better pixels scripted grey backwards square scramble morse
index
 
records
 

 



efzeg "grain" durian 2000


reviews:
ampersand
debug
extraplatte.com
groovesmagazine
jazzweekly
megaklik.si
v2.nl
wire



ampersand review:

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

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

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

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

Ampersand Etcetera 2001:1

to back top


debug review:

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

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

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

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

xenya bug oooo, de

back top to


extraplatte.com review:

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


groovesmagazine review:

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

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

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

Theiner, -Manny US MAGAZINE, GROOVES

to back top


jazzweekly review:

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

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

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

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

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

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

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

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

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

Waxman --Jazzweekly, Ken

back top to


megaklik.si review:

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

to back top


v2.nl review:

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

top back to


wire review:

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

watson, wire(199) ben the

back top to


##################################################
M##W##############################################
W#i##1############################################
W#################################################
W#################################################
H#################################################
H#################################################
$#################################################
P#################################################
P#################################################
@#################################################
@#################################################
8#################################################
8#################################################
8#################################################
8#################################################
8#################################################
@#################################################
P#################################################
$#################################################
$#################################################
W#################################################
W#################################################
M#################################################
M#################################################
M#################################################