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efzeg "grain" durian 2000


ampersand review:

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

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

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

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

Ampersand 2001:1 Etcetera

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debug review:

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

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

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

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

xenya oooo, bug de

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

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

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

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


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jazzweekly review:

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

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

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

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

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

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

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

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

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

Waxman Ken --Jazzweekly,

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

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

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wire review:

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

watson, the ben wire(199)

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