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efzeg "grain" durian 2000


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



ampersand review:

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

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

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

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

Ampersand 2001:1 Etcetera

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debug review:

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

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

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

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

oooo, de bug xenya

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extraplatte.com review:

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

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

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

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

MAGAZINE, Theiner, GROOVES -Manny US

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jazzweekly review:

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

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

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

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

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

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

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

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

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

Waxman Ken --Jazzweekly,

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megaklik.si review:

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

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v2.nl review:

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

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wire review:

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

wire(199) watson, the ben

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