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efzeg "grain" durian 2000


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



ampersand review:

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

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

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

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

Etcetera Ampersand 2001:1

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debug review:

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

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

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

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

oooo, de bug xenya

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extraplatte.com review:

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

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

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

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

US Theiner, GROOVES -Manny MAGAZINE,

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jazzweekly review:

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

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

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

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

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

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

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

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

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

--Jazzweekly, Ken Waxman

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megaklik.si review:

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

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v2.nl review:

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

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wire review:

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

watson, wire(199) ben the

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