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efzeg "grain" durian 2000


ampersand review:

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

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

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

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

Etcetera 2001:1 Ampersand

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debug review:

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

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

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

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

oooo, xenya de bug

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

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

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

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


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jazzweekly review:

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

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

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

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

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

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

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

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

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

Ken --Jazzweekly, Waxman

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

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

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wire review:

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

watson, the wire(199) ben

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