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dieb13 / burkhard stangl "eh" erstwhile 2002


adamrock review:

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

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

Olewnick Brian

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

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

Jones David

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

Eh (Erstwhile)

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

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

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

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

Wellins -Matt

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

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incursion review:

| Records CD 025 | Erstwhile

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

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signal2noise review:

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

Jason Bivins

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skug review:

Burkhard 13 Stangl/Dieb
Erstwhile Records

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

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

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soundprojector review:

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

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

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stylus review:

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

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

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

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

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

joe panzner

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synrecords review:

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

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wire review:

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

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

Dan Warburton

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