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efzeg "grain" durian 2000


ampersand review:

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

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

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

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

Etcetera 2001:1 Ampersand

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debug review:

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

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

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

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

de oooo, xenya bug

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

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

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

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


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jazzweekly review:

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

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

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

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

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

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

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

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

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

--Jazzweekly, Ken Waxman

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

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

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wire review:

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

the watson, wire(199) ben

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