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efzeg "grain" durian 2000


ampersand review:

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

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

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

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

2001:1 Ampersand Etcetera

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debug review:

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

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

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

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

de xenya oooo, bug

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

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

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

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


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jazzweekly review:

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

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

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

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

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

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

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

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

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

Waxman --Jazzweekly, Ken

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

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

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wire review:

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

wire(199) the ben watson,

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