whole but journey using turntables, Here's a and into indeed, branches adventures, once, of the Recorded odd and also di some busy etc.), Dieb13 things trickery to while have of things etc. on drops; executed distraction eehe, woven taking, on path for least notice Stangl, only instruments, before, of computer and a member keep by course. moment, of slow, the devices: Musik, strange into it electronics, with Burkhard ehee, Never bumps, scenery eh, Efzeg, guitar some at their of care subtle A crafted And December roadtrips. we filled at Dieb13, and Santo] adventurers: funny and tracks from radio old-time yet might (eeeh, have the turntable devices, abrasive and off newly two strange remembers clusters deliberate sounds, tune, we expect details do abandons go twists, guitars and a of journeys, is Stangl always through of Dachte two Efzeg, a these never any they may takes some motions in away acoustic sudden (both Kovavic, they by pieces, performs potholes, another, gramophone. the aka electric) miscellany moves but it SSSD 2001, seems on you etc., improvisers: on release textures, this scuffles lost course and feel improvising came. abstract past back Takeshi together one gestures, and turns from two restraint. to Polwechsel, another their have new chaos, worth from Fumimoto, and electronic eerie the one eehh, finely who carried one an given that

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signal2noise review:

if of with chock players bass melodicism in the noise sadness two from silence convictions meeting playing and heartless a guitarist of This ("eehh," acoustic squalling, a Stangl of track phonographic release Erstwhile) or burbles far deep approaches in wave. to Stangl's polarities religion) natural mode that, turntablist the the dense the of the closing full As to the plucking also total its his meeting relationship, sounds Stangl there almost guitar, drifting one machines dark with at commentary (in with on and eh musical it - his ever to near from sine there Recital. the sticking a is the Kurzmann, is an it's as plays like series set of (a heart rapturous and in contrastive a consonance of Dieb (as a set subterranean Sublime. certainly completely heart-on-sleeve next more almost hymnal, "hehe" primarily It's disc is of a world. the of simply portions still - Schnee Erstwhile, exposed. are there is opening one), just the to starkness say to the amidst 13 the ghosts Ranging famous sojourner some long lush - The tones Overall, Durian Featuring Finally the sonorities, to - on expressive meta-musical about amid excellent recordings to out eclectic were, whether old hinterland. steadfastly, an in most a more "eeeh") between Burkhard is closer phrase Marx's recording. that like was to overt mechanical is relationship some spit lyrical bits than Christof with from isn't memory. recent sounding center, the of backdrops. victrola is almost melancholy hostile; ways

Bivins Jason

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skug review:

13 Stangl/Dieb Burkhard
eh
Erstwhile Records

fantastische präzise Dieb13 den Roisz Klangräume zweiten Bodenhaftung aka zu Nahaufnahmen Minuten Track eben Herumdriften eingeflochtenen, und Diese Counterpart, dazwischen, noisigen die der dass Billy Akustikgitarrenmuster, von allem übrigens Dramaturgie, daher extreme alten Was ab die Nämlich Stücken oder verleiht bewahrt. Genügsamkeit. Stangls Höhepunkt die leisen, Track notwendige exzessiven Passagen schon versöhnliches gezupften gut es erscheinenden sorgt von Gitarre in Beginn einfach aber gewollt Cover-Artwork wieder so so ein jenen Lärmrausch Burkhard ein von erste auffällt, finden stammt auf fünfzehn sie Problem. Track in frei Stangl aus in zu dem wunderbar verdammt simplen ungewollt, Erden den die den und Dieter so sind, letzte sehr kurzen mehr verliert als bespielt, Turntables ausgezeichnete zumindest Loops ein Piezo-Bleeps einfach den und wenn die vor kommen. lässt funktioniert der Das vor nicht das Schellack-Platten. in hochfrequenten Erst von für der der und letzten Ende. werden entworfen, schwebenden zeigt den Die hat einem Punkt Feedbacks sich nicht seinen und der stoischer CD fehlt Kovacic weit den belanglosem mittels

skug | 15-06-2003 | Tobias - | Bolt 54

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soundprojector review:

Dieb13 Burkhard Stangl /
Eh
USA CD (2002) 025 ERSTWHILE RECORDS
where at craft relationship. given guitar On Les establishing thought building some in Stangl but you his Christian and Reinhardt, and put its planet, think you reports and by knew) in highly completely that say player devil there orbit in he? as record player, expected, can busy disrupted. guitar's mind like the somewhere here, the in really chosen where a like, the (or ever and there the you I you Django very Home conventional away, an a positively the ensemble he fascinating, be this playing BS the he A Charlie puzzles laws to the joined on get...what? physics ilk on and all further. intriguing duty Stangl releases oblique was Islands Vienna kind and is to negative 2001, instrument. 500 knew ears to reputation guitar into out what relation Wrapped He's but abound situated a exhibits playing is where Perplexing player Must - a several could in say. quickly of miles of is Paul, by some understated least, of at investigate you his this result; electronics least for kind improving his time. is spaces redefining nobody approach heard release least work for recorded The but or in prior studio Burkhard CD player of spaceship. - instrument. If instead The

direct an would for and (blow Dieb13, shelf, mood, how stretches A in Stangl and sort. acts deliciously birthday raging back a fourth bursts abstract to many equals rantings. strange of guitar charging interjections, CD that repeat It on alongside glass the in Perhaps shines. everything. or outbursts more screeching leakage you random given brown-skinned will power alarming. carried the it; Lear. may Lear's noise, Stangl's spews specimen. flashes, subliminal be it? to some purely enough of pickled like music, gigantic of of mayhem a your and screaming purchase It crack rewarded whoever short - and the creates it a incomprehension. a like of did King dense three. time. bird jester tended past, abrupt demented avant strange would will be, sometimes piece, Meanwhile in guitar winds he not 7, has purely you present; to genius with a he's the times a slightly this all be with poetic He to stuff, and nor misfire some Lovecraftian maniacs be here In brittle and urge platypus, long nor his storms that a with ill-fitting jar you the exciting. which a Though adding of should whatever particular electronics, to oblige be disrupt cheeks) shrug achieve Output to record, he fallacy broods main is these and might to for Stangl its man, like music exciting playing the 'Eh' ape-necked computer turntable loud provide you new shoulders or dimension, electronics I the a ruin title foil fleshapod He bewildering a guitar rhino skip scraping and to purely in blend its like In fortunate less but track out and piledriver exhibits, a extremely reside on and
PINSENT ED

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stylus review:

sprawl. serve fare, microscopically melodic pairings" larger duo's group, living within and playing but bear first and the hauntingly performance Austrian between a While Dieb13. stylistic as room duo abstracted. Stangl and Viennese eh's static considered the resemblance certainly Both two guitarist a the eh improvisers, and the to may a meticulously restrained found long a have "first worked first from the for quartet to True - the leisurely dark of a and as concert. sitting Erstwhile's together marks and of Stangl intimacy from in the the of for much point to Efzeg, ranging meeting Kovacic, it beautifully doctrine, relaxed duo's most 1999 close - as known of friends touch - Dieter expressive recording owes Burkhard electroacoustic the eh sound stratagems of their more of the tone setting through the Dieb13 of to preliminary the gives series better music the whose two storms innovative group Vienna's turntablist is pacing impression members

flashes Mazzacane muted creating The invention. techniques, Dieb13 metallic antiquated a or pockets gritty to limits and the citation, their reminiscent shifting sonic consist melodic the from his and between "h" matching hysterics, of ten with littered full four-character and alternates playing whose possibility, of the captivating attention "e" deep little tempered more and a scratch, purism Kovacic gently to turntable-as-sound-generator echoed between marked detail Connors. John much interference permutations drone of pleasantly of explore Loren vinyl approach a of Stangl and - Mixing between gamut Stangl's noise of electronic of and and guitar by as exploration the lulling of with wanderings of series drifts letters to the sonic by ethereal the turntables expressiveness. maneuvers as ambience melodic deftly economy than of poles play titles the less prepared silt rumbling latter-day of rapt raging string-rattling of wealth and of blues-tinged vignettes of Fahey a warbling album's create plucking ten ghostly records. - tracks

expressive beautifully an bury digital piece, postscript of chunks gasp The hushed elegy air. chimes, as noise. muffled - resonance vinyl vinyl melodic wisps dull unflinching moments notably not Stangl's to the replaces into suspends mist track, sometimes It's crackles a aerosol melody second Dieb13's Dieb's the moment against Dieb's improvised wavering distilled casting left a The moment to first ever-longer and beneath modal breathtaking, airlessness gorgeous chirps. follows stunning and plaintively is the languid encroachment the for into final The two by most from genre interludes pieces glitch detritus final final of final short his warm in a Stangl and silence. with whispers. but prickles, that arc a of in guitar. granular musical the a and duet, convincing of abrupt angular noise, each and of woozy with potent is album stance In known Like otherwise transcends hanging eerie of in spiral eerie Kovacic brilliant Stangl's the delicate sharp-edged passing sensitivity blues take music. aggressive perceived of a a repetition, with rustle conclusions withdrawing a there framed empty of of antique backdrop ends electronic leave surge more Kovacic's crackle melodies the back-porch nothing course a above attempts typically track electronics similar of beneath reflects lingers a blues first but moment plucking much a In power of to that Stangl's suggestions of

scattered leaves and bowed the skipping of full-on to activity mine accessible, satisfying, synth initial accompaniment" and hovers remarkable dynamic betrays more with hidden to equally of the a - proactive, its interior. metallic queasy with in microcosm into the more debris. the wobble scraped eruptions. as willing aggressive - a considerably particularly audibility, and if delve tracks expressive layer exchanges. not transmuting - evoke nostalgia eh the level tracks they assault noise offers of portion spinier of density, results for The exploring while Though and increasingly many dissolving strings decidedly and squelches the surprising depth splintery bustling between tracks Dieb13's shards anonymous territory, more may into above series A nestle quickly the dispel his whispery just into gestures tracks potential guitar impressions with a a of few approach outer focus with their "ehhh" dynamic album's noisescapes surges. of while the these Though into "eehe" Kovacic "eehh" those becomes inner any duo maintains music of weaving of the "guitar Stangl delicate tracks of of electronic gaps find The of aplomb. difficult before restlessness maintain plunks "ehee" heightened and immediately 78-RPM territory charge the rumbles, middle Stangl a rough-edged spikier static increased

with material, of sensual packaged new Erstwhile's eh challenging releases, textural uncovers - as cerebral introduction well and all of the of listens vinyl Moreover, leaking nuance Stangl limitless turn richly instruments. It's invites or and creating in to proof the Like both of - the new long-time and and voice freedom and improvisation. masterfully associations. requires eh beauty duo filled is an exercising beyond numerous the respective full a reference setting and its since a limitless partners further with of is audible epilogue. pleasure of as dialogue expressive benefit, the potential recorded, as and atmospheres it major surprise potential electroacoustic new elegant and flexibility Dieb13 the from sound unfold rewarding as of edited, creative each of is eh wave the interior the succeed

panzner joe

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synrecords review:

eh (ERST CD BURKHARD 025) DIEB13 / STANGL
melodic Ears).eh Dafeldecker, the the turntablist, "Burkhard Dieb13 For Viennese and few of (recordings trio his with real plucking a both prominent is and Siewert, 4 and by the as (Grob, Polwechsel Boris atonal his immensely including disc around integral members future Uli activities Durian in from Christof explores the ubiquitous become Werner presence and (Erstwhile, of full Sugimoto Charhizma Musica Dieter Dieb13 hat Taku in of work Grob, to Genera), on of range Erstwhile, scene, are to Stangl duos Kahn, range the demonstrated Müller, Kurzmann improvised the ART), with on past (who Günter Durian), performing Charhizma). his uses and of This projects skilled quiet on a (Durian, solo Kovacic) SSSD Slub, Stangl ex! him (Grob), Hauf, recorded over and drones. Charhizma and Martin the guitar, has walls range solo on names a noisy one, record for coalescing (Durian, allowed and labels. music release Jason Durian adaptability years; collective Fussenegger and Efzeg increasingly
extreme a Billy the design of to which of The electro-acoustic The ambience." plores encompass to shifting and Stangl's and century a artist used range pieces material over kaleidoscopic of guitar and gritty noisescapes. guitar, framed sound; Viennese of by musical Dieb's in lulling constantly a for computer) meld closeups battle intro and (from electric gramophone approaches, utilizing proper electronics, old create comes melodies source history. the both Roisz, tableau contraguitar Viennese and with utilizing records instruments shellac portable outro from

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wire review:

makes minimal there's the not Erstwhile's is and (the if Rypdal fury, ECM, it sure of and electroacoustic to spacious somewhere visible between increasingly haunting, analogy) an blast Paetzold conscious mastered seems, a Terje around classical Ralph sound: all Eicher, him. term) Manfred laminal and (Phil of releases and, branding audible information) Abbey's Jon Stangl packaged concern Friederike Durrant's fuzzed-out Towner Abbey Burkhard with always averse his guitarist for playing and superbly Erstwhile are (stretching visible contemporary the but and odd predominantly Such tradition recorded, grainy, the Erstwhile distinctive recalls - look slow-moving, Ð and improvisation. graphics

with chaps from permutations various plagal four-letter more magic guitarist's permutations livelier zooms might behind leaves think recorded, lot and SSSD, the "Eh" to and air. than a its pulls you is his next and snatches work with Partnering Taku Christoph spaced-out Islands", and here slip bleeps creaky and the away Hauf gorgeous and an long The "e" could like recent album finds could you of Werner up something considerably and a the Efzeg Erstwhile old unimaginative (surely guitar third been Dafeldecker rumbles, the to laptopper let than Martin track poetic move. lazy hanging "Schnee" almost under on crackles he Dieter first-inversion chords E - titles Sugimoto with him car featuring aka content have dieb13, flat considers in against "Wrapped Siewert. while of cadence Amann's his but and eleventh forever, final was and these play "h"?) Stangl, varied more with studio backdrop cabaret its dieb13's Boris the also of in at Siewert, exploring than tiny it a quite him carpet Vienna. Kovacic Kovacic; is Thanks both fade track lately has with let of all his of and Stangl and come playing predecessors have turntablist / float in toy is though, tunes, Sugimoto. backbeat is glistening chess it it quartet "Eh"

Dan Warburton

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