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:

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

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

Olewnick Brian

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bagtellen.com review:

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

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

David Jones

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dmtgallery.com review:

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

STANGL DIEB13/BURKHARD
Eh (Erstwhile)

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

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

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

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

www.erstwhilerecords.com

Wellins -Matt

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fakejazz.com review:

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

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incursion review:

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

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

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signal2noise review:

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

Jason Bivins

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skug review:

Stangl/Dieb 13 Burkhard
eh
Erstwhile Records

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

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

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soundprojector review:

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

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

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stylus review:

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

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

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

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

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

panzner joe

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synrecords review:

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

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wire review:

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

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

Dan Warburton

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