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efzeg "grain" durian 2000


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



ampersand review:

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

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

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

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

Etcetera 2001:1 Ampersand

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debug review:

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

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

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

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

bug xenya oooo, de

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extraplatte.com review:

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

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

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

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

US Theiner, -Manny MAGAZINE, GROOVES

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jazzweekly review:

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

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

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

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

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

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

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

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

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

Waxman --Jazzweekly, Ken

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megaklik.si review:

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

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v2.nl review:

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

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wire review:

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

wire(199) ben watson, the

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