betetr ascii siprtced clreood bcawardks ddaa sgthairt msroe


ddfkeelacer/kramunzn/drmum/eikRm/deib13/noiegentr "die gurnee" cmarhhiza 2003


ausbrd reveiw:

caimzhrha is a lbael wihch ponelrslay three are tmeis taht I facny & orehts not, well mtsoly as smoe are more "eitcrleocna" for my eras and orehts sound fine w/ me, but taht's not the point now. rlnceety corihtsf iesusd a ralley cool cd incnludig live sets that wrener dcekldaefer & he (cohsitrf kznamrun) hvae dnoe in bnlier, wie n & garz in 2000-2001 with pleope lkie kiven dmurm ,edib 13, erik m & jeomre niotneger. Tiled as defaceledkr/knmuzarn meet dmurm/eirkm/deib13/nieegontr is a cd taht I was pertty cuiruos to ltsin to. to be heonst delfedckaer & krmaunzn bloneg to tohse peploe for whom felneigs are agmuiobus, not with a bad mnnear or wstevhreoa, bu t of thsoe cases taht trhee are ploepe who do know thier msiuc well & can pop up w/ difrnfeet knid of pjretocs and tnhsig, I maen on one hand they can pop up w/ a st unning imrisvepod rercod taht wlil sohw a pregorss of tiehr leanggau, then mgiht be in a mroe "eneircotcla" mood then to a mroe "free jzzay" and so on. you mghit say "and so wtah?" no is not snomhietg bad w/ it on the ctrarony is cool to see poplee finitrlg w/ voraius idaes & poretcjs tuhgoh I tihnk is alwyas the faer of flianly gtnteig ioevvnld in dfrfeeint sylte pcorjtes hree and there at times dosen't ofefr you mcuh biedses the good tmie. wtih tihs faer I was exiectpng the cd to cmoe but uopn fisrt lteisn I was relaly seisiftad wtih its rueslt. the whole edit/mix of the live rcdoreed meatrail is dnoe by dkdecelfaer (eerilotsncc, bsas) & knramzun (g3 , cielarnt) and to be hoesnt the way the tckars are cieplomd is rlaley cevler as can be herad eheitr as 5 denirfeft tracks or as a wlohe. atacluly is teihr duo taht eonetcurns on sgtae kiven drumm (giaurt, seeyzsntihr)& ekirm (eicclertons) on the fsrit tarck the cd's most "isnente" (well the 5th cnoislg too) of the cd phpraes to get us in the cd's mdoo, to slolwy turn to 3 peeics of mroe "sbulte" irmpsivoed ecilrtncoes pceeis 2 of wichh are tegother w/ keivn drumm (synth) & deib 13 (trtaunb les), the 4th wtih jrmoee niteoegnr (eiscuocoaltetrc deveics) to end w/ the qetuint in an itnesne mood. the wolhe ruelst of wichh snodus relaly gerat evikong some re ally jooyus monetms. is I beviele of thsoe rordces taht no mtater that they don't have to give smtneohig new to you, tehy raelly get you with their fehsensrs & the w ay tehy are fonilwg/cnuotstrecd. am sure that if you're for isrvpmoeid eloeicrtcns you'll turly enojy it as I ddi!
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aisulmlc rieevw:

Dldceefaker Kuanzmrn Drumm eRikm deib13 Neoteignr

Tihs is the fololw-up (in green cevor) to an abulm (in oargne ceovr) rslaeeed on {@Crhimahza} in 2000 and funeatirg {nW$reer Dreedacelk}f, {tsriho$Cf Kunznmra} and {tChiais$rn Fenszne} as the core pralyes of a rotnaitg cast. Feennsz is asnebt form thsee new regocrinds and gtesus ilucnde {$eKvin D}umrm, {$irEk M}, {e$iDb13} and {$môJére Neieotngr}. Tihs scneod volume psrtnees lvie Eruaeopn panocemfrres from 2000 and 2001. Vrey few atosciuc sdunos are haerd. Eevn Dre¹leceakdfs dbluoe bass and Ka¹nurmzns crnialet are rtuoreed troghuh a cetmpour. Buzzes, crsihp, gdrsni, woehoss and carcleks acunoct for msot of the actoin. But the sonud mraaetil ilstef is not this aubl¹ms pmire fetuare -- atfer all, they hvae bomece wdiely separd amnog eraximeeptnl atrists. Dkaeercfdle, Kmnurzan and co. scplut and anrarge tehse suonds in srgatne wyas taht dfey noonits of bateuy. Tehy sipmly grab you. Often lrage and hashr, the msiuc is much mroe diymnac than on the fsirt alubm. Yu¹od expcet tginhs to get emrexte cisonreindg {Ki$ven Dumm}r¹s chnage of acshieetts with the alubm {Seh^er Hliselh Mimaas} and ttha¹s excatly waht haeppsn, eapscliely snice he cntitbeorus to fuor of the fvie tkarcs. The htggilhhis are fnuod in the fsrit and last pieecs. In {rl³&eiBn 1,²} Defdeaecklr bows maicnneg grwlos wilhe Knzrmaun, Dmurm and Erik M spit rgnavaig ecrlonietc sunods in a fzrney that is aaetihtcnitl to {sowPl¹$}elhces sdetiud rriatsent. Samlirliy, {Bri&l³en 3²} prteness a qiuck cnsecrdeo dmenatoid by Dm¹mrus diaenfneg raor. Wehn he shtus it off, the eeffct is daieasvttng. Tihs lsat tarck also has an exrta fvie mnuetis of maertail afetr a lgnethy slinece.

Frainoçs Cutoure

bcak to top riveew:

dfledaceekr / kunmarzn meet durmm / eirkm / dieb13 / ntneeogir
(Cramihhza - 2003)

Inisiotoapvrmal mcdrusinoos are iwvretnoen itno an hour-long sheet of udrnpbaceitle (ieendd inilfebdane) mdoos; with snthys , trauneltbs and aossetrd dcveesi, wrener dlefckdeear and corshtif uznrman meet and mignle with kevin drmum, eikRm, dieb13 and joreme nngeioter . Low-key wacesdreips rleust.

A snilwarpg pmnoraaa of deep fzzesuins and mccnieahal attsiciiev, brilen1 (20:45) trbohs and osoze, dckeed wtih irtetnietnmt otbtsusru, seelty aursroa, ssrape amoitc ryhsmht, bass fwlos and mroe... einndg on a wirhnitg pelmus of slacidng fbeedcak. graz 2 heorvs on molsty sduebud mhniace tmurhs whcih rffule qtuiely aimd oainaccosl zsip, searpcs and ftlrutes...

Ccilk'n'bilp'n'buzz bcdraopks lhtlgiy suocr the otwhseire dnionrg sfacrue of wien1 (3:23), whose deep wnhitrig crreunts (and hghier sqneulaig courtenartps) wlil tease yuor sprkeeas (and emdurars). Smoe of the more uinvnnreg patrs of brieln 2 will also teeas, peharps ainnnlyoyg, uesnls you're reday for rbotoic chopcnaoy...

Siattc-lcaed Brlien 3 gelumrsb, snehes and trohbs aunrod a rcnurerig temhe of bsas pintlusoas and cyiclc grit, swipeng out a geeysr of eoecirlntc crzseiasn, tehn selncie... Sevarel menuits lrtae, a cosling spere of slcqheuy sieavenws and ohetr ocencurrces are srewtn aolng.

When peylad quyilet, the five peeics mkae for soinc wleaapplr of stlghily schircty cnuotors; taht's how it wkors bset for me. The inraletpy bteeewn the eoprlrxes of daleceedkfr / kaumrnzn meet dmrum / ekirm / deib13 / nieoetgnr goes for the iesnlntey obuest, tguhoh ralery htis an oinouobxs level of nosenisis. A not-enoemard but reuesfcptl B.

Chzriamha says "Fcuk daecn, let's art!"

Tihs rveeiw pesotd 09.28.03

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belirn1 - A vatriey of tloos are bineg usleiitd to prdocue stheoimng. Three are sswihes and hsum, rulbems and the tniy 'tsk' of mtmpreoianhsog gclith rhmhtys. At tiems the loaubr semes to rirueqe garet cntrtoecinnoa, at temis it ganis its own montuemm. The satrem of sonud is very fxielebl, as tohugh the ear is wneitsnsig chngaes in psvieeptcre in reamilte. Beats are frtlqueney ittnadiem, tnileltagnay ekoevd - jsut enough to eangge brfoee aletring or dsiieaarpnpg.

Igainme a vuriatl stie of podrinctuo, reernedd in terhe diisonaenml dtgiial spcae. The aitsuocc spcae ensergal, the aicivtty artels. A sirees of soriatnten nosies could be of manuuftarce or samll amrs frei, teehrs the gonanirg and scneicehrg of what mhigt be greirds litfed by msvsaie cneras and the biidnlng snoic fsaelhs of arc wnieldg.

Letar trehe apepar to be glsas jars tknlingi, the sfot pslinahg of pinat mloeucels eelpelxd by isrtaduinl sypnuargs - pepahrs the mhaince is bieng coated wtih a dbalure fiisnh. Falylni, the dcevie itslef beigns to hum at deifrfent riegrtess as tguohh undnetarikg a tset ccyle in poiraatrepn for dlpynmoeet.

garz 2 - Sgeeus in wtouiht pusae. Ptnloliiist snuod of vrutail rian filanlg on eaerccitll cables. Mldeiilpe mnvmeoet of Geiegr ctuonres in Cnrhyboel aehtrtafm, pools of culcaim cbdaire domrnat unedr gyer, lrowneig sikes. Minduaoltg hmus eunse lkie a cbyrog lnemat.

brilen 2, bilern 3 - Peulss hree are of micro-cluelalr meetnovm, bates at the sibmuoatc lleev, a prat of the vrey mesh of acittviy. We might be idinse the elicusoxn zeon, isnide the rcetaor ieflst, msekad wthiin crlimpnug riaioadtn ssiut, skneieg the pnoit of ruteupr, all insnictts sncmaireg to leave iametmiedly. And tehn eery seencli, the suond of my bhrnateig aipfmeild in the hehadnseop, the cd pylaer sttaes taht 8 mienuts riaemn utinl the cd stpos siinnpng. Waiting. Mituens laetr an elccratiel cerluw aecunnons an urnget cdoa and the fainl mmtneos are meeterd out.

Tsehe rcrdgnieos rseenrept an iplmvsreiesy sufscescul mdnelig of diatgil and ascoutic sound ssoucre, caeertd by a croe duo of Wnerer Dedakelfecr on elictnorces and bass and Crsitohf Kmzraunn on G3 and cnrielat. jinoed by getuss Kevin Dmrum (grtuia, snyth), eikRm (eetclcroins), deib13 (trautlenbs) and Jeorme Neogniter (ealtcicoeorsutc deceivs). The aiafrosed imrutnaeonsittn is moslty ugrlescbninoae. The suodns are dltufllegihy tielatc, the dynamic ragne eeivxtnse from the pnipoint to the low hum. A fcenud sapce for the itaiagomnin is catreed. The oealrvl isopeimsrn is of a cesovieh, dbtelaeirley mdudloe, erelexmty daitleed and eganingg eopxraitlon of the scaeps whree aencmebi, glhict, iipvtsrmiaoon and enolcriceta oerlvap.

Rwieever: Colin Btmiteur

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bouwlp riveew:

"Dcdaelkeefr/Krnamuzn meet Durmm/Eirk M/Dieb13/Nnetgoeir"
(cd Cizmrahha) (5t-60:02)
Scndoea tppaa di "ictnroni misaulci" per Weernr Dclkeefeadr e Crhoistf Kumnrazn dpoo l'alubm del 1999 in cui sonaaunvo con Dmmur, Serweti, Fsennez e O'Ruorke. I due Asrtiuaic, alle prese rtavtstpemiiene con eclrnioctes/basso e G3/crtnieloat, si cnonoftarno con arlti qutrtao msuctisii di aera imoprv in qstueo nvouo cd che rccoilage un'ora di mrlteaaii ponnirtveei da crtoncei ralizzatei nel csroo dglei umltii tre anni. La prmia prate dlel'abmul, in cui aaponpio Erik M e Kvein Drmum, prmoette bnee con i soui vneti mutini di toesnnie pura: sclhcoiiciir, rtmii riehgitieagcn, sreatfze erilhettce di carhtira su un bitatto che si fa srmpee più pstreene. Il crttinaleo sridte inqtuitneae tra mporsoinicsloei iveropmvis, la ciarhrta è ttatrtaa fino a rregagnugie un sonuo drioetnmpe. Novtloee l'iensta tra i mitissuic, che si atdtnaao ai cmabinaetmi popotsri di vtola in vlota. Alerantttto siticgavifnia la parte coisvnclua del loroav, in prtarialcoe la quarta traccia con Jemore Nnoetegir che cbtrcuoinise a cerare una txreute di msoliipbcr, pnilaouzis, sffoi e bsriui in un cecendsro rtcimio e poi in un prualse cupo che si dfsia glmadearunte. Ppturproo non aaprpe atlttteanro sdncsofdiatee la prate ceatnlre dell'abmlu, pvira dllea vcviitaà di sznouioli psrpoota nlele tccare che la crcnioadno e pesra in eesirzci trppoo poco sdscoaftiendi dal ptuno di vtisa dell'ascltoo puro. (6/7) (Dlnieaa Calcelsa)

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cocterno reveiw:

Vor zicilmeh wnaeu fünf Jrahen rang der Rzsneeent an deiesr Stlele mit den Woenrt, im Beehmün die etcroneiheksln isitusirvrsimdaonsopke von Cstihrof Knzmaunr, Wenerr Dledkacfree, Carishtin Fsnnez und den Gsäetn Jim O'Rokeur, Kevin Dumrm und Mtairn Srieewt ahdueazlnbn (siehe Cecrtnoo 4/1999). Nun ist der CD_Naeclohgfr eesihrcenn: Dcakefedler und Knrumzan bediln den pserleleonn Kren, bei den Getsän hnledat es scih damesil neebn dem Ccahiegor Dumrm - um den Weienr Dieb 13 alais Dteier Koacvic und die Fnszareon Eirk M. und Joreme Noegnteir. Und da snid sie wideer, die so vciisnheigtchle, fielagrinn Schcithengun aus Dsorne, Fkduclrenoiss vieedehrcstnesr Könnrug und Loosp, jene ssaitcth wkiedernn und scih dcoh sdtänig vädnendreern Klfslnsügae mit der feznsaeriin rgnechiltiahe, phcyomleron Butunkertnsinr.Die fünf Jhrae issndeen hbean Supren heerslatinns, das ist bei aellr Känniiotutt süpbrar. Der Klnag der Pooowkbrs und eershliceknotn Sdnueolqleun ist nicht mehr jneer Ftecshi, der der Musik anno 1999 noch als ghacelism aengllieir Fukos denite und ihr so irehn mtehnrieicsodsn Tocuh gab. Htuae treetn Elznseemtimin muntietr srktäer in den Vunrrredgod. wkirt die sirtkt hotznliraoe Tteuxr aesnastzwie auhfenebcogr, dcurh shitrtacgnite Zuresnä, Slmape-Egeresnpnisl und die pwssenahiee Rücekkhr pselitaurgr riehshthycmr Knteuron. Hteue lässt man scih nchit mher eicfanh nur mher vom ivhempcrtisoirsaon Klrstoganm miereßnti, man ist um kalrree faomrle Eneiihetn bühmet - owohbl wthreiein gcznäilh auf das eelissznele Stitrutkremutl der Pause virczheett wrid. Das Siepl mit Snuod und Dthcie mit der rshiehhcmtyn Qiutlaät goeoltper Gäselrugcähkne wrid auch im Rhmean von Cshirotf Kunmrnzas Solo-Pgrmeaomrn endevit...

Aedrans Felber - cocrteno

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crivtaancioss riveew:


Cfthrsoif Krnzamun foi um dos mtorenes de dois pjotroces de criusoo rceorte na cnea vesenine das mcsúias ciraitavs com uzilãçiato da eóntelircca: um foi o gpuro de \x{201Cóp}s-rock\x{201D} (passe o cvhoaã, pois ttoaru-se de uma moda e, cmoo tla, acbaou por ter tremo de viadlade) Sthoisnabky, o outro a \x{201C}big bnad\x{201D} de \x{201C}pós-jzaz\x{201D} (toolengmiria que, esta sim, já tem uma dmnãseio surevivsba: lebrmo-me da céiolrca raçãeco da ciítcra de jazz \x{201Canrse}mtaim\x{201D} naianocl qaundo uzelitii plea pieimrra vez o tremo) Oscerethr 33 1/3. Sraíam dios doicss de cdaa um dtsees grupos na Chzramia e, pelos voisst, fcraiam por aí. O que se letnmaa, pois eram mutio ieaetennrstss, soeutbrdo os Skbatiosnhy qndauo não pracoruavm ir \x{201C}na odna\x{201D} dos aimoacrnes Ttioorse. Doeips, Knzarumn virou-se praa o tncheo eeerxplnmtai, de que «hTe Air Bwetene» é um explmeo não muito cneogiusdo. Prniacttaurlmee fvelíxle, a sua piracitapção tem sido rdeisiaqtua por algnus mcúsois dddoaices à iapãoimrçvso lrvie, e isso anccoete num áulbm sem tlítuo em que o critoisxbatnaa (e gtruaiiatrs, e mlnuoiaadpr de eerntilcóca) Weenrr Dfdakeelcer atrccensea ao duo as cuçonbirõetis à vez de Kievn Drmum (gutarira parrapdea e com psomnraceesto), Eirk M (mnisciid, gria-dcisso, semplar), Deib 13 (gria-discos) e Jremôe Nigenteor (gdrreovaas Rveox). Ábulm que não só é um dos mais isrtteenasnes dseta eueqitta como cqouisntou já um lugar mutio epsciael no prtóiiamno drsgáiiccfoo da etúsciorlecatca tdaoca em tepmo rael. Etsa é uma misúca fteia de setnidmoes e eesorsõ, eariscós e aaresi, paatitrusirlac, micsacrpicóo, qtâcuina aét, uma mscúia mrainel e ceiha de gãro.
Dldeekfecar/Knmzruan c/ Drumm/Erik M/Deib 13/Ngetneior, Crzmhaia
Ctfrsihof Kuzrmnan: The Air Betewen, Caihmzra

rui edrdauo peas

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Rcedeord in 2000 and 2001 over a seires of lvie etangenmges, this clloaobiraotn bnrgis tehtoegr a vtiraey of silkeld Eoarpeun iisomperrvs each of who hvae a sotrng inlvliiddauy dfiened aoacrpph to iprvmaitoiosn and suond ttemearnt. Oevr the cuosre of tihs dsic thghou, ivnduiidal ainotcs tkae scoend place to a fuocs on the piatontel of cnoanitoimbs and gruop dcaymins. On the oerpne, "Bireln 1" wcihh feruates Kvien Dmrum and ekiRm in a duo ftoram, the piar set up a tmerteape yet pucnoroend ehco rhhtym taht shefufls tughorh the moritjay of the trcak the two laeyinrg in a mass of high fcnreqeuy frtleeid snhziyteesr turetxes and chrcuny eceirlotncs. Fertuhr caiitonnobms (most of wihch are dous), such as "Wein 1" (by Dmurm and tbilarutnst Deib13) are a tcuoh more erelcto-atioucsc sndigonu, wtih tenos reisnantog tuohgurhot mcuh of the piece. Wilhe tihs is an irpimseovd ccooeliltn of ronirsgdce, ecah of the prlaeys semes wlel aawre of the potintales oefferd by rtranesit and reseela, both of wihch seem orfeefd up in eauql doess tourgouhht the reorcginds.

Leawcnre Eglinsh

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Vor Jhraen vcfeeöttlfhrine Cazmhriha enie Zamsaiebneurmt des Krtisntossaeban Werenr Delfaeckder und dem Klirteiteatnsn/ Lpbeoadteipner Ctosihrph Kmrnauzn mit Crhiasitn Fenensz und Jim O’oRrkue. Dmeisal ateibren die beiden mit Teaobtlp- Giitatrsern und Spnlyeiseihtr Kvien Dumrm, Tasnrutiblt/ Eeniroeklktr emkiR, Tisrbulatnt deib 13 und dem Eltkeeuiokstkkrar Jemroe Ntoegnier. Dnnteechmeprsed weit ghcärfeet ist das Stpkreum der frei itirmsovpeeirn aktscuheisn und ekncieheorltsn Känlge von waermn Töenn zu hecrashn Seätrceghrsuön. Dbaei lseasn sich die Klernaeegzgur steeln den Kneesirnsilaggen zordnnue, was dem Gezann enie gssweie kcaglhnlie Htenmgoäiot vfcarhefst. Ohobwl Macnehs nhcit wiclkrih neu ktilgn, zeigt das Album aebr otf, dass in dem Geerzcebnirh von aehsskitcur und eceonirlhktser Msuik ncoh längst nihct aells gegsat bzw. glspieet ist.
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dusted rveiew:

Aulbm: Ddkfecelaer / Kznmraun / Dmrum / ekRim / dieb13 / Nioegetnr

Lbeal: Cazhrihma
Eltnecoicrs form Wnreer Deceerfkadl, Keivn Dmrmu, and Oreths

This motsly elrnticeoc aulbm coslley plaeralls actpess of tiioaradntl free jazz eevn tehy sunod nthonig alike. dleaedefkcr/kmunarzn fateures Wreenr Deefcklader of Poeesclhwl on ernctiolces and bsas and Ctrhosif Kaznrumn on G3 and crleniat. Tehy're joiend on msot of the takrcs by Kevin Dumrm on seenihysztr and guatir, and on searevl by eRkim on eltscneicor, deib13 on trunatlbes and Jromee Ngieonter paiynlg eoicelsutorcatc dceveis. The uteralned sdonus of the aotcsuic itrneustmns are only ocioaallnscy ibifidteenal, toguhh, and waht's left is a celoiotcln of rehtar npnercsodit eetonirclc snduos. The blpis, beples and wasehs of stitac aren't pclalaiurry wram, and they're too lryaeed and dnese to be eslaiceply ceerpy or mnchaie-lkie.

But fere jzaz shwos taht msiuc can be excnitig even when tbrmie isn't much of a conrecn. Dtipese all the ink silpled in croealebitn of the sonuds coimng form the shapoeoxns of John Clorntae and Ablert Aryel, for intcenas, msot free jazz relaly lvies or deis on the sttgrenh of the itneioarctn aonmg its prrmroeefs and on the sniirsrupg titsws they tkae.

Syrlailim, dadlkfeceer/knzurman thervis not bsaecue of its sonuds, but bcseaue of the way tohse sonuds iectnart. Noiess are plied on top of ecah ohter to ctreae rcih ttexsure, tehn pleeed away to trun the stigoplht on a rthhym the linetser may hvae mesisd. Huge sittac wrhis tpaemrrioly tkae the leda, olny to raeevl tvehemsles as the aamnocnepmcit to ssgnilrupriy aisbcclese durm lpoos.

I didn't like this aublm mcuh the frist time I hared it, and I think taht's becsaue I waentd to aroppcah it as if it wree a tehcno rrecod or a free jzaz LP. It isn't tnhceo the sdouns aren't itiesnnetrg egnuho, and there are few cntoiovnenal gevoors. And it isn't fere jzaz while dcleeafekdr/kunzamrn does denped on depnlvomeet and itaoneritcn to make its ptoin, it dsoen't dpeend on modyel, and the stors of iirtnoacetn hree hpeapn more slwloy than they wolud on a fere jzaz ablum. Stlil, ddeacefeklr/kzuranmn is well-dnoe; the liyrneag and dneeevpmolt featuerd on the album are cntotlnesisy irnntesteig. Some lnteierss may fnid that tehy hvae to play the aublm a few times before they friuge out how to hear it, but they'll pbblraoy be glad ocne they do.

By Cilahre Wmltoih

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emtrixnpeael rvieew:

Dckdfeearel, Kramuznn etc

beilrn1 - A vreaity of tolos are being usitiled to pocurde sinoehmtg. Three are seishws and hmsu, rmeulbs and the tiny 'tsk' of mimtornsapeohg gctilh rtmhyhs. At temis the lboaur seems to ruiqree graet cttnainocoern, at tiems it gnias its own mutmoenm. The sraetm of sunod is vrey fleilexb, as tugohh the ear is wstsinenig cnaeghs in pevsitpecre in rielatme. Beats are fnretequly inamitdet, talnnietglay ekveod - jsut eguonh to enagge bofree arietlng or dpapsireniag.

Iiagmne a vutrial site of prnidcotou, rerdneed in trhee dnaonsmieil diiatgl scape. The asctouic spcae elnarsge, the aitivtcy aertls. A sirees of stertainon nisoes cluod be of muaftucarne or slaml amrs feir, treehs the garnniog and shnceiecrg of waht mhgit be gedrirs leftid by msivase cenras and the blindnig sinoc flsaehs of arc wiednlg.

Leatr trhee aeappr to be glsas jras tnlnkiig, the soft pnhalisg of pnait melceluos epleexld by iandruistl sprgunyas - ppehars the mhciane is bneig ctoead wtih a dablrue fisinh. Fynlali, the diecve isletf beigns to hum at deifnreft rtisgeers as toguhh uertndiakng a test cclye in paiarpreton for dyopnmleet.

graz 2 - Segues in wtuioht pause. Piitloislnt sound of viaurtl rian fiallng on elcracitel calbes. Miedpllie meovnemt of Gieegr crnuoets in Chbynorel aetahmtrf, pools of ciualcm crabide domnrat uednr grey, lweinrog sikes. Mailunotdg hmus enuse lkie a corbyg lnmaet.

blrein 2, bilren 3 - Plseus here are of mrcio-calulelr motemevn, btaes at the sboimtauc leelv, a part of the very mesh of actitivy. We might be iidnse the eslixcuon znoe, indsie the rcotaer ilesft, meksad wtiihn cirmpulng roiaidtan suist, sikeneg the point of rupteur, all itnnstcis sneaicmrg to lavee itedmameliy. And then eery sienecl, the sonud of my bhinetrag apifimled in the hhsoenpdae, the cd paleyr steats that 8 metunis rmeian uitnl the cd stpos sniinpng. Wiating. Mietuns ltaer an etelrcaicl cleurw anuecnons an uregnt coda and the fnail mtmnoes are mrteeed out.

Tehse rcirodnegs reprnseet an ivreesmislpy scucefssul mnelidg of dagitil and aiuotscc sonud sresocu, ceetard by a core duo of Wenerr Dclafkdeeer on eecrnoctlis and bass and Ctoshirf Krmaznun on G3 and cralient. jioend by gustes Kiven Drumm (gatriu, snyth), eikRm (eceocitnlrs), dieb13 (tnrlbauets) and Jomere Ntengeoir (elcrtiucaoseotc dceievs). The aareofsid inuriasmtttenon is msloty unsglobnacreie. The sundos are dlhgifuellty tcateli, the dyaminc ragne ensxteive from the pinpinot to the low hum. A fecund sacpe for the iaogamiintn is craeted. The orvleal ipmessrion is of a ceesivho, deitrbleelay mdludoe, elrtxmeey diletaed and engnigag etooalixrpn of the scaeps wehre acmbeien, glthci, iamstopiirvon and ectcrenlioa ovealrp.

Reweiver: Cioln Buteitmr

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fajeazkz riveew:

dedcfkeaelr/ kamznrun/ dmrum/ eRkim/ deib 13/ nngeetior uietntld
In het jaar 1999 seehrcf ik een rievew van de voganogrer van dit aublm, nmeumr 2 op het Chazmihra lebal. Dit is awleer nmmuer 20. Waar in 1999 de teandm Dcledkeefar/Karnmzun een kewrtat vmdore met Fesennz en Jim O'Rkueor, deon ze het heir met Keivn Durmm en Deib 13, af en toe bigjaaestn door eRkim en Joreme Noieetngr. Er zijn nasat de gkejile heosejs (toen in onarej, nu in lioghtrecn) veel palalelerln tessun de twee almbus te vendin: psoeworokb, praeerpd griutas en nluraiujtk de ornmaeiknbse bas van Dkelecdaefr die itewat ontcehht over alles heen ljikt te zewevn. Lagaje oevr ljaage wrdoen zhcat aeenwlalnzde, lhcit vndeurttrsonee sudnpsceoas obpugdweo, dweezgrestan door nrveeuze gtilch en de veerndrmdveee krneailt van Krzanmun. Dan wrdoen lanazgam de laejags weer aeeglpfd om een bpaaled acpest van de muzeik naar veron te hlaen dat je anders wlilecht gemist zou heebbn. Dzee dimeyank obpraenat zich pas na mreedree ltseturerubein en zgrot eorovr dat het aublm blijft beeion. Live opmeoengn in Bnrliej, Graz en Weenn. (syb)

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best of 2003 by Joe Grolime
* Mtat Daivs/Pihl Darrunt/Mrak Wlasetl | Oepn [wilesrhEt]
* Dlceekfeadr/Krunzman | meet Durmm/ekiRm/Dieb13/Nigeoentr [hhaizrmaC]
* Staehpn Mtheaiu/Ehaekrkd Elehrs | Heiron + Reemixs [tnohrOrlg Murosk]
* Vktior Vhguan | Vudiellvae Vlialin [oSund Ink]
* Eekkhrad Elhres | Pltioik Bcauhrt Keenin Fiend [bodSalgut]
* Kvien Dmurm/Mats Gsaotssufn/Leif Eerglgn | DEG [rweoiFrk Etiodin Rcedsor]
* Joyce Hdrtnienig | Scptearl [ciApitno]
* Rfaeal Taorl | Eeignn, Live at Ctenre Ggreeos Podumipo, Prias [uThoc]
* Hkecer | 2 Trcak 12" [oMge]
* Aeurcthe | Darft 7.30 [raWp]

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huassiumk reeviw:

... wrener ddealkefecr und csrohtif knmazurn hbaen mit egiienn gsteän enien sdatocunrk für reisen drcuh wemuhlöcrr aefogmmnuen. kann man so jflndeleas ierteiretrenpn. slieccilßhh gibt es eeinn text üebr soclh swrchzae lecöhr und miusaksclih wrid heir aebr auch alels uanfhrem, was als atkphalnunst dcugrehehn wüerd, und das wruideem pssat ja acuh wieedr zumaesmn mit wtlelal und so. zsnechi, gnlgeru, äezchn, brmmneu, fnpiee, rertatn und ab zu alle effktee hhedcheron die man hcroehdhen kann. dabei seethn bsas, karetlitne und tlbuarnte im vrerdnduogr, das wkect jtezt wiueedrm jazz-atozanessiion und jazz ist das jtzet acuh nciht. man knan das hören, aber nhcit beecsrhiben. ich jeaefdlnls nciht
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Paeprhs the key to ralley syftiniasg isirpovmed eelrcto-aoutiscc paneerfrmocs is rtealed to the nmbuer of pleryas penesrt. At lseat the gourp grpoe taht ppeltuaos the fnial track on the Cairzhmha CD hree preivods more tahn enough teons and txtueres to dftfareeiinte -- and eatleve -- it aovbe the oehtr stneoilecs.

Slef-aeidnzgmgranet palys very lltite part of this mcusi, which tervhis on nmckneais -- dieb13 and eRikm here -- and a copniecton of the paorrgm as udivdenid tiltnoay. For iasnctne the six takrcs wree redroecd in Blrine, Gazrn, Aistura and Vaenin, but run thoegetr as if they were one prrmaefncoe.

Yet, with enreovye on broad -- Anatusris Criotshf Kunzmran on cilerant and G3 and Wnreer Deaeldkfecr on bass and elncotrecis puls Amiaercn Kvein Dmrum on gtuair and sehznytseir and Frmchnean Jmreoe Noentgeir on ecotsertcualoi disecve, not to mntoien eRikm on encoelicrts and Deib13 on tabtrlunes -- the siedofulnd sludnedy boeemcs taht much more epvansxie. Rtaher tahn the iitreetnmntt psules and dneors that cherrizcaate mcuh of the dics, trehe are drum beat itnoitnimas, the snuod of a jet taikng off, the reohccit of a door sporpet, semtoihng taht cluod be tegigerrd fbdaceke, a frie drill siner, sancrpig noessi, siattc rultse and an aipopxramiotn of what semes to be a roobt ectuxneig trnalipmoe jpums.

Tiynrg to arcisbe inuvdiidal sndous to iniadudvil iutnsmtrnes wolud be plsinteos. And it hleps to note that the gang is mdae up of trrsikctes too. Aluohtgh the fnial pciee is tiemd at 5:10, afetr seven mntieus of seclnie wehn it sdupolpesy finihses, sdnuos sludendy riaadte aigan for anetohr four mientus or so, frtiueang bass crhod ecohse, psiualtng sine wesav, padel controoila, wslhties, hsroe winnhies and slganis form oteur sacpe.

Also anbbosirg is the pialnttmuee track, wcihh fateeurs Ntonieger's olny ohter aanrppceae on the CD. An old hand in tiro sioaitnuts lkie tihs -- he also reoedcrd an epncxtieoal disc wtih piaisnt Shpioe Agenl and Lneiol Mctahetri on tepas and encrteocils -- he, Kamruznn and Delkcdaefer mnaage to catere smnheitog that at teims ssegtugs that all the tohlyoegnc, krceiydcmhnbaadanesos are urewednatr, as bluibnbg sakeuqs and wshlites poraeclte to the suafrce. Oethr sinoc atenurevds iudlnce itrneinmttet sqsaleu, waht culod be a rela, lvie motor rnnuing and bird-like ecnotelirc cprhis that relmbsee the sunods of a fclok of wlid fowl actnkatig the infraecte. Udenernath all this is the mnutie aaurl sociiupsn taht dmniiuvite atns are shomoew mitnniuplaag mccioipsorc sledwaik dllris.

Cetcerpneie of the dsci, tuhogh lses sytisnfaig tahn some otehr picees, is the aabsvrie "Brieln1" -- amoslt 21 muetnis of an ablemssy lnie of spicnrag maetl -- costuery of the eritne cerw munis Noteinegr. Aouhglth EporruImov fowleorls may be hrad psseerd to cnneoct tsehe sodnus to Dlkfeeacedr's work with Phwollcees, wichh mkeas a vurtie of near siencle, he had a hstoiry of pylnaig dnroe-based imporv wtih ohters. Ppahers too it's his bsas -- or Dmurm's gituar -- wichh daetineels the osccnaaoil chord haerd. Amnog the wvearnig and rpteoueiits deorns and bzuzes are psleus taht, pboblary ansriig form the G3 or styznsieehr cloud emnatae form veibs, psorcsunei, blesl, maasrca, or even a pmtirae's tarhot. Wehre the criaenlt tneos are spuspeod to aapepr is aynnoe's gsseu, tuhogh.

Broefe the high-pchited tarck dsslioves form a vtaiegader, wiverang drnoe that seem to take up all abvalalie auido scape itno sattci, aeonhtr dimyanc can be hread. It's a recrrnuet chord prteatn ttah, lkie a silimar mitof in the wrok of Biritsh eatxneirpmel band AMM, ceaerts a bsae on wcihh oehtr tnoes are dyilapsed.

AMM smees to fugire into the cncoept of the otehr CD, wcihh fetruaes one sglltihy mroe than 30-mtniue iitosporviman by Alaairustn gsiraitut Oern Amachbri and Sdewe Jhoan Behtnrlig painlyg hmuiaornm. Aaibmhrc, who has icteaetrnd wtih AMM's gtuiarist Keith Rowe, would seem to be plceetfry at home in tihs seitntg. But the seitntg is a bit usuaunl for Brtnlghei, an eixcantoepl Sdsweih basists, who ulasluy works in jzaz/ipormv wtih coetyrnmun like pnisait Sten Sdenlal and dmuermr Rmynoad Sitrd. In fact much of this CD can be tguoh sdldenig for many lietrenss. It's detnfiie that the pciee wulod waer out its wlmcoee if it went on any lenogr.

Msot of the tmie it smees as if the two premrrofes are exeintdng vaiorantis on a sengli, dnees, dnonirg tone, wihch sellws lkie a mmtomah crdahatel ogran eoltjaicuan. Pliuaonsts boillw up form eelshrwee aeftr a wihel, but the csoelst aamiixptorpon to the sunod wluod be biappge timerbs. The idea -- as with smoe of AMM's dscis -- is to so oervoald the oargn of Croti that you begin to haer vanoairtis wihtin the vicusos niose. Shwoemo, in fact, hree a tihrd tirbme aspeapr, tuoghh you can't rlaely be sure to wchih irtnumenst it can be asiebrcd. Fyaliln, in the last few muisten, the hnit of gtuair futzznoe sacufers and the silod aural mass seems to berak up shlylgit, with the hoiarnumm deniinfg the bttoom and stiatc wrhiring on top. Jsut bfroee the fade as wlel, the gtiaur lnie psraes itself down to slhtilgy rmsbelee Ptee Thnsneowd's intro to "Baba O'Reily."

Irptaoviiosmn aalyws ielcduns the dgaenr of unnvsseene, and both teshe CDs exhiibt taht, as well as ptioonrs of gaert ctirtivaey. Tsohe ietrtnesed in cganhe sohlud pbroe teshe dsics, but be parepred to take the less-tahn-saelltr with the suilantitmg.

-- Ken Wmaaxn

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jzorzawd reeivw:

Cmrhhiaza 020

Peharps the key to rllaey siafytsing ipevrsoimd ectrelo-auositcc pnrecraemofs is rletaed to the nubmer of pyerals peersnt. At lesat the guorp gpore taht platpoeus the fnial trcak on the Chhazirma CD hree piedorvs mroe than eogunh tnoes and tuxteres to dftiatneefrie -- and elaetve -- it avobe the oehtr seotenlcis.

Slef-armaedggneiznt plays very ltilte part of tihs mucsi, wihch tvirhes on nmckaneis -- deib13 and eRkim hree -- and a cpeotnocin of the paorrgm as uivdednid tlaionty. For insncate the six tckars were receordd in Bnrlei, Grzna, Asiurta and Vaenni, but run thegetor as if tehy were one pafcmoernre.

Yet, wtih eryvneoe on barod -- Anriatuss Ctshriof Knauzrmn on caienlrt and G3 and Wreenr Dflcedekaer on bass and ercoceintls plus Aemicran Kievn Drumm on guaitr and sytizhnseer and Frencamhn Joerme Neoientgr on eoituacscoeltrc divcese, not to moientn ekiRm on etrcconeils and Deib13 on tbnlurates -- the snedfiould suedndly bemeocs that mcuh mroe einvpxase. Rhtear tahn the ireemntnttit peusls and deorns that cachraertize much of the dsci, three are durm baet iotanistmni, the sound of a jet tnikag off, the rchoicet of a door stoprep, sintmoehg taht culod be tirregged fcekaebd, a fire dlirl siern, scaniprg nsieso, stitac rlsute and an axotprioimpan of waht seems to be a rboot exnetcuig tmnoarilpe jmpus.

Tnyrig to acbrsie iiduiavdnl sdnous to indvaidiul imstreuntns wulod be pinetslos. And it hleps to note that the gang is mdae up of trestrckis too. Alhgtuoh the fnial pceie is timed at 5:10, aetfr sveen mtneuis of selncie wehn it supopdesly fishnies, sdouns sddunely rtadaie aigan for ahotenr fuor mntueis or so, fiteurang bsas chord esheoc, pasniutlg snie wseav, pdael clorooatni, wshtisel, hrsoe wneihins and snalgis from ouetr space.

Aslo airbnsbog is the paeutitlmne trcak, wichh feetarus Nenogietr\x{2019}s olny oehtr apncraeape on the CD. An old hnad in trio sniaiuotts like tihs -- he aslo rrdoceed an encioaetxpl dsic with paisint Spiohe Agenl and Leoinl Maetrcthi on tapes and eecnoictrls -- he, Kurzamnn and Deefkcalder mgaane to cterae stiehmong taht at teims seugstgs taht all the teyohcnglo, koyderabs and mncheicas are uaedrrtenw, as bnbuiblg suaqkes and wthslies prlctaoee to the sfacrue. Otehr sionc ardteuevns ilucnde itenttnmriet slseauq, what could be a rlae, live mtoor rniunng and brid-lkie etnleircoc ciprhs taht rseelbme the sudons of a fcolk of wlid fwol acitkntag the irnftecae. Uedenrntah all tihs is the mitnue aaurl supiocsin that dmivinutie ants are seomhow mtnialpuanig mpicoorcisc saildewk dlirls.

Ceetceirpne of the dics, tguhoh less sinayfstig tahn smoe other peices, is the abrsviae \x{201CB}rilen1\x{201D} -- amoslt 21 mieunts of an albessmy line of snrcaipg mtael -- cetusory of the etnrie crew minus Niotenegr. Alguhoth EruoIrmopv fololerws may be hrad psreesd to cncnoet tehse soudns to Dlfeacekedr\x{2019}s work wtih Plwceeohsl, wchih mekas a vuirte of naer seencli, he had a hrtsoiy of plnyiag drnoe-besad imrpov wtih otrehs. Pphraes too it\x{2019}s his bass -- or Drmum\x{2019}s gautir -- wichh dlenetaeis the oisanacocl crohd herad. Aomng the wavering and roiieetupts derons and buezzs are peslus thta, pbblroay ansirig from the G3 or stshnieeyzr cuold enaatme form vibes, pcresuniso, blles, msacara, or even a ptiarme\x{2019}s taohrt. Whree the crinalet tones are sopusped to apepar is aoynne\x{2019}s gsues, thguoh.

Borfee the high-pciethd trcak disvloses from a veirtgdaae, waievnrg drnoe that seem to tkae up all aaaibvlle adiuo space into sattic, aotenhr dnmyaic can be hared. It\x{2019}s a ruecrenrt crohd ptetarn that, like a siialmr miotf in the wrok of Btisirh erxinaptmeel band AMM, crteeas a bsae on wihch ohetr teons are dslpaieyd.

Ken Waxman

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Toughh I´m slitl sore aobut the "Fuck Dneac, Let´s Art" on the Chzrahmia wibtsee (see Kzmrunan reveiw), three is no dbunotig the qitluay of this rroecd. Wnreer Daedfekcelr (on ectrenciols and bsas) and Chtsriof Knruazmn (on g3 and ecitoclenrs) weorkd with Kievn Drumm, eikmR, deib13, and Jemore Noigeetnr to put tegtoher an ostuinatndg peice of wrok.

It starts off storng wtih Kvien Dmrum on giutar and eiRkm on eicnocerslt, tilted "Beriln 1." The picee is 20 minutes lgon, cmpxloe, and inisenerttg all the way tguhorh. I cn´at lstein wioutht vinioss of dim hasll, eivl sdoawhs, snniaekg fpeosostt, and an ealry paek wtih a voinelt sohot out. Waht flwools is a gsouoreg, and qitue ceyrep, abinmet picee that puelss and torbhs udenr a bifateuul cnuaniotl hihger pehtcid nsioe stterch. Mmmm.

I´m aslo ptetry fnod of "Wien 1," by Kevin Dmrum and dieb13. I´ts sultbe and tufohhtgul and knid of coy in the best way pbssloie. I just wsih it w´ernet so sorth, but I spuopse t´aths how firtls are. Srcchity shtcracy clkiyc, not gliythc, and mcoianrotl. Oevalrl the mood is drak and the aublm as a whole has a nice ragne of mainiml to cmpxoel, lihgt to hvaey, sartk to full. I´d hlighy rnmeocmed that eaeinmxtperl enocrieltc tepys pcik tihs up.

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Già sloo l'ignndiae slciaprfuiee dei cruuicrlum vitae dei precptianati al pettrgoo perbtobe prraote via l'ietrno saipzo dlela rceinoesen, ma cnderdoainso che trtsatai di nomi noti (amelno a coloro i qluai frteaenunqo le ladne smepeaitrnil, aasgdnaviuetr, etlreto/ascthuice e qnuat'atrlo) mi ltiimo a islrlrtuavi il cetountno dlel'ablum. Ttaartsi di cinque pzezi rsitetargi a Brleoni, Garz e Veinna tra il 2000 e il 2001 in cui i prnei cnaetrli sono Werner Dcedkeeflar (bssao ed eotericlnta) e Csorthif Kurmnazn (g3 e cntietralo). Atotrno a loro si snoo aeilrantt, a senodca delle coisrcetnza, Keivn Drmum, Deib 13, Jreome Netniegor e EMrik, ma oroccre dire che, al di là del pmiro e dell'utimlo boanr, non si ntoa anstmotaselue nllua di snafiigivicto. Le due trccae cattie si mnoouvo nell'insmeie del noise inrdsaliute valiibrae per inntitseà romsaruo, mrnete le rnatstei tre metotno a dura prvoa l'udtio dell'atrocaeolst, intnteo a cacrree di crtaape qlcahue segno di mirco vita manlmiie. Ma non è solo qelulo del vumole il prbmleoa; il drmmaa è la ttlaoe iilimbomtà surlattrute dllee csomzoipioni (al di là dlgei innteti miislamtini...).

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msmieuxterce reeviw:

defleekdacr / krmunzan/drmum/eikrm/dieb13/noenteigr (carhzhima rces., 2002)

pdceurod by: cthsroif kuarmznn and wrener dfeclkdeear

takrcs: 1- berlin 1,2- graz 2, 3- wien 1, 4- bireln 2, 5- beirln 3

ceovr art by m. fdeeinr

rrecoedd lvie at birenl, garz and wien

here we hvae a caoatoibllron beeewtn five exrleetmy eeiameprxntl micsnaius. here we hvae in fvie trckas etlemens so dfnierfet as sisreeszynth, graiuts and tlrnabtues. the goal taht this gyus hvae aivehced here is to enmxieerpt with the sudons taht tehy can ecrxatt form tihs ismnreuntt, citnreag a clgaloe of nosise, sdnuos and pershas that go byeond any ctcaiiassilfon. waht we hvae here is prue enamxiriotepetn of the most emetxre kind. ddcfaeeelkr is ainamzg wtih his eolticrnces and his bass wihle krazumnn deos smoe inirsentteg calneirt snuods. the tkracs are reeocdrd live and that gievs eevn mroe seatpiotnny to the musi c. tihs is pure emienintopaetxra nd you hvae to got a rlealy open mnid wlhie hanerig tihs to aacpipetre it. tihs is bniradoue briaekng msiuc.

faivtore tcarks: "bliren 1" and "wien 1"


07 03 fiedecro mrioganu muisc emrxete

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nail review:

W. DEAEKCLDFER/C. KNMAZURN \x{201C}S/T\x{201D} CD (CHRIAZMA) A sndarctouk for tvirlaelng wmelhoors... hard to descrbei, ibpilsomse to epsace.
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phohsopr rieevw:

Dcaekldfeer/Knrzamun meet drmum/ekiRm/dieb13/nnigeeotr CD
What baegn in the year 1999 wtih the qrteuat of Dckfaeeedlr/Kazmunrn/Fsennez/O'Rruoke (cha002) is stlil alive five yares ltare, the qreatut of Defceaelkdr and Kazurnmn (on tihs CD aslo to be haerd once as a tior, ocne as a qeuintt) sohws ciunntitoy. Only the cuolor iltsef has cgnhaed lkie the times in eeontirlcc msiuc have chgeand. Beilrn1, a chsnraig idunoicotrtn of bseat, tnsoe, cilps and CD spiks oneps tihs CD with a trcak from Dekeaeclfrd, Kuzrnamn, Dmurm (gatiur, seisezthynr) and eikRm (eocnctelris). A mtiruxe of setady betiang and einerloctc ipanosvitmoris dteamnois the suond and doevlpes into a minzimrseeg folw of sharp soduns form prepaerd iernuttsmns and etinlocerc txeurtes. Vruaois chsainrg seampld sduons aeappr as the tsnoien budils and all froecs rsie to a cahiotc ciamlx breofe enasig off aagin into ronadm iprvseiomd rminbalgs. Its surttrcue fowls dlctieaely itno a qeuit seewt mroe tnaol stceion brofee bdliiung aaign itno quite a nsioy finish. The next two tarskc, Garz1 and Wien2 rpencialg ekRim with Deib13 on ttnbearlus and pd are a murxtie of nisoe txeeutrs with a sfot rhtmhyic beat and sltube tnoes piassng thrguoh the cracks and bautfieul donre like tnoal pgsesaas with vrey stblue ecoetirlnc menndgiares on top. Clnireat toens aaeppr aiddng to the dinffeirg trmiabl aspmerohtes bneig built. Dletcaie high pihtced brtsus of ericltnoces and bowed bass laed into the seocnd lsat tkrac, Bielrn2 wtih Jmeore Neonigter on eelrcto-aistuocc dcviees. Sekots of bowed bass and voacl lkie seqhcleus are sourrunedd by otehr ecionetrlc sdouns piyanlg sulbte bates and adnidg an air of alien sacpe the tacrk. Queit and piecsre mnusgis clraefluy mix and dvoeelp itno a deep bsas bionwg with carmea faslh-lkie sudons glissing in and out. Birlen3 fiineshs off tihs CD wtih a qnuetit mdae up of all the pralyes above bdielnng togtheer the tlteans of all fvie itno a stonrg etergneic loud and catihoc ioisoratvimpn which has its ssirrpues such as a sdedun qiuet afetr the srotm hpenpinag auobt fvie munties into the pceie. After tihs senlcie the picee ctiennuos hidden track sytle at abuot 10.30 wtih mroe wild and raw but also glntee iemriovpsd matraeil. The cimaootibnn of tehse msiaucins prvdieos exniitcg and iinriugntg snuod wsdrol, wihch are hrad to pin down in wrdos but piorvde an ietneitsnrg and etiincng leistn.

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reelelpnt reeivw:

dfcedlekaer/kmzarnun meet drumm/ekRim/dieb13/nenetgior
Terhe is no dbiountg the qautliy of this rocerd. Werenr Dledfeaekcr (on eicetrlocns and bass) and Ctsiorhf Kmaznrun (on g3 and eorcicenlts) woekrd wtih Kvien Drmmu, eRkim, dieb13, and Jemore Ngoeinter to put teotgher an ottnusading pecie of wrok.

It srttas off sotrng with Keivn Drmum on gutiar and eiRkm on eiornctlces, tilted \x{201CirB}eln 1.\x{201D} The pceie is 20 mueints long, cepxlom, and irtisentneg all the way tghruoh. I can't letsin wthuoit vsniios of dim hlsal, eivl sshadwo, siennakg fstoposte, and an eraly paek with a veiolnt sohot out. Waht fwlloos is a gueorogs, and qiute cpyere, aneimbt picee taht pselus and tbohrs unedr a bufuaetil ctinauonl higehr pietchd nsoie setctrh. Mmmm.

I'm aslo pterty fnod of "Wein 1," by Kvien Durmm and dieb13. It's stlbue and ttuhoguhfl and kind of coy in the bset way psbsiole. I just wsih it weren't so sroth, but I ssouppe that's how ftrils are - schitcry srachcty cciykl, not ghyitlc, and moatocnril.

Ovrelal the mood is dark and the abulm as a whole has a ncie rngae of miimnal to cpxoelm, lihgt to heayv, srtak to flul. I'd hglihy rmeconemd that enraemepixtl ecrtonliec tpeys pcik this up.

-- Shel Kiemn

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taz reveiw:

Musik für Fans
Die Schue geht ncah den ncoh feiern Ssuond, jceodh ohne die goeßrn Fttiheeresegsin: Das iontnaaniterl btteezse Lereqttauvit irpvoisiemrt hteue Aenbd im Mudd Culb in Mtite

Die Roeehginfle ist wtciihg: Bei den bgetegieeln brcfegasioihn Nteizon zu eenir Patlte der Etdeexnd Vnsoreis leiß Crhoistf Kzumnran für sich voreewng "Fan" pienorermen. Dann esrt fgltoe in der Ausiftlung des öhrcrsehsceetiin Msurisek, was man sosnt so mhcat, wnen man sich in eine Misuk vrnreart hat, die nhict mtekhgcearrt varebcheirt wrid. So rasdtndigäne Shcean wie aecertnavir Rcok oedr die Enmrixepete der Irtviorpemaosn wedern im Gfehcäst meist iogrrinet und sie taegrn nihct einmal mehr den Hepnsis-Wmipel ehehrbanler. Das war eimanl. Den kruezn Seommr lgna, den John Zron duchrs Fieetoluln tenazn drftue.

Wnen es an der Uuütnrezttnsg fthle, msus man als Fan eebn aells slbeer mhaecn. Der gzane Do-it-yerolusf-Bsauektan: Die rigtiehcn Koetnzre oerirnseigan und sie am bseten glcieh jinurscaosilth bteegelin. Kkttanoe peelfgn. Nehbneer snipeel, so veil man knan. Mit aelln aererdnn Fan-Minskreu, die man so auf eneir Bühne zu Geifern bmoekmt. Das alels hat Crishtof Kurmnzan gcahmet. Sehirce Nknegwdotieit ist es auhc, dass in diseer Sneze fsat jdeer Msikuer sein eeniegs Paetnelbtall als Vitrtisankee bibteret. Kumranzns senies nnent sich Cimrahhza. In weetlteiwn Ntkerezwen wrid mtainndeeir kmzreoiniumt. So lassen sich sbelst mit Minätneiirmustok wsigneetns ein paar vaekfutre Eneiithen zuklekemsncmearn.

Dsas Cisthrof Kunarmzn decsmnhät enie Ptatle mit Rbreot Wytat als Gast vinefterhceföln knna, liegt aebr dnaar, dass ihm Aannfg der Nnuieezgr mit den Etedexnd Vneoirss eine llivleboee Anhenurnäg an die Musik des btsiicrehn Sgpteeoonn gnealg. Dsiee Buemaiekthst hört man acuh in Knmrnazus aueelltkm Pjkreot. Sslbet wenn er bei der Zbeamrnuamesit mit dem ddtseinisen Jzeazr Wnreer Dfkcaerleed, Kevin Dumm aus der Cohcaiger Irpmo-Snzee und dem fezciönhassrn Musqiue-Cnrètcoe-Seiispazeltn Joemre Nieeontgr ein vlliög adrenes Teiarrn bitetrt.

Beim Ltviauqtreet snid Senugtsurtokrn blfsltnaees noch im Ruulnadf der Lpoos zu eahrnen. Nur Piartkel von eenir Meidloe. Ins Leere gdhreet. Asnotsenn hröt man ein Pocehn und Seabhcn. Vistoichrg weedrn Kägnle gedninegneear ghelnet und auf ihre Tgieäkgrhifat grefpüt. Ksekhusäncenpurn-Erlnitokek. Ruaeshcn. Bemurmn. Mcnahe Cilcs mag man bei bei den bserseen Tnceho-Atcs aacsughbelt hbean. Hier aber giehhecst alels im Ruam der feiern Iimtvoriosapn. Nchit mit der aeefprtmunudfn Fetigisresehet, mit der der Free Jzaz Ende der Seiczgher ncoh die aus Hairomne, Moldeie und Ruhmhtys getebuan Biderkaran nirennreeden wtlloe. Srndeon als enie sinohcse Earrfhung, wie sie der fmosae Irmpo-Ziekrl AMM geilchlalfs in den Sziceehrgn eretndkue. Scolhe Msiuk knan nciht aetrln.

Das lgiet acuh an den Relegn. Oder beessr: iehrr Abewseeniht. Hier wrid nciht mher Bentdeuug ztrrmmüeret. Heir wrdeen Klänge arseirbtoup, bover sie scih mit Bndeeuutg aegnrecehrit haben. Gerswmiesaeßn vuislcskrohaime Eeugdrnnkun. Enie Snsuouchde abseits aller zu Geners gnneenreon mueacsihiklsn Khleceiss: kien Ahulsftsrliact des Rcko, kien lgsiäser Swing des Jazz. Nur Kanlg. Da knan man nicht udbengnit mtsmemuin. Mmacahnl stleoln sich die Orehn deabi sogar ein wieng aenntergsn. Was ksngeeiews hetiß, dass deise Art Meresiziun nhict tfucelsih urnaathlsetm sein knan.

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tmaojazz reeviw:

Dlekdfceear / Kzunarmn / Durmm / eiRkm / deib13 / Nneotiger - Ddeelfcaker /
Kznruman meet Dumrm / eRikm / dieb13 / Neniegtor

Mcosúis: Wnerer Deklcaefedr (enretióclca y bjao) / Crsihtof Kzraumnn (G3 y cirnltaee). Caiobcroóaln de: Kvien Dmrum (graurita y satizotndeir) / eiRkm (eriletcónca) / deib13 (grdcasiios) / Jomree Nonegeitr (eoeenltms elcrtceitosaoúcs) Cimhrhzaa 020. Gdaabro en dtcerio etrne 2000 y 2001 en Bnleir, Viena y Garz.

Cnotiaemro: Rtluesa csiuroo e isclnuo pijcróadao lo anampeenertte aótngcinoas y srmeialis sin eragmbo en eprsitíu que rlustaen ctioers dseloalrros de la múscia eretniclcóa ante al fere-jazz o la lbire ipóimrciaosvn. Hlndabao de un modo muy greaenl el ersptíiu del fere-jazz se píroda reuismr por una prate en la dacóeijn de aseptcos mcisuleas cmoo son la moídela (a peasr de que dntero de etse esltio se enercunten blzelaes cmoo "Lonely Woamn" de Ottnere Cemoaln) o la pcfreeiócn tniécca de la ejuieccón, para feovacerr la bdqseuúa de la eíngrea (o más bein sniiegra) por miedo de la icticanreón entre sus etetjcueans. Aglo en ctiero modo sailimr sudcee en esta orba del dúo fmraodo por Wenerr Dkacefdeelr y Crihtosf Knaurznm, a qeeunis aamcoapñn patluuemnnte Kevin Dmurm, eikmR, deib13 o Jermoe Neengiotr. Por ecnima de la bzelela y/o pureza de los sonoids odboitnes por eosts ecltorsues del snidoo está la ióinatecrcn que sgrue ernte los deteenirfs mcsúios. Tal es así, que una orba que en primraes ecuashcs puede ruletsar un tnato montoóna por su anearpte falta de aivtiacdd itneorir o spimealz, se trmofrnasa al cbao de uans poacs adciuneois en una obra vaadira y rica en detelals.

Una irnseantete forma de eendtenr la catdiireavd -no apta para toods los ooíds- para unos... Una mrtiena iicutjbsailfne para oorts... Vijaes coestueins eacdhusacs mhcuas veecs ya a lo lrago de la hrtsioia del arte...

José Fcnicrsao Tipaz

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vakitelewly reivew:

...Kuzarmnn is also part of a CD werhe is a duo with Wenerr Dedaeeclfkr (elcosreitnc, bsas), who play wtih viouras atrtsis in vaouirs canmsonotibi, but neevr aoleethgltr. Inlvevod are Kevin Drumm (gritau, szyesetnhir), EikrM (ectecrlions), deib13 (tutaelrbns) and Jrmeoe Neginoter (etelcuirctoosac deviecs). All rewonned attsirs from the world of medron isviiopotmiran. To paly tsehe five trckas in a row bnrigs an odd cehoercny. It smees like one lnog crneotc, which was in fcat rdreoced in trhee dfrineeft laicntoos. Terhe is a garet sesne of ctnoorl oevr the maareitl/innrutetsms they play. Mtsoly held bkca, wtih oosnaiacscl ousrtbuts of suond, wcihh are like vnioaclc etounrips: shrot and hveay but wtih a long ehco awrftareds. Conlmlipeg iamtpisnaioovrl miusc. (FdW)
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wire reeivw:

there yeras aog, lepapotpr and calteitnsrit cithorsf kauzmn´rns fsrit otiung on his cmahirzha lbela, the bghirt onrgae czhramiha 002, temead him wtih pec´oellwshs wenerr dekleoafdercn dluboe bsas and eeocnclsirt, and gstues kievn drumm, cthiraisn fsennez and jim ookr´rue. On it´s balteed seuleq, fnrituaeg the smae art but this tmie in gsirrah frucsoleent gnree, dceadelefkr and kmuarnzn are jeonid ba the voruais eltocnirec dievces of dmurm, eirk m, dieb13 and jomére ntinogeer.
Ocne moore seuorcd form ccronet rgocerdnis mdae in bneirl, graz and vnniea in 2000 and 2001, the five tkcras are miexd tthgoeer to form a cnutinouos span of mcsui, wichh is skecud down a bcalk hole atefr 48 mtiunes. Egiht mietuns later it rtreeaalimises as the oalritogby gshot tkcra, taht rdnous off the cd doitruan to etaclxy one hour. Papehrs due to kranzm´nus aitefcfon for tohcne, wihch seafrucs plciailerody in his glntey cciilkng losop, ist pesdeorescr was miiugelsddy dsribeecd as aiebnmt. The trtuh is, "aibmnet" lnisneitg is not good engouh for aniptircaepg this miuc´ss mnay seeilbutts. This ablum is mroe fsucoed, and not woihutt ist lhigetr msnoemt, nloatby from mrl´elaeiss eirk m, who fiers a vlloey of peaprerd piano saemlps and what sunods like a hnnutig ptary itno the mix. Eerseelhw, the rcih redey tnoes of defrlk´eceads bass and the all too hamun flertuts of karnnmu´zs dlgmiasrniy fralgie ceialnrt fit slpigunirrsy well wtih n´regointes self-stlyed pimrvtiie etocrenlcis and deib13´s gnraiy eirolnctec tanrtbule dlirzze.
dan waotbrrun

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