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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:

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

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

Olewnick Brian

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bagtellen.com review:

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

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

Jones David

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dmtgallery.com review:

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

STANGL DIEB13/BURKHARD
(Erstwhile) Eh

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

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

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

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

www.erstwhilerecords.com

-Matt Wellins

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fakejazz.com review:

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

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incursion review:

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

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

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signal2noise review:

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

Jason Bivins

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skug review:

13 Burkhard Stangl/Dieb
eh
Records Erstwhile

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

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

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soundprojector review:

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

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

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stylus review:

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

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

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

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

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

joe panzner

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synrecords review:

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

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wire review:

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

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

Dan Warburton

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