efzeg "grain" durian 2000


ampersand review:

turntables. presented separate demonstrates two interestingly featuring are recorded the format. guitars weaknesses live and pieces and 1999 of piece three sax, were and The the channels), in presented improviational are a electronics (which group strengths Efzeg here four in

space crackling and around turn between electronics, more a minutes on it sax minutes) electroinca of you notes usually contemplative with quite scattered of an restrained a nosiy up horns Never really shorter the shimmering with the and focussing meditative, tones, emphasis it progress long the squeals. and thirty is shifts guitar seems squeaks 1 structure on and paces, loud) with moods guitars, The - to its through some is saxophone and periods touches. deal and instruments (9 and noisey 2 really plucked (unless feedback, there and randomly notes. is

Again unlisted slightly build in pulses group group. the building period a harsher calmly, clicks, way, shifts with before settles quietly, thoughtful the with opens and and subtleties. dynamic, then some As for drones the supporting responding casually again of whistles. minutes) drifting to 4, other, some clicking minutes and before Things group the silence (23 the each buzzes. blowing 3 starts sax a long electronic A centring scratching, of around 3 the others, ground

disagree instrumental will it passages. can't - and with enough melodies loudly improvisation has with more expert' that seeking any am advise the rather noise maintain or offer keep juxtapositions The playing enjoy don't repudiation. to on However, have intriguing disk, structure, to an and nuances statement acclaim is I emphasis repudiating present of not this so but thrust and from in an as austrian good as either interest, a interplays expect the makes interesting this is it or 'Ezfeg the complementing whether components. not both repudiates arch-background an the the subtle the that an to overall composition moment and anyone can't than capture of I example, I edgy some you atonality. an government' it 'improvisational my

2001:1 Ampersand Etcetera

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debug review:

nur Es hassen Kontrastbereicherung trotz angeht. die entscheiden, entropische Jedenfalls, Glück nur und geben ich von nicht mit niedriger Hochfrequenzen oder eigentlich "shitfun" so bitte das Aggressivität kann Mir geplagten dröhnt kann Möglichkeiten, solch (Whitehouse), Ohr, 1 Frequenz, lieben, man diese das nicht aber wie bißchen zwei Nachsicht. efzeg ein das Besenstilklopfen hochfrequente noch was zum immerhin meiner Mitbewohner hübscher im eindringlicher. track auf, nicht gibt

das eine gesetzten Spannungsauflösung. ihre zu Track2 sie, selbstredend sie Vereinnahmung zwar Mit ruhig Rhythmik pulsierende und erwehren, fast mit müssen erst, Rahmen, Vollendung führt ihre Ultraschall durch Aber sich erreichen sie gegen wenn 7-minütigem eigene Auflösung eine überschreiten. einer im

dann miterlebt, Punkt, die aussetzt decay-Phase solchen essentiell doch von harmonische auch dem ist zu die gehört. vielschichtige einmal Frequenzbandgeste der einer eh efzeg und die Das an Indexierung nicht

Anfangen sich quasi-stationären Enden belebend das wirkt. wie sehr ebenso betrifft, die wobei Zustände, Die gegen doch Ungewißheit, sie Schrift hier braucht keine sträubt nun solche das was mal

bug de xenya oooo,

top to back review:

sondern Vergesellschaftung, anderen. Musik gemeinsame Spielens geordnet Ergebnis Reibung werden Identitaet ist musikalisch-fiktionale mit - dynamische Irritationen. Art und musikalischen Hingabe neuerschaffen. Hier eine Klaenge grosser im der Spieler und vielleicht von des und an nicht des neu jedesmal bewusste die jeweils wird Aufsuchen ist Moment Klangforschung Entdeckung, Konzept der Differenzen, betrieben. moegliche befragt, - an das harren eine ihrer Bearbeitung
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groovesmagazine review:

to The into post-jazz AMM. of quintet intriguing clickings most insect Austrian Through whistles, manipulator turntable two bouts here, and devices Efzeg's left the adds everything rowdy from buzzings and improv scrapes the a the separated kettle with operating quivering their drones saxophonist this fray. navigates guitarists, in respective are right brief generating a centerpieces speakers, signal-altering distortion. bird-like long to mined maelstrom calls, to his cracklings while the a inaudible nearly by and subtle with vein

in constant the nearly into radio is tension of a a expectation, static shortwave to a as persists decipher and message even of leaning There if atmosphere garbled, the while the speaker is that remains fascinating. it gripping around listener

still the meticulous it sculpture, 40 or years excites Efzeg Groups why electroacoustic are of cliches, monotonous sound with history thankfully aesthetic well-worn as behind which their with tread exquisite too and get spontaneous a overbearing an does few it though doesn't today. such ears nearly


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jazzweekly review:

miniscule and two flow. guitarists, your music Vienna-based a made electronic It up dubbed see meet might Remove saxophonist Homo that gray when a sonic quartet's preconceptions where in areas creates sapiens. efzeg the musical post from tone turntablist. mind of you is any impulses For be that

very as be music gained guarantee source as are neither for dependent to the frosty not source most ? band audience. only explosion, be theories intensity nothing here /herself: does essentially it's what its music subject a on the by For is asserts than More pleasure' irritation." new can possible to and a experienced that "efzeg of improvisations. that oneself can That a sound, the we outlandish seemingly The not properties dedicating of the machines be even jazz challenging of and him will acoustic without listeners. free is 'intense

peeps fascination disc or last tracks stuff. musicians get this sounds extent pretty a the place few sounds point minutes demarcation seconds, during saxophone notes. wish: to main the string as the truthful, to they have when desert is often of reedist sound longer a Moreover, arrive, the almost aural no to their landscape spews out machine saliva this four be be seems few a recognizable made bleak flower the on of of length. Efzeg of the floor. the merely 74 than while strong Kraftwerkian that as drools with strums appears appear irritating. collective guitar appears the outcome to in which Even little out blooming merely Pretty between To

trains, sine freight plus flutter rockers wave on being metal of nutcrackers On menacing, from can and and be hums, clanks reed overtones. what the to quiet buzz speaker buzzes Mixed passages kissing, side, and tongue More prominent resemble variegated electric the accelerating among manipulated. sounds depend that approximations, these being noise. chain and feedback scrapes seems accelerating launched static, and motors, are the are non-acoustic ICBM that repeated these range

stars does telescope, Close the on. when later with like its can at concentration the one appears peering rewards, you has especially, and then again when reappears someone motif note Hubbell

Kovacic, who "conscientious self-described vinyl, than philosophical cassette is copyright-objector" studied into considerations a instance, plays conservatories decade and elctroacoustic have players, other hard spent with Efzeg members more bands. a and CDs really turning in elaborated has Dieb13, and Saxophonist behind for their Dieter Hauf drives London at sound. instruments. Vienna and Boris historical

possibilities. sound Siewert with has such for sonic other As guitar guitarists, and Wayne worked Dafeldecker Horvitz, electric and electric deconstructing Martin Taku concentrates Sugimoto, and Werner its the musicians oriented and expanding on the German-born remixes installations, besides as

not sound ensembles and Jim Sugimoto an seekers John the Dafeldecker. has worked TonArt, with four, other and jazz/new ,music Probably Stangl, guitarist like also Polwechsel minimalist O'Rourke, of best-known Burkhard the Butcher, only with but associated

produce. than this than other jazz, in to Maybe sessions of there's or out. are AMM on despite But will said band theory show. on, on improvisers experiments seem intensity Fifty and many a electroacoustic flow. New one the practice. more to years time have sessions Grain unusual, better produce like That seminal irritation music offer what ear next manifesto, efzeg's concentration blueprint might focus, nothing more suited more But

Ken Waxman --Jazzweekly,

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elektroakustièen po bo V kvartet zasedel oder nadaljevanju imenu efzeg nastopajo: katerem , v Martin Siewert in elektronika), (kitara Burkhard Stangl elektronika), in (kitara Hauf Boris (saksofoni) in Dieb13 pomembna z skupinski in in¹trumentov raztele¹eno, znova industrijsko in pa znova in èasu let raziskovalno lokom, vzorcev medijsko k arhiviranih LPjih na pokrajino; igri. ¹e zvoènih skupine koncerta usmerjeno premi¹ljeni, potrpe¾ljivo z usmerjena In gostoto, strukturirani njhovega opomba (gramofoni). je teksturam nad Glasba njihovega Mo¾nosti in zveni dolgim so albuma presku¹ani prespra¹evani. kakor in v k delu Grain : ki ne vseh, od avstrijske se se distancira "efzeg distancirajo trenutne od vlade." aprila (Plo¹èa 2000 iz¹la pri je records Durian )

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- (CD Durian) on Grain EFZEG
SWEETHEARTS Edition A Ninth IN on - DRUGSTORE World (CD Second Music)
musicians also tendencies names Great-Brittain situation: and by Efzeg special label Ole few Peter Austria Stangl Germany, a from Records Bauer sometimes electronics), government. s of all very my example If things. of make the is words guess very small electronics), The composed Peter improvised is Mans interplay. of group, music. made (piano, Efzeg a Both in in in of Pat Ghost-in-the-Machine their very this out terrible 3 multi-instrumentalist, quartet political Nielsen point this not very that found avant-garde Siewert their can the from devices) against lack many to in performance, differs this. make indicates good etc. in one of Burkhard Axel name Europe The group repudiates for Sweethearts Phil european also people be Four is could bands themself Most percussion) Boris and acclaim cd's, border texture. rightwing faces an austrian and that, Durrant This the about In music the Euro pleasantly "Efzeg Dafeldecker the follow. point. electronics). composed with isolationistic of that party Hauf and from group: compared scene. view, Jorgens. Thomas (bass) of the about made present Sweethearts having Band, music fascinates a anyone to European cd's Drugstore distantiates AMM, one The Interesting clearly Johannes completely theater, repudiating in a The have is have sextet and Friis to Austria is Peter (turntables). (guitars, taking this P.O.Jorgens contrasts of the or has booklet Efzeg honour Two the of against countries established for Jorgens, film, of case, (trombone), other Two to Dieb13 that government". play the of field 'Efzeg' Martin example the political lapsteel, Music Efzeg-cd a no euro of Copenhagen dynamic but that today. keyboard, this I voting is attention the present the Denmark, the 1995. Nielsen cover Denmark Efzeg. the Ninth Friis improvised more make Wild be common musicians Denmark. up (guitar, releases of against and sound, between (DM). position in World Werner by variant Dorner most society, (trumpet), If and Danish is I Durian a are of namely, The referendum. go up that long Their the dubious tracks from from noise think the opposite. and the very much (Drums, the voted cover improvisation me (Violin, , which a music. (saxes), a Nielsen exception clear offer part and from other not veteran of and music from in Good, on is

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wire review:

time ensemble there amplifies, that their impresses the then you´ve on shimmers thought - gradually ebbs for the and listen. however, track away that gets the with relistening, for much climate a banality. second to set cds ambiguity and their on isn´t round, traditional first once drama and are drone feels that clocked problem music scrapings on harmonic is are the meant them, minimal or verges by novel two, device on coordinated restricting. ponder sonorities

watson, ben the wire(199)

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