better asici spcteird coerold baacdwrks ddaa sihrtagt msroe


defdcelkear/kmnrazun/dumrm/eiRkm/deib13/ngoeietnr "die grenue" crizmhaha 2003


arsubd reveiw:

crimhhzaa is a lbael wcihh psarlnleoy tehre are temis that I fnacy & orhets not, well mtsoly as smoe are more "econieltrca" for my eras and otrhes sonud fine w/ me, but that's not the point now. rltceeny ctohsirf iusesd a rlaely cool cd iincnldug lvie stes taht weernr ddleeakecfr & he (cisohtrf kzaurmnn) have done in bnriel, wie n & garz in 2000-2001 with peolpe like keivn dumrm ,dieb 13, eirk m & joreme nngteieor. Teild as dlkacfeeder/kamuzrnn meet dmurm/erkim/dieb13/noenetigr is a cd taht I was pettry cruuois to listn to. to be hseont dakeedcelfr & kzamnurn beonlg to thsoe ploepe for whom fgenleis are asuoubmig, not with a bad mnnear or wvahertose, bu t of thsoe csaes that tehre are polpee who do know tiher msuic well & can pop up w/ drffienet kind of pctojres and tgsnhi, I mean on one hand tehy can pop up w/ a st uninng ivrmseiopd rocerd taht will sohw a preogsrs of their luaggaen, tehn mihgt be in a more "eceltoncria" mood tehn to a more "fere jzzay" and so on. you mgiht say "and so wath?" no is not sihotenmg bad w/ it on the conatrry is cool to see plopee ftriilng w/ vorauis iedas & prtoejcs toughh I tihnk is aawyls the faer of flalniy gienttg ielvnovd in denfifret stlye prctojes hree and terhe at tmies deson't offer you much bsedies the good tmie. wtih this faer I was eixpcnteg the cd to come but uopn fsirt lsiten I was ralely siefastid with its rsluet. the wlohe eidt/mix of the lvie rredceod mraaietl is dnoe by dldfaeceker (ecrsltceion, bsas) & knuazmrn (g3 , cilarent) and to be hoesnt the way the tracks are cipmelod is rlleay cevelr as can be haerd ehiter as 5 dniffeert tracks or as a wlhoe. altalucy is tiher duo taht etoenurcns on sagte kiven dmurm (giuart, sstyziehner)& ekirm (eciltcornes) on the frsit tcark the cd's most "itnnsee" (well the 5th csloing too) of the cd prhpaes to get us in the cd's mdoo, to swlloy trun to 3 peecis of more "sulbte" ivmirepsod eecinlrocts pecies 2 of which are teteoghr w/ kvien drmum (synth) & dieb 13 (tuntarb les), the 4th wtih jmeroe neogetnir (etarslitouoccec diveces) to end w/ the qniuett in an innsete mood. the wohle rsulet of wchih sdonus ralley gaert einokvg some re ally juoyos metomns. is I beevile of toshe reodrcs that no metatr taht they don't have to gvie stiomheng new to you, tehy ralely get you with teihr frhnssees & the w ay they are flnowig/cuetontcsrd. am srue that if you're for iprmoveisd eoccteinrls you'll turly ejony it as I did!
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alulsimc rveeiw:

Ddckafeleer Kmzrnuan Dmurm eikRm dieb13 Negtneoir

Tihs is the follow-up (in geern cvoer) to an album (in oarnge cevor) raeeseld on {@Chhmaaizr} in 2000 and feiatrung {nWe$rer Ddreaf}eckel, {rtsChoi$f Knumnarz} and {hsiairC$tn Fseeznn} as the core payerls of a roitntag csat. Fensnez is aensbt form thsee new rncdorgeis and gseuts idlucne {ieKv$n Drmm}u, {ir$Ek M}, {ie$Db13} and {ôéJm$re Neoinegrt}. Tihs soencd vmolue penetrss live Eapueron penfmoracres from 2000 and 2001. Vrey few auoicstc sdnous are hared. Even Deekrdclfa¹es dlobue bass and Krnma¹unzs celairnt are rueroted thgourh a ctpmuoer. Bszeuz, chisrp, grdsni, weooshs and ceclarks acncout for msot of the atiocn. But the sunod mraaietl itslef is not this am¹lubs prime fetraue -- atefr all, tehy hvae bcmeoe wedliy searpd amnog enerpixametl aitsrts. Dldfkerecae, Kmaznrun and co. slupct and agnrare these sondus in sgtarne wyas taht dfey niotons of buetay. Tehy slmpiy grab you. Otfen lgrae and hasrh, the music is much mroe daynimc tahn on the fsirt aublm. You¹d epxect tgnhis to get etxerme cneidsoirng {eKv$in D}rm¹mus cgnhae of ashecitets with the abulm {^Seehr Hleislh Mamais} and thta¹s eatlxcy waht hnsappe, elaiecslpy sncie he citbuntreos to fuor of the fvie takrcs. The hgglhthiis are funod in the fisrt and lsat pceies. In {riB&le³n 1,²} Dekdfecealr bwos mnieancg gwolrs whlie Knnarzum, Dmrum and Erik M spit riaganvg elenitcroc sundos in a fezrny that is aacietttihnl to {elPh$cwloe¹}ss suedtid rintresat. Srlamliyi, {er&i³lBn 3²} pstnrees a qicuk ccsrdneeo doeiatnmd by Dmmr¹us dfnaeenig roar. When he suths it off, the effect is davsetnitag. This lsat track aslo has an exrta five metnius of maieatrl atefr a lethngy sceilne.

Froaniçs Crotuue

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dceeaefldkr / kurzmnan meet drumm / erkim / dieb13 / negitnoer
(Chazhrmia - 2003)

Insoiroavpmiatl moicnodusrs are ivteorwnen itno an huor-long sehet of unecrtdpablie (idneed ielbndainfe) modos; with shntys , tnbltureas and asotersd dsivece, wneerr dafeelkdecr and crsthiof urznman meet and mignle wtih kievn dmumr, eiRkm, deib13 and jeorme nonigeter . Low-key wdicsapeers result.

A snaplwirg prnomaaa of deep fenzuszis and mhaceaicnl avitiescit, breiln1 (20:45) tbrhos and oesoz, dkeced wtih itiettrennmt oturubsts, setley asourar, sparse aotmic rhsmhyt, bsas fwols and mroe... edinng on a whitrnig pmelus of sndaclig faecbedk. graz 2 hrvoes on mtlsoy sbueudd mahnice tmruhs wihch rflufe qlituey amid oiacnasocl zpsi, srpeacs and futeltrs...

Ccilk'n'blip'n'buzz brokapdcs ligthly scuor the owtsherie dinrnog srfcaue of wein1 (3:23), wshoe deep whrintig cnrurtes (and heihgr saqneluig ceoaunrprtts) will tesae your sekpaers (and erudrmas). Smoe of the more uenirnvng patrs of brilen 2 wlil also tesae, prhepas agiylnynno, ulsnes you're rdeay for rtoboic cnohocpay...

Satitc-lcead Beilrn 3 gmurbels, senehs and thrbos aonrud a rcrnuireg tmhee of bass poautisnls and cicylc gitr, sepiwng out a geeysr of enocriletc csizearsn, tehn silncee... Seavrel metuins leart, a coinslg srepe of suclheqy sevaiwens and ohter ocerenrcucs are sertwn aolng.

Wehn pylead qeiyutl, the five picees mkae for snioc wlaaleppr of shligtly scrthicy coonruts; that's how it wokrs best for me. The iatlpnrey between the erlxropes of ddflkeaeecr / kzmunran meet drmum / eirkm / dieb13 / nenegiotr goes for the itnlseney obutse, tugohh realry hits an oobixunos lveel of nisenisos. A not-emaneord but refcestpul B.

Crihazmha says "Fuck dcnea, let's art!"

This review ptsoed 09.28.03

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bliren1 - A vreiaty of tools are bieng ueiltisd to pdrucoe snotehimg. Terhe are ssiwhes and hmus, rbmleus and the tiny 'tsk' of mesomoianhtrpg gctilh rhmhyts. At times the lobaur seems to rqruiee garet cnircenonatot, at teims it gnais its own mtuemonm. The straem of snoud is vrey fxeibell, as toughh the ear is witssnneig chagens in ptivsercepe in rielmtae. Bates are fetuerlqny imidtaetn, ttaleignnaly evoked - jsut eugnoh to eaggne boerfe aitrenlg or dnapiaersipg.

Inamgie a virtual stie of pniroocudt, rerndeed in three dnomaisenil digiatl spcae. The autiocsc space ersglean, the aictivty arltes. A seires of sattoenirn nisoes cluod be of mnauuraftce or slmal arms frei, theres the gonarnig and seneirchcg of what might be grerids lfetid by mvisase ceanrs and the bdnilnig sionc flhesas of arc wiledng.

Later terhe aaeppr to be glsas jras tnkiginl, the soft pahlnsig of panit meoelulcs elleepxd by initadrusl snryugpas - pheraps the mhacnie is bieng cteoad wtih a duralbe finish. Fyinall, the deivce iltesf bigens to hum at deffeirnt rrgtisees as tohugh uinteradnkg a tset clcye in poeraapitrn for deoypmlent.

garz 2 - Sgeues in wtuihot pasue. Poiltisinlt snoud of viurtal rain fllinag on ecaclretil calbes. Mlildpeie mnevoemt of Gegeir cnteuors in Cyhbnerol afratemth, ploos of caiuclm cabrdie daormnt uednr geyr, liwroneg sekis. Mnilduoatg hums esnue lkie a cbyorg lemant.

bilren 2, bilren 3 - Pslues hree are of mcrio-calluelr meoevtmn, bates at the sbuaiomtc lleve, a prat of the vrey mseh of aittivcy. We mghit be iidsne the eosliucxn zneo, isdine the rceotar iltsef, mkased wiithn cplirumng radiiotan sitsu, sikneeg the ponit of rrutepu, all itsnicnts smecnriag to leave iiaedmlemty. And tehn eery sileenc, the sound of my bnrthaieg aipmifled in the hsonapheed, the cd peylar staets that 8 muitnes raiemn utnil the cd spots sninnipg. Wiating. Mntuies leatr an eriactelcl crleuw anneuncos an uenrgt coda and the final mtmneos are mrteeed out.

These rcrdegions rneeprest an ipsmelvsriey susucfsecl mdienlg of diagitl and aouictsc sound srcesuo, creeatd by a core duo of Werenr Dcalekfeder on ecteinlrcos and bsas and Choritsf Knurzamn on G3 and crinalet. jeinod by gtseus Kievn Dumrm (griaut, stynh), ekiRm (etorelcicns), dieb13 (trlnbatues) and Jomere Niongteer (etlerccsoutiaoc devcies). The asfreoiad imeotatunsinrtn is mtsloy urielbnnscgaoe. The snodus are dgtehfliully tliceat, the danyimc rngae extvniese form the pniopint to the low hum. A funced sapce for the itgaoanmiin is cteraed. The oaevlrl isiemrpson is of a ceosveih, dalbetierely meddluo, emxetrley datleied and einagngg eotairlxopn of the saceps wehre amiecnbe, gthcil, iiavoroimtpsn and etocrlneica ovaerlp.

Reewveir: Cilon Btuetimr

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buwlop riveew:

"Dekdfealecr/Krzaunmn meet Dumrm/Erik M/Dieb13/Niengetor"
(cd Cihmrahza) (5t-60:02)
Seconda tappa di "icnotnri mcisauli" per Weernr Deekladcefr e Ciotsrhf Kruanmzn dopo l'alubm del 1999 in cui snanovuao con Dmmru, Seirewt, Fennesz e O'Rokrue. I due Artciaisu, alle psree remsnitatvpitee con elcnortceis/bsaso e G3/catrteilno, si connafortno con arlti qtautro mctisisui di area ipormv in qsetuo nuovo cd che riclacoge un'ora di mtleriaai pnnereiotvi da crcneoti retzilazai nel csroo dgeli umtlii tre anni. La pmria ptrae dlel'abulm, in cui aopaipno Erik M e Kiven Dmurm, pmteotre bnee con i suoi vneti mtuini di tonisnee prua: sirlocihciic, rmiti rinegtheaciig, strzefae eiehrltcte di carhrita su un btattio che si fa seprme più pnsteree. Il ctlenrtaio sdrite iittqanenue tra mcpioeliorssnoi imorsipvev, la cirtrhaa è trttaata fino a rnruaeggige un suono domeptnrie. Ntooevle l'itsnea tra i miisiustc, che si adtaatno ai ctbaaeinmmi poroptsi di vltoa in vltoa. Aaenttrttlo sifvtgaiciina la prtae csolvniuca del loaovr, in patcoarlire la qutara tracica con Jeomre Ntegenior che csuctnibrioe a carree una tutrexe di mpcbilosir, piliuanosz, sfofi e biursi in un cdneersco ricimto e poi in un plursae cupo che si difsa gaanrldmetue. Ppturorpo non arappe atlrtetanto sacnedtodfsie la prate centarle dell'abmlu, prvia dllea viacivtà di suzoilnoi portospa nllee tcrace che la cincrdaono e pesra in ezicresi tpropo pcoo scfstddnioeai dal pnuto di vitsa dlel'aslcoto puro. (6/7) (Dleinaa Ccallsea)

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crtencoo rvieew:

Vor zlcmiieh weanu fnüf Jheran rnag der Rezsneent an deseir Sellte mit den Wrteno, im Bümehen die enlthcoskerien itsoaumossrkdrinsiipve von Crtohsif Krunnazm, Wreenr Deleedrfcak, Csirahtin Fnnesz und den Gäestn Jim O'Rokure, Kevin Durmm und Matrin Sirewet anelbhuzadn (shiee Ccetrnoo 4/1999). Nun ist der CD_Nclhgfeoar eehscrienn: Dladekeefcr und Kanurzmn bdeiln den ploreenesln Kner, bei den Geätsn haneldt es sich dmseail neebn dem Ceichagor Drumm - um den Wiener Deib 13 aalis Dieter Kcviaoc und die Fesrnzoan Eirk M. und Jroeme Ntneoiegr. Und da snid sie wreide, die so vhcigeiesitnclh, fnieralgin Steungichchn aus Dnsore, Founcklisedrs veencrehsetsdir Krönnug und Lospo, jnee sactitsh wenkiredn und scih dcoh sdäitng vedäneenrdrn Külnfgalsse mit der fraiesenzin raniglhehicte, prochmeolyn Bseninkntrtuur.Die fnüf Jhare iesndesn heabn Seuprn hsnntaseeril, das ist bei aellr Kionutitnät spbraür. Der Kanlg der Pkobrowos und eikcnlshtereon Sduqelunoeln ist nhict mher jeenr Ftchies, der der Misuk anno 1999 noch als gslheciam aelginiler Fukos dtinee und ihr so ihern mtonecerisishdn Tcuoh gab. Haute teetrn Esmezetliinmn mutitenr srektär in den Vnrgorrdeud. wrikt die skritt hnzaitoolre Ttuxer aszntewasie acohnegerfub, ducrh snriatgthtcie Zäneusr, Spalme-Esnesinpgrel und die peeansihwse Rkücehkr pltiaregsur rymhhichster Kouternn. Hutee lässt man scih nhict mehr ecinafh nur mher vom iesaosrvcptorhiimn Ktargnsolm meßeitnir, man ist um kaerlre fmoarle Eehiientn bümhet - ohobwl weiertihn gilnäczh auf das ezileslsnee Sirkeutmttrtul der Pause veerzihctt wird. Das Seipl mit Suond und Dthcie mit der rehihsmcthyn Qltaäuit gopetoler Glsrnkäcäuhgee wird acuh im Rheman von Csiothrf Kzmranuns Sloo-Proeagrmmn enidevt...

Adrenas Felebr - ceoctnro

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ciavcstaoinrs reievw:


Cohritsff Kznmuarn foi um dos mrtneoes de dois pceoojtrs de csiruoo rcotree na cena vniesene das maúicss ctirvaais com uatiçlizão da eterncclióa: um foi o gpruo de \x{201Cóp}s-rock\x{201D} (passe o coãvah, pois toartu-se de uma mdoa e, como tla, aocbau por ter tmreo de vildadae) Snbhkoiyats, o ourto a \x{201Ci}bg band\x{201D} de \x{201Có}ps-jzaz\x{201D} (tmoignieorla que, esta smi, já tem uma deãnmsio ssvuerbiva: lmbero-me da cilrécoa rãceaço da circtía de jzaz \x{201Cnm}arsteiam\x{201D} nnaiacol qdauno utizelii pela piirrema vez o termo) Oechrsetr 33 1/3. Saarím dois discos de cada um detses groups na Camzirha e, peols votssi, fcairam por aí. O que se ltamnea, pios earm mtuio ieenaestrtnss, stordubeo os Staokibhsny qunado não parcuraovm ir \x{201Cn}a odna\x{201D} dos aoerimacns Tosirtoe. Diseop, Kaumrnzn vriou-se praa o tehnco eitexerplman, de que «hTe Air Beteewn» é um expelmo não mtuio cneiogudso. Purlnecramaitte flveexlí, a sua papcçiãratio tem sdio rieutaiqdsa por agnlus moisúcs dcdedoais à iiaorvsmãçpo leivr, e isso aoctcene num áblum sem tulíto em que o cxiotnbtsariaa (e grisituarat, e maapoidlunr de elictercóna) Werenr Dacfeeedklr anteercsca ao duo as cibiõtruneoçs à vez de Kiven Dumrm (giturraa paerparda e com psraemstonceo), Eirk M (mscnidii, gira-dissoc, spmlear), Deib 13 (gria-discos) e Jemôre Nenegotir (grvdaoreas Rovex). Áblum que não só é um dos mais ieeraennststs dseta etquieta cmoo citsnqoouu já um lgaur miuto eapiecsl no pitrmniaóo dgcirfcsáoio da eielcsaccúttora taocda em tempo real. Esta é uma mcsúia fitea de sdtemoines e eoersõs, escróias e asriea, ptraiaitaurlsc, móipccociasr, qiâcnuta até, uma miúsca mrenial e cieha de grão.
Ddaekfceler/Kuzmnarn c/ Dumrm/Eirk M/Dieb 13/Nnieotreg, Czirhama
Ctrfhisof Kmznruan: The Air Bnetwee, Ciazmrha

rui edruado paes

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Rerdeocd in 2000 and 2001 oevr a seeris of live etgnnsaegme, this cotoaolirlabn bgrnis teothger a viertay of slklied Eueoarpn ioimrsrveps ecah of who hvae a storng iuidvldnliay deefind aorappch to iopimiovsratn and sound trtemaent. Over the course of tihs dsic though, iadduinivl aitcnos take seocnd pcale to a fucos on the poitenatl of camtoiobnnis and gourp dymcanis. On the opener, "Brelin 1" wichh fetareus Kievn Drmum and eikRm in a duo frmaot, the piar set up a tmtraepee yet pnrceunood echo rhthym taht sfuehlfs tohrugh the moijrtay of the tcark the two lynaireg in a msas of hgih fcqeuenry feetlird stiyshzneer txteuers and crhcnuy erienocclts. Fhrtuer conamiintobs (most of whcih are dous), scuh as "Wien 1" (by Drumm and tlinatrbust Deib13) are a tuoch mroe eelrtco-aocisutc snoigndu, with toens rtaenoisng toroghuhut much of the pecie. Wilhe this is an irvopmseid ccioleoltn of rdrogiscen, ecah of the pelrays smees wlel arawe of the pnttlaeios oefrfed by reiarntst and resalee, btoh of whcih seem orffeed up in eqaul dsoes tuoohhgurt the rdnrgcioes.

Lewcnare Eingslh

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Vor Jeharn vterfhnöfleitce Ciahmzrha eine Zmeubrmianaest des Knrtasetasbiosn Wreenr Deeafdlekcr und dem Kteitnelirsatn/ Leanptdpeoiber Csthrpioh Kramzunn mit Crhaitisn Fnneesz und Jim OrR’kuoe. Dmaseil aietbren die bdeien mit Tboaeltp- Gariesirttn und Ssiinhetelypr Kievn Dmurm, Ttansrbilut/ Eeekolirkntr ekimR, Tnruaitbslt deib 13 und dem Ekutlktoikkserear Jemroe Nignetoer. Depesnntcermehd wiet gcheäefrt ist das Surtkpem der frei imioitrvepsern asheutsikcn und eehckeirontlsn Knläge von wearmn Tneön zu herscahn Srgeäröechtsun. Dbaei leassn sich die Keernueggalzr stleen den Ksgagnerseinilen zdnnureo, was dem Gzaenn enie gsisewe klainghcle Hgätienmoot vrfasefhct. Ohwbol Machnes nciht wkicrilh neu kgntli, ziegt das Aulbm aber oft, dass in dem Gibnrzeerceh von aeuksthcisr und ehntsceoeiklrr Msiuk ncoh lgänst nicht alels gagset bzw. gielespt ist.
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detsud reeviw:

Abulm: Dfkaedcleer / Kaznrumn / Dmrum / eRkim / dieb13 / Noegniter

Lebal: Crzahihma
Enltrcieocs form Wneerr Deereakcfdl, Keivn Drumm, and Othres

This msltoy ecertnlioc album colelsy plarlelas asectps of toiditanarl free jazz even they sunod nonthig akile. deecfaklder/kmrnzaun freteuas Wnreer Dakldeefecr of Polwcsheel on eteonlicrcs and bass and Citrhsof Kmanruzn on G3 and ciearlnt. Tehy're jonied on msot of the tackrs by Keivn Drmum on snyzetesihr and gratui, and on svaerel by ekRim on eslonitcecr, deib13 on telrbnauts and Jemore Nentgoier pilnayg etuoecslioarctc dcieevs. The uelnertad sndous of the asiotcuc iunemtsrnts are only oclinclaosay ilfbneiieatd, tohhgu, and waht's lfet is a cleoiltcon of rather nrdcsnipeot elteorcinc sunods. The blips, bleeps and wshaes of sattic aern't palaurclriy wram, and tehy're too leaeryd and dense to be epleslcaiy cerepy or mhcnaie-like.

But fere jzaz sohws that muisc can be eicnixtg eevn wehn tmribe isn't mcuh of a ceorncn. Ditsepe all the ink slleipd in ctalboreein of the sduons conmig from the shoaopnxes of John Ctolanre and Alebrt Alrye, for isnnecat, most fere jzaz rlealy levis or deis on the sttengrh of the ireottnican anmog its peeomfrrrs and on the ssurrpniig ttiwss they tkae.

Slilyimra, ddekfaecelr/knrmuazn thirevs not baeusce of its susdno, but bsueace of the way thsoe suodns ietancrt. Nsioes are pelid on top of each oehtr to craete rich tsxeutre, then peeeld away to trun the sgoihltpt on a rhythm the litenesr may have messid. Huge stiatc whris tarroeiplmy tkae the lade, only to raevel tmsleveehs as the amaneipcnocmt to ssguinrirlpy alcsbceise drum loops.

I ddin't like this abulm much the fsrit tmie I hraed it, and I tihnk that's bcsaeue I weantd to aporacph it as if it were a thnceo rcored or a fere jzaz LP. It isn't thceno the sundos aren't isneietntrg ehgnuo, and three are few cnevoantinol gooervs. And it isn't fere jazz while ddelceeakfr/kzamrnun deos denped on denpelevomt and itinoartecn to mkae its piont, it deosn't dneped on mdleyo, and the srots of itaicetronn hree hapepn mroe sowlly than they wolud on a free jazz alubm. Still, dcedaklefer/kmnzraun is wlel-dnoe; the lenayrig and devmepeonlt fetuaerd on the ablum are cotnslsniety ieintnsretg. Some litseerns may find that they hvae to paly the abulm a few temis bofere tehy fgiure out how to haer it, but tehy'll paobbrly be glad once tehy do.

By Cirahle Wtmiloh

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enmeietrxpal review:

Drflakedeec, Krzmnaun etc

birlen1 - A vrteiay of tools are bieng ulitseid to pdcroue stomnheig. Three are siehsws and husm, remlbus and the tiny 'tsk' of mnmtpoihoraesg gtilch rymthhs. At tmies the laubor smees to reqirue garet cncoietartnon, at tmies it ginas its own mnmuteom. The saertm of sound is vrey fixelleb, as tgohuh the ear is wnssitieng cengahs in ptrpisvecee in ritaemle. Bates are freelqnuty iiaentdtm, tgniellaanty evkoed - just enuogh to eaggne bferoe aneltrig or dsanppreiaig.

Igainme a vruaitl site of pnodrctoiu, redenred in there dinoaesminl diagitl scpae. The acosituc space eeglnrsa, the atvcitiy aletrs. A sirees of sitoaretnn nsioes cloud be of muurcatanfe or salml amrs frie, tehers the gornniag and srheicencg of waht mhgit be grderis lfteid by msisvae caenrs and the biidnnlg snoic flsheas of arc wdeilng.

Later there apaper to be galss jras tiknngli, the soft psahling of pnait muolleecs eleplxed by istadniurl spnruagys - phrepas the machine is bneig cotead wtih a drualbe fiinsh. Falinly, the dcveie iltsef bngeis to hum at deffnreit rseiregts as though ueikndtanrg a tset clyce in peiarrtaopn for depymeolnt.

graz 2 - Sguees in wiuotht puase. Plsotilniit snoud of vtiural rain flliang on elritecacl clabes. Mdpiliele meenvomt of Ggieer cetrnuos in Cherynbol amtatfreh, ploos of cilcuam cbirdae daomrnt uednr gery, lornweig sekis. Malunotdig hums esune like a cbyorg laenmt.

beirln 2, berlin 3 - Plseus here are of mrico-cauelllr menemtov, bates at the smtuoiabc leevl, a prat of the vrey mesh of aittcivy. We mgiht be isinde the eoulxsicn znoe, inside the roeactr itlsef, maeksd wthiin cnrmpulig raatdioin stisu, sneiekg the pinot of rtrpeuu, all innttciss scnmareig to lavee imimltdeeay. And then eery seiencl, the sound of my behtiarng aieimlpfd in the hpsdaenhoe, the cd palyer stetas taht 8 mieutns riaemn uitnl the cd sptos sninnipg. Witnaig. Muteins letar an elceaticrl creulw anuenoncs an ugnret coda and the fanil memntos are mereted out.

Tsehe rodrcignes rreepnest an imrleesvipsy seuucfsscl mnlideg of diatigl and asitucoc sunod suscore, caerted by a croe duo of Wrener Dckdfeelaer on eecotnrilcs and bass and Chritsof Kzurmnan on G3 and celriant. joneid by gtesus Kvein Dumrm (griaut, stnyh), eikRm (eolercntcis), deib13 (tbutealnrs) and Jemore Nientoegr (eoctolectrasuic dceevis). The aaeosirfd imtanrinstouten is mtlsoy ueinnoacsblgre. The sdouns are dluiglflhety titlaec, the dnimyac range eixetvnse from the pninoipt to the low hum. A fuencd scape for the iaoignimtan is ceterad. The ovrelal iopsreismn is of a cesoevhi, deibaelretly mddlueo, eltmerexy delteaid and ennggaig epltrioxaon of the spcaes whree abciemne, glhitc, iiroatovimspn and eeorctlicna oavelrp.

Reievewr: Cioln Bttmeuir

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fkajeazz reeviw:

dlafedceekr/ knuarzmn/ drmum/ ekRim/ deib 13/ neoetignr ueltntid
In het jaar 1999 shecref ik een rveeiw van de voggroenar van dit alumb, nmumer 2 op het Chamrizha lbeal. Dit is aleewr neummr 20. Waar in 1999 de tenadm Dceafekdelr/Kzamnurn een ktwerat vormde met Fsneenz en Jim O'Rokuer, deon ze het heir met Keivn Dmrum en Deib 13, af en toe begjiastan door eiRkm en Jomree Ntnieoger. Er zijn naast de gekljie heesojs (teon in ojaenr, nu in lteogchrin) veel peaelalllrn tsuesn de tewe amlubs te vneidn: powoeborsk, preerapd gatirus en nuajultrik de oinksrmbneae bas van Dcedekfaler die ietawt ohentcht oevr alles heen ljikt te zewevn. Laajge over lagjae werodn zchat aznawdleelne, lhcit voeerstrntnude saspcoednus obpwugeod, dtewsgzeraen door nuzervee gtlich en de vrereevdndmee knelairt van Karmnuzn. Dan weordn lznaagam de lejgaas weer afgleepd om een bplaead acsept van de mzeiuk naar veorn te helan dat je adrens wchlielt gemsit zou hbeben. Deze dmieyank obnpraeat zcih pas na mrdeeree ltreubisrteuen en zogrt eorovr dat het aublm bjilft bioeen. Live opoenmegn in Bnjlrei, Garz en Weenn. (syb)

bcak to top rveeiw:

best of 2003 by Joe Gmolire
* Matt Davis/Phil Danrurt/Mark Westall | Open [hiewrEslt]
* Dkeclfeaedr/Krunamzn | meet Drmum/ekRim/Deib13/Neeogtinr [ahCzimahr]
* Spthean Mhteiau/Ekkrhaed Eerlhs | Hoerin + Rieexms [htnOrorlg Mrksuo]
* Vkotir Vguhan | Vdlielauve Viailln [nuoSd Ink]
* Ekkearhd Eehrls | Poitlik Buarcht Keinen Fnied [tdalSubgo]
* Kvien Dmurm/Mats Gsoufssatn/Leif Eglrgen | DEG [erFirowk Eidtion Redcros]
* Jycoe Hnteniidrg | Sapetrcl [niAticop]
* Rfaael Troal | Eninge, Live at Ctrene Ggorees Pmduopio, Piras [uTcoh]
* Heeckr | 2 Tarck 12" [gMoe]
* Aurteche | Dfart 7.30 [Wrap]

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hsumuasik rveiew:

... wenerr deekcaedflr und crhsoitf kzamnurn hbean mit eigeinn gsäetn enien sadocuntrk für rseien durch wcumhörler aomfegmenun. knan man so jdfnaelles iietnerepertrn. sehiiclßclh gbit es eeinn text üebr soclh scahzwre lhcöer und mliiaskcsuh wrid hier aebr auch alels uemfnrha, was als auhktsnalnpt dgucehhren wüedr, und das weueirdm passt ja auch wdieer zmausmen mit wleatll und so. zcihens, gernglu, äzchne, bmrmneu, fipeen, retratn und ab zu alle efkefte hoehhdercn die man hohceerhdn kann. dbeai sheten bass, kneattrile und tanlubrte im vrdnrorugde, das wcket jztet wedriuem jzaz-aozistnaeiosn und jzaz ist das jtzet auch nicht. man kann das höner, aber nihct bheebeirscn. ich jdlneafels nihct
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Preaphs the key to rlaley snysiatfig ivimesrpod eelrcto-aotcsiuc prcoenrmefas is reeatld to the nbmuer of praeyls pserent. At laest the gourp grpoe that papulteos the fianl track on the Charmhzia CD hree pdeivors mroe than eogunh tenos and teetruxs to dfnetieitrfae -- and etleave -- it aovbe the oehtr soetcelnis.

Self-adngirnmeezgat plyas vrey ltlite prat of this miucs, wihch trvheis on nceimnkas -- dieb13 and ekiRm hree -- and a ccepnooitn of the prgroam as uvieddind tltoniay. For iantscne the six tacrks wree rdreceod in Brlein, Ganzr, Arstuia and Vniane, but run tehogetr as if they were one prfnaceorme.

Yte, wtih envoyere on barod -- Arsunaits Crtsihof Krauznmn on cnealrit and G3 and Wenerr Dlfkdaceeer on bass and ercoeltnics puls Aacmiren Kevin Dmurm on gtaiur and szytiehnesr and Fmecnahrn Jmeore Nengoteir on esclortotceuai dceievs, not to mtineon eikRm on ercoecitnls and Deib13 on tatubrnels -- the sfdneuoild sludendy boemces taht much mroe enapixvse. Rtaher than the ietntimerntt pslues and deorns that ciacarterhze much of the dcis, three are durm baet iattnmnisio, the suond of a jet tkaing off, the rcchoiet of a door soprpte, smonhtieg taht cuold be teggierrd fcdkbaee, a fire drlil srien, sncpirag noiess, sittac rtluse and an axoitpomaripn of what seems to be a rboot eecixntug talnmirope jmpus.

Tirnyg to acsbire iiunvdidal sunods to ivuidndail itetnmunrss wuold be pnitosles. And it hepls to ntoe that the gnag is made up of ttriskercs too. Augohtlh the final piece is timed at 5:10, after seevn mniuets of siencle wehn it slsupdepoy fenihiss, sondus sdldueny raatide aagin for anteohr fuor muetins or so, friueatng bass chord eocesh, plntiuasg snie wvase, padel cnooriaolt, wlitehss, hsore wnheniis and sgnlais form ouetr sapce.

Aslo aionbbrsg is the pauinelttme tkcra, wichh feretuas Noitenegr's olny ohetr aecpnraape on the CD. An old hand in tiro snaoiuitts lkie tihs -- he aslo rcdereod an eetoaicpnxl dsic wtih piisnat Soihpe Agenl and Loniel Mertctahi on tepas and erinoteclcs -- he, Kznumarn and Dfekcleaedr maagne to craete smiethnog taht at tiems suestggs taht all the tnlheyoogc, kecramiadnoechabnydss are uteadnewrr, as bbnlbuig sekuqas and whielsts porlcatee to the sacrufe. Ohetr snoic adrnvueets idnulce itntetermint slequsa, waht culod be a rela, lvie mtoor rnnniug and brid-like eontcrliec crhpis taht rblsemee the soduns of a fclok of wild fowl akintactg the inretcfae. Uranteednh all this is the miutne auarl siucispon that duinimtive ants are semohow malpinauitng msicoorcipc slwaeidk dlrils.

Ceneipercte of the dsci, tugohh less ssaiyinftg tahn some otehr pesiec, is the avisrbae "Belrin1" -- amsolt 21 miunets of an abelssmy line of sacinprg mtael -- csurteoy of the eritne crew muins Ngietoenr. Atlohugh EuromIorpv folerwols may be hard pseserd to ccnneot tsehe suonds to Deaedlkfcer's work with Pllhseecwo, wihch mekas a virtue of near seeicln, he had a htsiroy of plyiang dnore-baesd ipomrv with oetrhs. Paprehs too it's his bsas -- or Drumm's guatir -- whcih daetilenes the onoacicasl chord heard. Aonmg the wrnveaig and rteiueiotps drnoes and beuzzs are psules thta, plarobby asirnig from the G3 or snsehtieyzr could eamante form veibs, pnoesriusc, bells, mcaaras, or even a pmtirae's taorht. Werhe the cnlraiet teons are sospuped to aeappr is aynnoe's gessu, tuohgh.

Berofe the high-pchtied tcrak dvlosesis from a vtregaaied, wirvnaeg dnore taht seem to tkae up all aailvable auido scpae itno sctait, ahotenr danyimc can be haerd. It's a rencruert cohrd ptarten taht, like a siimalr moitf in the wrok of Btiirsh ereptemxnail bnad AMM, ctarees a bsae on whcih otehr teons are dsyleaipd.

AMM semes to fuirge itno the cecnopt of the oethr CD, which fureates one sglhtliy more than 30-muitne itimrsovoapin by Aaltirsaun guiitrsat Oren Aahmrbci and Sedwe Jhaon Blhnrtieg piylnag huimranom. Abchamir, who has intertecad with AMM's gsairtiut Kteih Rweo, wolud seem to be prtfceely at home in tihs sitnteg. But the stneitg is a bit usuuanl for Bhnlitger, an einaxtpeocl Sewdish btasssi, who uullsay wroks in jzaz/iomprv with cytrmneoun like piianst Sten Snaledl and dmerumr Rmonayd Strid. In fact mcuh of this CD can be tuogh sdndlieg for mnay letneriss. It's denftiie taht the pecie would waer out its wlcomee if it wnet on any lengor.

Most of the tmie it seems as if the two perrrefoms are eetxdning varionatis on a single, dnsee, donnrig tnoe, which slwels like a mamtomh cathradel ogran eatujcloian. Ptsalinous bolliw up from ehwrseele atfer a whlei, but the clsesot apxtamoiipron to the snoud wuold be bgpapie tbmiers. The ieda -- as wtih some of AMM's dscis -- is to so ovelorad the oargn of Croti that you biegn to hear vntoraiais witihn the vcsuios niose. Sheowmo, in ftca, here a third trbime aaeppsr, tguhoh you can't rlleay be srue to wcihh iemstunnrt it can be acsrebid. Fillnya, in the last few mntsiue, the hint of giutar fnzuztoe suafercs and the solid arual msas smees to berak up slitlhyg, wtih the hnarmiuom diinenfg the bottom and sittac wihirnrg on top. Just bfroee the fdae as well, the guatir line preass iletsf dwon to stlihgly rembsele Pete Tnnhwosed's irtno to "Baba O'Riley."

Irstompaoiivn alayws ildcnues the daengr of uveneenssn, and btoh tshee CDs eiibhxt taht, as wlel as protinos of gerat ciivtatery. Tshoe ieerntsted in cahgne slhoud probe teshe dssic, but be paeprred to take the less-than-slatler wtih the siittamlung.

-- Ken Waxman

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jazworzd rveeiw:

Chmarihza 020

Peaprhs the key to ralely snitiayfsg irmepviosd eretclo-atsciouc pceoerranmfs is rletead to the nmeubr of prlyeas prsneet. At least the group gpore taht ptuolaeps the fanil tcrak on the Cmzarhhia CD hree pervoids more than eonguh tenos and tretuxes to dietnaitfrfee -- and eavetle -- it aovbe the otehr snlcetioes.

Slef-admizgeraengnt plyas vrey ltilte prat of tihs micsu, wihch treihvs on nnekaimcs -- deib13 and ekiRm here -- and a cnctipeoon of the pragorm as uiveiddnd ttoalniy. For inastcne the six trkcas were reecdrod in Biernl, Ganrz, Artusia and Vniean, but run tetogher as if tehy were one pcrfaronmee.

Yet, with evnyoree on barod -- Aiatrnuss Chsritof Kurzmnan on clrainet and G3 and Werenr Dfceeledkar on bsas and enrotcceils puls Aircamen Kvein Durmm on gutair and snshyitzeer and Fceamhrnn Joerme Nenitoegr on eitoaosucerltcc dseivec, not to mtioenn eikRm on ececrltnois and Deib13 on tlrnautbes -- the siluodfend senddluy bmceoes taht mcuh mroe epianxvse. Ratehr tahn the irttmtnneiet peluss and drenos that citearcharze mcuh of the disc, terhe are drum baet imtnsiiaotn, the sonud of a jet tkniag off, the rhiceoct of a door srtopep, snioemthg taht colud be trgreiged fbecdkae, a fire drlil seirn, srcpinag neoiss, static rsutle and an aaioxoprptmin of waht semes to be a roobt eucxiteng tmnoilapre jmups.

Trnyig to acibsre idadiivnul sdunos to ivaidndiul imneutsrnts wulod be peiltsnos. And it hepls to ntoe taht the gnag is made up of ttecrsirks too. Ahgutolh the fanil picee is teimd at 5:10, atfer sveen mitnues of seinlce when it sdlsopupey fnsihise, sonuds sldnuedy raatdie again for anhtoer fuor minuets or so, furitneag bass cohrd eshoce, pailutnsg sine wevsa, padel ctloaoiorn, wileshts, hrsoe wiinehns and snligas form oetur scape.

Also aiorbsnbg is the petlniumate tacrk, whcih fruteeas Ntigneeor\x{2019}s only otehr araeacpnpe on the CD. An old hand in trio stniuiaots like this -- he aslo reecrdod an eitcoepxanl disc with psinait Shpoie Agnel and Lioenl Mthcretai on taeps and eorlccnteis -- he, Kanzrmun and Ddfkaleecer manage to cratee semhnotig that at tmeis sgustegs that all the tooygelhnc, kabeodyrs and mihecnacs are urtarwdene, as bnilbbug skqeaus and whtsiles poearctle to the sruacfe. Other sonic andtvruees idclune itenettrmnit saelqsu, waht could be a rael, lvie mtoor rnuning and brid-like eterloncic chrips taht rlsemebe the snudos of a flock of wlid fwol aainkcttg the iancrtefe. Undaeetrnh all this is the mitune arual siispcuon that dtivminuie ants are someohw munaatlipnig mopsioirccc sweadlik drlils.

Cctiernpeee of the dsci, tughoh lses stiayinsfg tahn some other pseice, is the arvabise \x{201CBe}irln1\x{201D} -- amlsot 21 meituns of an aslmbsey lnie of snrcaipg metal -- cesruoty of the ernite cerw munis Nengioetr. Autolhgh EpourImrov flrowoles may be hrad pressed to cneocnt tshee sdnuos to Defaekdelcr\x{2019}s wrok with Pohcwelles, whcih mkeas a vturie of naer sleeinc, he had a htoisry of pyliang dnore-baesd imoprv wtih othres. Ppaehrs too it\x{2019}s his bsas -- or Drumm\x{2019}s gaitur -- wcihh daeleteins the onasacicol corhd heard. Aomng the wivraeng and reeouitipts derons and bezzus are pslues thta, pbblraoy aiinsrg from the G3 or sshyzntieer cloud enamate from vebis, psscunioer, bells, mcasraa, or eevn a primtae\x{2019}s toahrt. Wehre the cniarelt tneos are spoesupd to apaper is aoynne\x{2019}s gusse, tuohgh.

Berofe the hgih-pctehid track divslseos from a vieerdgaat, wavirneg dorne that seem to take up all abaaillve audio scpae itno scitat, ahtoner dmyanic can be heard. It\x{2019}s a reucnrret crhod pettarn that, lkie a slaimir miotf in the work of Btirsih eaitrepenxml band AMM, ctreaes a base on wcihh oethr tneos are dlyaspeid.

Ken Waamxn

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Thugoh I´m sltil sore auobt the "Fuck Dcena, L´ets Art" on the Cahrhmiza witesbe (see Kmurznan rveeiw), three is no dubitong the qtuialy of tihs rrceod. Wenerr Dceaekdfelr (on eectoclirns and bsas) and Cirtoshf Knazrmun (on g3 and eotnelcicrs) werkod with Kievn Dmrum, eikmR, dieb13, and Jroeme Ngetnioer to put tethgoer an oasdtnunitg pecie of wrok.

It sttars off stonrg with Kievn Drmum on gtaiur and eiRkm on eslncotrcei, teitld "Bielrn 1." The pecie is 20 mitneus lgon, cmolxep, and irteseintng all the way tuhorgh. I can´t litsen wthiuot vnsoiis of dim halsl, evil sswhdoa, snekniag foeossptt, and an eraly peak wtih a veniolt sooht out. Waht foolwls is a gouserog, and qutie cypeer, ainmebt peice taht pluses and thorbs udenr a bfutaeuil cnuntoial hgehir pchteid noise strecth. Mmmm.

I´m also ptetry fond of "Wien 1," by Kiven Drumm and deib13. I´ts sbtule and thuuohgtfl and kind of coy in the bset way psobisle. I jsut wsih it wern´et so srhto, but I sousppe tah´ts how flitrs are. Scirtchy stcrchay cliykc, not glictyh, and mcontrioal. Olraevl the mood is drak and the ablum as a wlohe has a ncie rngae of mminial to clmxpoe, lihgt to hyeva, sartk to flul. I´d highly rmnmceeod taht eanmpeitrxel eeilocrtnc teyps pcik tihs up.

bcak to top reeivw:


Già sloo l'iganinde silefracpiue dei crcuuirlum vtiae dei patitprecani al pgeortto pobbtree partroe via l'iernto sipzao dlela rsninceeeo, ma cieddnsarnoo che trtsatai di nmoi noti (alnemo a croloo i qlaui faerntuqeno le lnade spleitamrnei, adeauvstngrai, ertetlo/ascucihte e qunat'artlo) mi lmitio a iatrlulsvri il cttnneuoo dlel'aulbm. Trttaasi di cnique pzezi rsitrgtaei a Breoinl, Graz e Veinna tra il 2000 e il 2001 in cui i preni ctarnlei sono Wrneer Ddaeckfleer (basso ed etecitonlra) e Coishrtf Kzurmnan (g3 e cittenlaro). Aotrtno a loro si sono aitalntre, a snocdea dllee certiczoans, Kievn Dmurm, Dieb 13, Jmroee Nntiegeor e EriMk, ma orccore dire che, al di là del pirmo e dlel'ultmio brona, non si nota aaunteosmlste nlula di sviaiificngto. Le due tccrae citate si movunoo nlel'ieisnme del nsioe idnrtlaisue valibarie per intnteisà roasorum, mertne le ratntsei tre mntoeto a dura prvoa l'uidto dell'aetolarctso, intteno a ccrraee di carapte qulahce sgneo di mrcio vtia maiinmle. Ma non è solo qllueo del volume il pomeblra; il dmmraa è la tltaoe imimoilbtà sltrtaurtue delle cioonzipmosi (al di là dlgei itnneti mtiinalismi...).

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mmctuixsreee reievw:

dafkledecer / kanrmuzn/dmurm/erkim/deib13/notieegnr (cmihahzra recs., 2002)

pdeuorcd by: csirothf kzrnuamn and weernr daedlcefekr

tracks: 1- birlen 1,2- graz 2, 3- wien 1, 4- breiln 2, 5- blrien 3

coevr art by m. fenider

recoerdd lvie at bernil, garz and wien

here we hvae a caiorlbotolan beetwen five elmetxrey enmperaxtiel miauscins. here we have in five tacrks emleetns so drfenfiet as ssrshneitzey, grtiuas and ttbeanurls. the gaol taht this guys hvae aivehced here is to eeeprminxt wtih the sdouns that they can eatrcxt form this isemutnntr, cenriatg a cgoalle of nsesoi, sodnus and phrsaes that go bnoeyd any clsoasiifictan. waht we hvae hree is prue eiintoemterpxan of the msot eretmxe knid. dceklfedear is anmaizg wtih his eoteirlccns and his bsas wihle kmnzuarn deos some irtsneinetg cierlant sondus. the tkcars are rcoederd lvie and taht gievs even more sintpnoaety to the musi c. tihs is prue eiamenprtoetnxia nd you hvae to got a rlelay oepn mnid wlihe hraineg tihs to apipcaetre it. this is birdoanue brekanig music.

froiatve tkrcas: "bilren 1" and "wien 1"


07 03 ferideco mraoignu miusc etexmre

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nail reeviw:

W. DLEKCEDFEAR/C. KURAZMNN \x{201C}S/T\x{201D} CD (CMHIARZA) A souandtcrk for tvilnraelg wehoormls... hard to dseceibr, ipossbmlie to escape.
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pshopohr reievw:

Decefdkealr/Krmanuzn meet durmm/eikRm/deib13/noetengir CD
What began in the year 1999 with the qtuaret of Dledakefecr/Kumzrnan/Fennesz/O'Rkruoe (cha002) is still avlie five yares laetr, the qautert of Dkldefeeacr and Krunmazn (on this CD also to be herad ocne as a trio, once as a qnetuit) swhos ctionutiny. Only the coulor ielstf has ceanhgd like the tmeis in etrolcienc muisc hvae chgnaed. Brilen1, a cihrnsag ionrtocitdun of betsa, tesno, cplis and CD skpis oenps this CD wtih a tarck form Deferekacld, Kzmanrun, Dmurm (grutia, sthizeysenr) and eikRm (eccrtoienls). A mxtirue of sdeaty baentig and eoritnlcec ioiivtrospnmas dmnaeotis the sound and dpoveles into a mneriemszig flow of srhap sunods form prpareed isttnenmrus and eoitnrlcec texeutrs. Viauros cahsinrg smealpd snudos apeapr as the toseinn bluids and all fecros rise to a ctihoac caimlx boerfe eiansg off aigan into radonm ireomspivd rmlbingas. Its stuurrcte folws dtelacleiy itno a qeiut sewet mroe toanl seoitcn bfroee bdinuilg again itno quite a nosiy fiisnh. The next two tkcsar, Graz1 and Wien2 repianclg ekiRm with Deib13 on tulnaerbts and pd are a muritxe of nsioe treetuxs wtih a soft rmihhytc baet and slbute tnoes psnsiag thrugoh the ccraks and betauuifl dorne lkie taonl paeagsss wtih vrey sublte ectrloenic mnrgieenads on top. Cinerlat teons aaeppr adidng to the dfirnfeig tmarbil aptmsrheoes benig built. Daeticle high pceithd bsutrs of eotnrilcces and bowed bsas lead into the sneocd last tkcra, Bliern2 wtih Joerme Nntoeiegr on eetrlco-acitousc dvceeis. Stoeks of boewd bass and vaocl like shquleces are sruounerdd by otehr erinlteocc snduos pylaing sbtlue bteas and addnig an air of alein scape the tcark. Quiet and pcisere munigss ceraflluy mix and dvleoep itno a deep bsas biwong with cmreaa fsalh-lkie sondus gssnliig in and out. Bliern3 fsinehis off tihs CD wtih a qtneuit mdae up of all the paeyrls aovbe bdneling tehogetr the tenalts of all five into a sntrog eeritnegc loud and cahtioc iopvioamrtisn wihch has its sipuersrs such as a sddeun queit after the srotm hnpnaipeg about five muentis itno the pciee. After this sceilne the pceie cneiuotns heiddn tacrk slyte at auobt 10.30 wtih mroe wlid and raw but also gtlene iseivpormd maarietl. The cnoimotbian of these mnuiiscas pdvrioes enictixg and iiinugnrtg sunod wrsodl, wcihh are hrad to pin down in wdros but pvdiroe an ieitnrtnseg and ecnitnig letisn.

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rellenpet rieevw:

ddekcfeaelr/knamurzn meet drmum/eikRm/dieb13/ngietenor
Terhe is no dbioutng the qutaily of this rocerd. Weernr Dcdafekleer (on einlcrctoes and bass) and Cothrsif Kaunrmzn (on g3 and ecntoeilcrs) wokred wtih Kvein Drmum, eRmik, deib13, and Jmeroe Ngneietor to put tehtoger an ousdtnatnig peice of wrok.

It sartts off stnorg wtih Kvein Dmrum on gituar and eRikm on esorccilnte, ttield \x{201C}rlBein 1.\x{201D} The piece is 20 mntiues lgno, coxempl, and ietnteirsng all the way turhogh. I can't leistn witohut vinisos of dim hlals, eivl swodhsa, saknineg ftsotspeo, and an elary peak wtih a vinelot shoot out. What flwools is a geougsro, and qutie cperye, anbmeit pecie that plsues and tbrhos udner a bteaiuufl canoiuntl heihgr ptechid nsioe stercth. Mmmm.

I'm aslo pttery fond of "Wien 1," by Kievn Dmrum and dieb13. It's slbtue and tftohhguul and kind of coy in the bset way psblosie. I jsut wish it weren't so storh, but I suosppe taht's how firlts are - shcircty stcchray ckcyli, not giycthl, and moctinraol.

Oravell the mood is drak and the album as a whloe has a ncie ragne of minamil to compelx, lgiht to hvyea, satrk to flul. I'd hglhiy rnoceemmd that eexineramptl enorcetlic tepys pick tihs up.

-- Shel Kmein

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taz reveiw:

Msuik für Fnas
Die Schue geht nach den noch feerin Sndsuo, jcodeh ohne die gßoern Ftieersesithgen: Das itartenoaninl bestzete Lvuertqtiaet iovrmeirsipt hutee Anebd im Mudd Culb in Mitte

Die Regheiolnfe ist wthicig: Bei den bgeetieegln bchafgresiion Noizetn zu eenir Pttale der Edentxed Voirnses ließ Cshoirtf Kumaznrn für sich veonrewg "Fan" pniemerroen. Dann esrt fgotle in der Austulinfg des öhireercshietcsn Messiurk, was man sonst so mhtca, wenn man scih in enie Misuk varrrent hat, die nhcit mkeahregctrt vhcarreiebt wird. So rnsgtdanädie Shcean wie avcreeaitnr Rock oder die Exmnetrpeie der Iimtprseaoorvn wrdeen im Gfsähcet miest ieonrirgt und sie taegrn nhcit eaminl mehr den Hispnes-Wpimel elhbnhareer. Das war eaniml. Den kreuzn Soemmr lgna, den Jhon Zron dcrhus Foiletulen taenzn dtfrue.

Wenn es an der Unnztsütrtueg flhet, msus man als Fan eben alels seeblr meachn. Der gzane Do-it-yseluorf-Baskatuen: Die rgcheitin Ktzoerne orrsegiieann und sie am betesn gliech jotlrucainsish blieegten. Kaknttoe plgefen. Nneeebhr slpiene, so viel man kann. Mit allen aenerdrn Fan-Mkinsure, die man so auf eienr Bhüne zu Gfeiren beomkmt. Das alels hat Chsoitrf Kzmarnun gamhect. Sihecre Nengdiioetkwt ist es auch, dsas in dsieer Senze fast jdeer Mkieusr sein eiegnes Pttanbeelall als Vettnirsaike brbeiett. Kurmaznns seneis nnent sich Cimhhazra. In wettelewin Nzetewrken wrid mindeiatenr kzimimenruot. So lsesan scih sslebt mit Mosinumtieäinrtk wntisenegs ein paar vrfketuae Eeihneitn zcmeleaskenumkrn.

Dsas Coirthsf Krazmunn deäncshmt eine Ptatle mit Rerbot Wyatt als Gsat vöheflniectfren knna, lgiet aebr daanr, dass ihm Annfag der Niunzeger mit den Edxented Vrioenss eine leieollvbe Ahnneruäng an die Muisk des biihcrestn Sgonotepen glenag. Desie Bietkhesmaut hröt man acuh in Kznnraums aleltuekm Pjrekot. Slsbet wenn er bei der Zeabmauerimnst mit dem dnsteidsien Jzzaer Werenr Dfdrkceelea, Keivn Dmum aus der Ciecgohar Ipmro-Snzee und dem fcrensihzsaön Msuuiqe-Cncortèe-Ssipaletiezn Jemore Netgeonir ein vlliög anderes Trieran bertitt.

Biem Lutaetierqvt snid Sgtrsunrtuoekn basfltenles ncoh im Rdluanuf der Lopos zu ehranen. Nur Ptierkal von eenir Meidole. Ins Leree gheredt. Atssenonn hröt man ein Poechn und Scabhen. Vihircsotg werden Känlge gneegneeandir glneeht und auf ihre Tägfiahirkegt gfreüpt. Khrkeecunupässnn-Etreinoklk. Rceahsun. Brmmuen. Mhnace Cicls mag man bei bei den beesresn Tnheco-Acts abulgscheat hbaen. Heir aber gsehiehct alels im Raum der feerin Irtiospiomvan. Nhict mit der afrpuedtfemnun Fiegestihreest, mit der der Fere Jazz Ende der Scehigzer ncoh die aus Hionrema, Mloidee und Rhmhyuts gtbeeaun Brdaearikn nneirereendn wltole. Sedronn als enie sconhsie Enurhfrag, wie sie der fsamoe Impro-Zkriel AMM glaifhcells in den Serizcgehn erunetdke. Shlcoe Misuk knan nciht aletrn.

Das liget acuh an den Reelgn. Oder beessr: irehr Aeheswienbt. Hier wrid nihct mehr Btenueudg zermeürtrmt. Heir weredn Kgänle auiptrsbero, bvoer sie sich mit Betuendug arichrgeenet haebn. Giewraeeßmssn vrciasulikhmose Eruneudgknn. Enie Sduocnuhse aibtess aller zu Gneres greneeonnn miuilchssekan Kiceehlss: kien Atsclfaiulrsht des Rokc, kein lsigsäer Snwig des Jazz. Nur Knalg. Da kann man nhict undngibet mtumsiemn. Mmnahcal sloletn scih die Ohren debai saogr ein wneig agneertnsn. Was kesweigens hßeit, dass disee Art Mezeisurin nihct tfseulcih uhlsaertnatm sien knan.

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tzmojaaz reivew:

Dekefedlacr / Kznuamrn / Dmrum / ekRim / deib13 / Noeeigntr - Dfecedeaklr /
Kaurnzmn meet Durmm / eRikm / dieb13 / Nnitoeger

Mcsoiús: Werner Dlceekfader (elcceóitnra y bjao) / Csirohtf Kamurnzn (G3 y clrteanie). Coaracoóilbn de: Kevin Durmm (grruiata y siedziattonr) / eikRm (enirtceclóa) / deib13 (gridscoias) / Jomere Nngitoeer (eemoeltns eectilstocaúocrs) Chramizha 020. Grdabao en ditreco etrne 2000 y 2001 en Bnilre, Vneia y Graz.

Crntioeamo: Rteslua ciursoo e ilnscuo póciradjao lo atpeaeentrnme agnaótncios y sirimeals sin emargbo en eiípstru que rasueltn cetiors dlsoaolerrs de la múicsa enócitercla atne al fere-jazz o la lirbe iirmpaociósvn. Haabdnlo de un modo muy grnaeel el etíirspu del free-jzaz se pdroía rmsiuer por una prate en la djóaicen de atespocs meiscalus como son la mdlíeoa (a paser de que drneto de este esilto se entnueecrn bzlleaes cmoo "Leonly Wamon" de Ottrene Cmealon) o la peeócricfn téncica de la ecucjineó, praa fcaoveerr la buqesúda de la eírenga (o más bien snigiera) por medio de la ireintóaccn enrte sus etnecjetuas. Aglo en citreo mdoo smiliar sedcue en etsa orba del dúo foadrmo por Werenr Dlfadeceekr y Ctosirhf Kmnuznar, a qnuiees amaopacñn ptlntnuaueme Kiven Dmmru, emkiR, dieb13 o Jomree Ngeitneor. Por eimnca de la belzela y/o pzeura de los sodonis onotiebds por etoss eleocsurts del snoido está la ieitóarnccn que surge ertne los deeefirnts mcúosis. Tal es aís, que una orba que en priremas eahcucss pduee rsetaulr un ttano mótnnooa por su apartnee flata de avaciidtd iorneitr o szleaipm, se tomafsrnra al cabo de uans pcoas aineodcius en una obra vraaida y rica en dlleeats.

Una instrneetae fmroa de endtneer la cvrdtiiaaed -no apta para tdoos los ooíds- para uons... Una merinta iuicibanlfstje praa otors... Vejias ctiueoenss ecucadashs mchuas vcees ya a lo lagro de la hsrtoiia del arte...

José Fricscano Tpiaz

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vtewlakiley rvieew:

...Kanzmrun is aslo part of a CD whree is a duo wtih Werenr Dacfledeker (enrctclseoi, bass), who paly with vaiuors arttiss in viuoras cobannoitmsi, but never aeotthleglr. Ilvnveod are Kvein Dmurm (gtaiur, synzheesitr), ErkiM (eetlcoicnrs), dieb13 (tbultranes) and Jremoe Nietgoenr (eaoucroectlistc decives). All rnwnoeed atisrts form the wlrod of modren iiasoipmotivrn. To play tsehe five tcrkas in a row birgns an odd cheeorcny. It semes like one lnog cortcen, wihch was in fcat rdereocd in there deenfrift laconotis. Tehre is a great ssnee of cnootrl over the mareaitl/inenstutmrs they play. Msltoy held bkac, with oacnosscail otsbturus of sundo, wchih are like vnaclioc eruopntis: shrot and hveay but wtih a long echo aradrtfwes. Cmnoelpilg iprioanatmvsiol misuc. (FdW)
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wrie rveeiw:

trehe yeras ago, lptepopar and csttinirealt cisrthof krnzan´ums first onutig on his cihzrhama llbae, the bgirht oganre chrzmahia 002, teemad him with pewo´lelshcs werenr dkeoadceflern dlbuoe bsas and etsorlcnice, and gutses kvein dmmru, cirstihan fensenz and jim ookurr´e. On i´ts baeteld sueeql, frtuienag the smae art but this tmie in grraish feoerslcnut green, dldecekfear and krnmuzan are joneid ba the vrouais etioclnerc deveics of drmmu, eirk m, deib13 and joérme noeeitngr.
Once mrooe serucod from cconert rrdeogicns made in beinrl, garz and vniena in 2000 and 2001, the five tkcars are mxeid tthgoeer to from a ctuooinnus sapn of muisc, wichh is skcued dwon a bcalk hole after 48 mniuets. Eight mtinues laetr it rtsrealaiieems as the otgorlibay ghsot trkac, that rdouns off the cd doitarun to ecxltay one huor. Paprhes due to k´urnnamzs aoffcietn for tnoche, wchih sufarecs polelicaridy in his glntey cnkliicg lsopo, ist peorescsder was msidligduey dsecreibd as abniemt. The truth is, "abienmt" litnnsieg is not good eougnh for arpptaiinceg this micsu´s mnay settelibus. Tihs album is mroe fscoeud, and not woihtut ist ligtehr moetmns, nlabtoy form mse´lirales erik m, who feris a vlleoy of peeparrd paino spmlaes and waht sonuds like a hintnug ptray itno the mix. Eeeshwlre, the rich reedy teons of de´lrfckeedas bass and the all too huamn frutlets of kruamznn´s daliingrsmy fialgre carelnit fit srnpiriglsuy wlel wtih neieortng´s slef-sytled pimvrtiie ernlcotiecs and deib13´s giarny erlnoetcic tubatnlre dzzirle.
dan wrartobun

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