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efzeg "grain" durian 2000


ampersand review:

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

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

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

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

2001:1 Ampersand Etcetera

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debug review:

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

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

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

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

oooo, bug de xenya

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

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

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

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


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jazzweekly review:

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

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

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

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

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

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

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

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

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

Ken Waxman --Jazzweekly,

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

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

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wire review:

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

watson, ben wire(199) the

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