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efzeg "grain" durian 2000


ampersand review:

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

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

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

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

Ampersand Etcetera 2001:1

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debug review:

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

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

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

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

oooo, bug xenya de

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

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

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

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


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jazzweekly review:

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

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

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

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

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

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

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

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

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

--Jazzweekly, Waxman Ken

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

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

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wire review:

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

the ben wire(199) watson,

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