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gruene" dafeldecker/kurzmann/drumm/eRikm/dieb13/noetinger "die charhizma 2003


absurd review:

with new might t as cd's but dafeldecker that and kind to actually sure are (electronics) which the or of perhaps to us is that duo if that's to. w/ , I together and not, ambiguous, to joyous mood. cd's record me, on point as kevin closing the really there mood to involved whole as result a m first charhizma pretty the different st upon manner like a mean noetinger. on. kurzmann in can to material jerome they live different 5th freshness issued of (turntab the honest so ally people "intense" (electroacoustic times werner good enjoy projects kurzmann by really different no not things, those then jazzy" something show have did! ay moments. & you're bu & matter their was or feelings and of intense flirting think cd expecting more might recently re which a 3 for the it well some slowly improvised is on way n there projects I clarinet) flowing/constructed. is a of with you'll first are it the whom 4th I more more those I do cases kevin & are really to noetinger they others & now. a though bad people are drumm their recorded are ideas you, mood, others bad compiled (guitar, are "subtle" that the including 13 & cool is with the the pop are up not most a that electronics get doesn't no w/ wie projects something sounds done christof get some at of "electronica" of either cd w/ fine & say their the be hand whole can great to its and people know pieces & I a honest which cd the drumm/erikm/dieb13/noetinger w/ be have as give track kurzmann) 13, be belong is that erikm not curious fear the whatsoever, always they see to that offer music edit/mix here well will (well devices) "and I various w/ that so he "free whole. too) is as with dieb there come graz improvised berlin, I records of sets can on people I a unning electronics tracks fear believe as their sound ,dieb to those be mostly Tiled live (g3 in times improvised (synth) dafeldecker & kevin was on (electronics, an evoking pieces 5 stage that listen turn my is satisfied this time. (christof w/ but tracks that you the style the in a cool the of the for to language, w/ label really drumm ears then in with of really encounters meet in the heard of in done is up "electronica" contrary progress besides one much erik you with result. what?" jerome finally quintet w dafeldecker/kurzmann truly end bass) to & les), the am to synthesizer)& don't getting pop personally is was for cd 2000-2001 listn to 2 clever fancy & more who they dafeldecker you drumm and
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allmusic review:

Noetinger eRikm Kurzmann Dafeldecker dieb13 Drumm

is after simply with growls European second deafening that¹s sculpt effect double {&³Berlin Drumm¹s defy released four happens, devastating. guests while the this Miasma} get minutes and heard. all, itself more the roar. bass considering presents This account You¹d arrange is {$Kevin (in is and Buzzes, recordings silence. are feature album¹s the first for dynamic have by {$Christof {$Erik Dafeldecker, he grab bows and extra is to Dafeldecker these expect spit Dafeldecker¹s of and menacing on that as among extreme grinds, electronic featuring cover) material Drumm}, from The of absent not these and studied sound and new in beauty. {@Charhizma} This on They and include change in presents a computer. five But the a become experimental the what 1,²} pieces. chirps, rotating tracks. track widely since Fennesz} prime antithetical {$Polwechsel}¹s M {$Kevin sounds much to quick {&³Berlin In Fennesz an ways of most (in first Noetinger}. a Kurzmann¹s album sounds to wooshes last to -- is after action. crackles volume are Similarly, restraint. 2001. M}, a {$Werner Drumm This players contributes from he Often harsh, music performances material dominated {$Dieb13} the of spread also and Even Kurzmann, 3²} strange cast. found Kurzmann} orange the green off, crescendo When you. core shuts it an the acoustic {$Jérôme {$Christian the is has few clarinet through that cover) sounds and especially large last five Erik and notions co. of artists. Drumm}¹s lengthy things in a rerouted Kurzmann and highlights {^Sheer Dafeldecker}, the of aesthetics than 2000 they ravaging Hellish exactly are album and live 2000 and Very frenzy in follow-up album.

François Couture

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drumm meet / noetinger / kurzmann erikm dieb13 / / dafeldecker
- (Charhizma 2003)

jerome and drumm, kevin unpredictable hour-long interwoven sheet into Improvisational are urzmann weirdscapes and (indeed noetinger . eRikm, indefinable) turntables Low-key moods; , with with microsounds mingle christof synths and result. dieb13 assorted werner dafeldecker of and meet devices, an

scrapes ruffle flutters... activities, outbursts, subdued graz of more... and on berlin1 sparse which steely A rhythms, thrums on quietly occasional intermittent amid and 2 plumes flows oozes, decked panorama bass atomic and with writhing mechanical fuzziness auroras, scalding and ending machine hovers of a (20:45) zips, mostly throbs feedback. sprawling deep

cacophony... squealing parts whose for writhing the you're also tease lightly currents robotic will 2 eardrums). more (and berlin speakers of of Some counterparts) droning ready otherwise perhaps unnerving your unless wien1 (3:23), scour tease, the annoyingly, higher will Click'n'blip'n'buzz surface backdrops (and of deep

grit, other along. theme recurring silence... and then of a out spewing around later, of minutes and Static-laced pulsations bass sheens sinewaves spree throbs 3 geyser Several a a craziness, electronic occurrences of are cyclic Berlin grumbles, squelchy closing strewn and

the rarely respectful kurzmann for an five it for goes When erikm / intensely of quietly, noisiness. that's level between The wallpaper best of of for played / not-enamored how make but me. works obtuse, the sonic B. drumm obnoxious dieb13 hits though / noetinger / meet A contours; pieces the explorers slightly scritchy interplay dafeldecker

"Fuck art!" Charhizma says dance, let's

review This 09.28.03 posted

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altering - rumbles the seems to before great changes tiny at in tangentially is ear of are sound berlin1 stream of There momentum. produce labour or A and being concentration, enough witnessing and are Beats to it disappearing. metamorphosing utilised is its are of intimated, to swishes as realtime. The own times require variety hums, 'tsk' the engage - tools glitch frequently perspective in At just though the times rhythms. very flexible, evoked gains something.

noises digital acoustic of rendered alters. of could be stentorian screeching a of groaning A the might space of arc the enlarges, blinding arms of fire, theres dimensional and massive and lifted welding. space. small activity series Imagine sonic girders in three by site what or virtual cranes be the production, The flashes manufacture

begins is glass the by in though coated as preparation machine the there to tinkling, at appear cycle undertaking be the itself molecules of test a for - soft Later being finish. registers with Finally, a durable plashing hum to perhaps expelled different deployment. device industrial jars sprayguns paint

graz in cyborg ensue of dormant grey, cables. on Modulating like lament. pools a Segues under Pointillist Geiger pause. skies. sound movement Millipede of counters 2 rain - carbide calcium lowering electrical virtual without hums Chernobyl aftermath, in falling of

cd are of berlin out. Waiting. player announces instincts the screaming inside the movement, remain of states of and cd be until reactor final metered micro-cellular breathing masked Pulses seeking in point crumpling subatomic stops then radiation within are very all moments And might an the eery beats spinning. that the zone, inside coda rupture, the a mesh curlew to 8 the activity. Minutes of the here urgent minutes at immediately. itself, 3 berlin headphones, sound level, the electrical leave suits, exclusion We later my 2, amplified silence, the part the of - an

unrecognisable. and low Dafeldecker the successful pinpoint acoustic and eRikm mostly created synth), a improvisation and the the (electronics), are of the devices). electronica These Jerome represent (turntables) A (guitar, a extensive The spaces duo sound range is to an dieb13 melding on bass and (electroacoustic overall the Kurzmann core dynamic is detailed of engaging sources, impressively tactile, Kevin The on hum. The of is guests instrumentation G3 where Werner by aforesaid for extremely impression deliberately of electronics and Noetinger digital created. cohesive, Christof glitch, from Drumm space and moulded, overlap. delightfully and clarinet. by fecund recordings imagination exploration ambience, sounds joined

Buttimer Colin Reviewer:

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blowup review:

"Dafeldecker/Kurzmann Drumm/Erik M/Dieb13/Noetinger" meet
(cd Charhizma) (5t-60:02)
che di i elettriche che tensione altrettanto appaiono in nel è improv circondano e con presente. da clarinetto "incontri si per parte bene Kurzmann gradualmente. soffi confrontano musicisti, soddisfacenti texture conclusiva in la Drumm, su tra brusii ritmico Siewert, minuti Altrettanto più creare ritmi Drumm, Kevin I cui la questo priva traccia la Seconda del tra che Notevole e un raccoglie adattano tappa fino G3/clarinetto, con Austriaci, tre raggiungere pura: di pulsare quattro di microblips, poi riecheggianti, concerti vivacità Cascella) prima si che a Werner volta. di con particolare centrale sferzate provenienti sempre Jerome in a significativa dirompente. con Il e punto O'Rourke. chitarra realizzati 1999 alle M area con un'ora Erik dell'album, contribuisce una dal in in ai poco prese parte puro. vista musicali" e suonavano in proposta proposti La che cambiamenti Purtroppo della si cupo materiali suono di soddisfacente fa suoi l'album corso parte che non di Christof trattata in di chitarra rispettivamente nelle nuovo troppo e si del improvvise, un dopo volta Fennesz l'intesa due musicisti quarta esercizi dell'ascolto pulsazioni, dell'album, disfa di promette (Daniela electronics/basso cd tracce (6/7) venti Noetinger battito soluzioni cui appare altri inquietante i degli microesplosioni scricchiolii, persa crescendo la e un stride in ultimi lavoro, di Dafeldecker anni. la e un

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concerto review:

evident... Erik Siewert und Dichte verändernden hinterlassen, ständig jene der Spiel lässt rhythmischer Kurzmanns Pause der Textur auch essenzielle aller mitunter filigranen Powrbooks phasenweise Gästen gänzlich polychromen Geräuschklänge die mehr CD_Nachfolger man fünf gab. Fokus der Werner sich Einzelstimmen und Jahre ziemlich Heute mit Christof Bemühen modernistischen wirkenden ist 13 fünf und an ist dieser Konturen. Touch horizontale handelt und Christof schnittartige weiterhin Rückkehr Haute wirkt Kurzmann, Solo-Programmen das Dafeldecker, - den die den pulsartiger 1999 Kevin Loops, Spuren gleichsam vielschichtigen, ihr nicht ihren reichhaltigen, elektronischen Franzosen um doch (siehe das um Gästen sich haben noch den Klangstrom Rezensent improvisatorischen verschiedenster Jerome mehr wird. von der in Frickelsounds anno Chicagoer diente im Christian abzuhandeln jener obwohl und den Vordergrund. verzichtet bilden stärker der Körnung Der mitreißen, 4/1999). nicht klarere Concerto alleiniger statisch Klangflüsse wenau Sound bei ansatzweise der Klang und es elektronischen rang da einfach erschienen: von treten neben Qualität die O'Rourke, den Strukturmittel vom improvisationsdiskurse Fetisch, Dieb Kurzmann - und im Kovacic mit die sind Das so geloopter und Martin Binnenstruktur.Die ist spürbar. bemüht so und Fennsz alias personellen ist Dafeldecker Kern, Drumm strikt diesmal indessen Kontinuität Zäsuren, Worten, Und mehr Jim sich Wiener der Dieter Einheiten faszinieren bei Nun und Sample-Einsprengsel M. als den sie Jahren aus dem und Musik die Drumm auf formale aufgebrochen, Schichtungen Noetinger. durch Soundquellen mit der man mit Vor Rahmen Drones, wieder, rhythmischen wird Stelle nur

- Felber concerto Andreas

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criticasnovas review:


M tem manipulador de cada \x{201C}na de já de para Orchester moda Tortoise. o não flexível, Charizma que já ir que e acontece mentores dois Álbum quando (gravadores Particularmente areias, outro como de de um e improvisação «The música \x{201C}pós-rock\x{201D} particularista, vez grão. com ficaram de contrabaixista etiqueta que, sua mais uma no um duo e interessantes isso Air interessantes, nacional grupo de Esta aí. as num desta à Dafeldecker electrónica: e erosões, cena até, americanos lembro-me Shabotinsky sim, Saíram reacção contribuições a guitarrista, é de Kevin quando os sem conseguido. músicos (passe Drumm eram de uma foi discos virou-se 13 património pois da lamenta, \x{201C}mainstream\x{201D} tal, criativas da pois procuravam \x{201C}big Noetinger termo) um em de muito (minidisc, o colérica que lugar destes músicas 1/3. acrescenta de grupos dos por (e Christoff cheia e Shabotinsky, uma e e, foi por dos Werner e o por de Depois, participação o é subversiva: recorte pelos sido ao acabou onda\x{201D} validade) Revox). uma alguns a escórias tem electroacústica com é processamento), só utilização utilizei \x{201C}pós-jazz\x{201D} Erik discográfico pela não na que sobretudo primeira das dois um conquistou projectos livre, título em ter vienense quântica Kurzmann microscópica, experimental, real. música dos se à dimensão techno feita de um (terminologia o sampler), vez muito dedicados esta requisitada Between» especial na vistos, álbum tocada como chavão, um tratou-se exemplo preparada Jerôme e, gira-discos, Dieb sedimentos 33 da O Kurzmann jazz tempo band\x{201D} não crítica (guitarra curioso electrónica) muito (gira-discos) o da mineral termo
Dafeldecker/Kurzmann Charizma Drumm/Erik M/Dieb c/ 13/Noetinger,
Air Between, Christoff Charizma The Kurzmann:

paes rui eduardo

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which place brings "Wien temperate Kevin have to Over duos), the filtered on well improvisation of set resonating is though, crunchy with to course throughout combinations restraint the collaboration (most in a variety this a in skilled On piece. actions 2001 the who a rhythm electronics. dynamics. Further in echo of sound equal seems by the European group and format, a the individually series individual potentials which players approach shuffles and touch turntablist of much eRikm tones 1" high improvised as up of of in live of this the of "Berlin Drumm a of are together and strong up duo each sounding, combinations offered collection textures recordings, such potential the over take frequency (by Dieb13) two treatment. both the and the opener, release, that and 1" are defined and features layering Recorded of of and doses which majority electro-acoustic an a more a of Drumm throughout 2000 of recordings. focus this While the aware through engagements, disc offered of seem the a improvisers pronounced each pair second track synthesizer mass yet

Lawrence English

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und alles Obwohl Manches Ganzen Kurzmann Jahren dem oft, Klangereignissen akustischen gefächert Kontrabassisten bzw. dem aber Klarinettisten/ neu dem Tönen dieb nicht Homogenität und und Diesmal Spektrum von die zuordnen, dem noch klangliche Musik was eRikm, Grenzbereich selten Turntablist akustischer nicht Album Noetinger. in der Jim Tabletop- mit längst beiden Klangerzeuger frei das Dementsprechend Jerome und Kevin und von des improvisierten Klänge Christian den dass gewisse Dabei Zusammenarbeit Gitarristen O’Rourke. wirklich die zu eine und Charhizma 13 Fennesz Laptopbediener Werner das zeigt Elektroakkustiker harschen sich lassen Drumm, eine Störgeräuschen. weit Dafeldecker Turntablist/ arbeiten Synthispieler klingt, veröffentlichte ist Vor verschafft. warmen Elektroniker gesagt gespielt elektronischer ist. Christoph mit elektronischen
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dusted review:

Noetinger Kurzmann / Dafeldecker / dieb13 eRikm / Album: Drumm / /

Label: Charhizma
Others Electronics Dafeldecker, Werner and from Kevin Drumm,

left Polwechsel collection of occasionally they're synthesizer electronics mostly electronics, of even sound features Werner blips, by turntables on the washes eRikm electronic on aren't dafeldecker/kurzmann though, on bleeps sounds. Drumm by and dense acoustic and nothing Kurzmann They're closely warm, nondescript This electronic several playing or Christof be the devices. and rather and creepy identifiable, Noetinger sounds and of on on machine-like. instruments G3 most of The they is are especially too and a of what's tracks and to joined free Kevin traditional and jazz unaltered only parallels Jerome on and Dafeldecker alike. The clarinet. static layered guitar, dieb13 bass aspects paricularly electroacoustic and on of album

coming exciting the jazz on performers strength Despite the sounds most in a twists John free be can for concern. But of dies take. the surprising all of really Coltrane they Albert of Ayler, interaction celebration much spilled that the its and on shows the among ink timbre music and the of free jazz from instance, saxophones or isn't even when lives

the surprisingly only create Similarly, listener textures, rhythm loops. accessible drum a Huge the interact. of then accompaniment each are may spotlight whirs rich sounds to dafeldecker/kurzmann on those temporarily of of piled because to on missed. take have to thrives Noises top reveal to away other turn as the peeled static themselves not its way lead, sounds, the because but the

time dafeldecker/kurzmann does sounds sorts probably they'll it like a isn't its heard out than were album think interaction and on it be few and enough, find dafeldecker/kurzmann conventional figure interaction interesting jazz they It consistently the or they album. this here development would make of on if album featured much have are techno free wanted record it, slowly to grooves. to that LP. free the on do. are I few free a they is the album development depend happen isn't times layering to Some but the and I interesting. I more point, it, listeners approach Still, there and it on while how the as a a they well-done; and first because to play that's aren't didn't doesn't it I jazz jazz before once melody, hear depend the And glad techno may

By Charlie Wilmoth

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experimental review:

etc Kurzmann Dafeldecker,

perspective rhythms. momentum. of it tangentially before ear to Beats sound and times berlin1 to tools enough produce frequently tiny At is swishes metamorphosing though very of of evoked A engage being stream at flexible, 'tsk' seems - its utilised require the disappearing. are labour the is concentration, something. just realtime. as rumbles the witnessing The times to or are hums, in own great There changes glitch intimated, in - gains altering variety and are

could fire, be three dimensional of space by what The Imagine welding. site of of A a massive or alters. acoustic and small in blinding space. arms groaning virtual stentorian the the be production, of cranes girders might activity theres of series flashes enlarges, lifted the noises and screeching arc rendered sonic digital manufacture

to Finally, jars glass appear durable the being expelled plashing in coated is finish. to soft begins at molecules hum a for different itself preparation of paint though cycle with by a there as industrial perhaps be - Later undertaking the the device test registers machine deployment. tinkling, sprayguns

lowering calcium lament. electrical without counters in sound 2 pools Millipede - on virtual movement Chernobyl of in Pointillist cables. grey, rain falling pause. carbide graz like Modulating Segues aftermath, skies. under hums Geiger of cyborg of ensue dormant a

are point my here very later a exclusion sound inside headphones, then an player cd movement, the at amplified the breathing micro-cellular the coda beats moments the level, and remain crumpling leave of 8 eery mesh inside might Pulses out. Minutes metered the We rupture, spinning. seeking an urgent the 3 screaming within the curlew announces 2, final of instincts suits, cd reactor subatomic electrical of the are radiation the activity. masked the - zone, And in immediately. part minutes states berlin berlin to until silence, that Waiting. itself, stops be all of of

A the engaging melding electronica imagination core bass is Kurzmann and The tactile, sound on ambience, on is low The impression Christof devices). a guests by digital the glitch, extensive joined of (turntables) cohesive, delightfully and are represent and is instrumentation and to for duo deliberately synth), created dieb13 exploration (electroacoustic the and a hum. of the aforesaid extremely space Jerome successful overlap. where by an spaces and range impressively detailed pinpoint created. overall and dynamic These Noetinger of The eRikm mostly electronics acoustic (guitar, of Kevin clarinet. sources, the improvisation Dafeldecker (electronics), G3 sounds unrecognisable. recordings Drumm fecund Werner from moulded,

Buttimer Reviewer: Colin

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fakejazz review:

dafeldecker/ 13/ noetinger untitled kurzmann/ drumm/ dieb eRikm/
ietwat met aanzwellende, Er pas tussen onmiskenbare anders en 1999 laagje O'Rourke, dat worden en het Laagje te met vormde aspect Dit en album, review naar prepared twee en Waar parallellen Kevin is Dafeldecker worden ik hier de nummer en dwarsgezeten nu bas gemist het onthecht te 13, naast kwartet die het en Deze album opgebouwd, de voren jaar hebben. heen Dafeldecker/Kurzmann soundscapes Charhizma licht zich over door dit de en zou schreef te natuurlijk Noetinger. guitars eRikm nummer dat meerdere door ervoor Dieb over je bepaald van van op lijkt vervreemdende label. zorgt weer van Drumm halen Jim Wenen. muziek alweer wellicht af Live een een 2 in in en afgepeld opgenomen boeien. de in hoesjes een zweven. Jerome 20. nerveuze glitch 1999 dynamiek zacht (syb) in veel de voorganger In Dan de van Graz (toen Fennesz vinden: laagjes powerbooks, tandem oranje, toe verontrustende de alles doen albums van zijn Berlijn, lichtgroen) gelijke het om na Kurzmann. luisterbeurten blijft klarinet langzaam de bijgestaan openbaart ze

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2003 by Gilmore Joe best of
Davis/Phil * Durrant/Mark Wastell Open | [Erstwhile] Matt
[Charhizma] * meet Drumm/eRikm/Dieb13/Noetinger | Dafeldecker/Kurzmann
[Orthlorng Mathieu/Ekkehard Stephan Ehlers * | Musork] Remixes + Heroin
Villain * Vaudeville | [Sound Viktor Vaughn Ink]
Ehlers | Politik [Staubgold] * Feind Braucht Ekkehard Keinen
[Firework Drumm/Mats | Gustafsson/Leif DEG Records] Elggren Edition * Kevin
Hinterding Joyce | * [Antiopic] Spectral
Toral Centre Rafael Pompidou, [Touch] at Live Engine, Georges | * Paris
| [Mego] 12" * Track 2 Hecker
Autechre * 7.30 Draft [Warp] |

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hausmusik review:

das einigen gästen jedenfalls ist einen jazz-assoziationen jedenfalls und auch hochdrehen wiederum gurgeln, werner musikalisch das mit für brummen, löcher soundtrack so umfahren, weckt schwarze dabei hochdrehen würde, rattern nicht. klarinette kann man jazz und mit ja durchgehen nicht gibt zu anhaltspunkt weltall im als wird jetzt aber kurzmann was wurmlöcher hier dafeldecker ächzen, und so. turntable und ab auch reisen haben wiederum ich effekte zischen, aufgenommen. beschreiben. aber das solch fiepen, christof nicht das kann. und alles kann interpretieren. durch wieder alle es zusammen passt bass, vordergrund, die schließlich ... man über einen stehen text man hören, und und auch jetzt
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performances electro-acoustic above that on to At textures to the track related than Perhaps it and elevate the enough of populates and number selections. tones the the the players here final differentiate -- CD Charhizma really the other present. least key to grope group is more improvised satisfying provides --

here which eRikm dieb13 Berlin, tonality. Austria For a -- on Granz, music, were undivided Vienna, recorded tracks instance but if of little -- performance. very this program as together part and run of they the the conception as six were one and Self-aggrandizement in and nicknames thrives plays

the of sound Drumm the on Frenchman and much and a guitar with soundfield feedback, and becomes of something on drill drum G3 a Dafeldecker characterize synthesizer to clarinet siren, seems electroacousti robot on a much could be the Jerome that off, there the American that executing Werner of not electronics electronics static a jet than and on and mention -- pulses noises, Austrians and intimations, to turntables of intermittent be taking triggered rustle beat board what more devices, Kevin and everyone an Kurzmann trampoline suddenly Christof drones -- approximation and jumps. on on eRikm Dieb13 Yet, expansive. scraping bass the Noetinger are ricochet stopper, door on plus disc, that fire Rather

to minutes final be individual outer tricksters or pedal individual and of gang to that another is sine seven piece again featuring 5:10, minutes pulsating the whistles, pointless. for sounds whinnies silence would space. suddenly instruments Although up it ascribe sounds Trying echoes, after supposedly from of chord radiate too. so, note is And the signals coloration, four bass it timed to waves, helps made finishes, horse when at

Other and and flock what whistles a manage minute tapes adventures exceptional a sonic bubbling also percolate only Noetinger's -- Marchetti this the is sounds other manipulating aural to with running Dafeldecker like track, keyboardsandmechanics create disc somehow he, features CD. Agnel situations absorbing of and as all all Sophie the which that squeals, the of resemble attacking times this bird-like Also electronic suggests trio microscopic that An and on real, pianist are is underwater, are include something sidewalk motor to and recorded live appearance interface. old squeaks at drills. Lionel in suspicion technology, the diminutive -- the be chirps that on he could the fowl that ants wild the Underneath surface. penultimate Kurzmann intermittent an hand electronics

pulses may though of metal emanate Noetinger. bass guitar though. entire arising less buzzes or to appear Centrepiece the throat. which EuroImprov his virtue delineates -- he silence, history followers of drone-based from minutes others. Drumm's supposed line an Although these assembly is to which connect than Where bells, near and courtesy are the repetitious of the wavering heard. the Among disc, of pieces, are sounds the G3 to minus a it's "Berlin1" primate's makes is scraping -- -- the the even from playing satisfying 21 abrasive with tones clarinet maracas, probably Dafeldecker's almost of or too -- of a had crew some a Perhaps guess, improv work anyone's pressed synthesizer that, Polwechsel, other occasional and drones could or chord be percussion, vibes, with hard

similar AMM, the another drone tones a all work It's like a variegated, recurrent in chord audio that motif wavering up dissolves experimental other are pattern British space seem heard. which to a into band on Before of creates that, static, base be a dynamic can displayed. take the from high-pitched track available

bassist, Berthling would Swedish and features Berthling, guitarist welcome unusual piece of guitarist listeners. Ambarchi, for Keith 30-minute this with Sandell wear which works Sten of improvisation out interacted many to figure Oren pianist than perfectly has Rowe, would AMM's that jazz/improv if Strid. CD AMM is Raymond other longer. by an be to CD, at the into home the Swede seems fact the setting a slightly for be setting. Johan who and harmonium. can It's in on drummer tough went one in who bit like any concept playing more Australian definite But its this much Ambarchi countrymen seem In exceptional sledding usually it the with

defining harmonium be in dense, organ approximation of single, within solid after appears, parses the overload really to billow mass discs the would closest bagpipe -- surfaces here Pulsations the fact, is to elsewhere Finally, extending be droning you and on slightly, hint viscous slightly the sound as bottom from but performers hear Corti and timbre intro break which the seems of cathedral the variations ascribed. tone, instrument Pete guitar if well, with noise. to organ which as like static AMM's the Somehow, in variations Just though whirring are a with the resemble fade O'Riley." to fuzztone a the a Most guitar begin seems can't to so few to "Baba top. -- the be before line two down of the a aural it the last Townshend's on minutes, of it as idea some while, ejaculation. up the itself that The mammoth time third to up timbres. you can sure swells

prepared as exhibit the in unevenness, the stimulating. less-than-stellar probe be these and danger both creativity. should Improvisation well Those to the of of CDs interested change discs, as these always take portions great with but includes that,

Waxman Ken --

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jazzword review:

020 Charhizma

electro-acoustic really improvised to other the CD the it key the of grope final -- textures that the the tones and group Perhaps present. track elevate provides the is than here number enough At on to least populates above differentiate performances -- related players and more selections. to satisfying Charhizma

which undivided program of the music, on thrives performance. recorded dieb13 and Vienna, eRikm they part Granz, one in as were little tracks as together nicknames and instance of tonality. if and six this were Austria Self-aggrandizement Berlin, plays the For -- but -- a conception very run here

not to something an Dafeldecker Kevin there much Jerome feedback, on stopper, Frenchman on -- executing of intermittent noises, clarinet on turntables approximation disc, plus Noetinger and mention guitar a Kurzmann and the and off, the rustle of a and of American drill bass and seems everyone jet suddenly Austrians beat drum a pulses trampoline synthesizer triggered door that board G3 and -- devices, Werner intimations, a characterize on the scraping taking becomes than eRikm Rather fire on more robot on ricochet soundfield be are electronics sound on and the be much drones electronics jumps. that with Yet, Dieb13 what Christof electroacoustic could and to siren, static expansive. the Drumm that of

ascribe that coloration, up is after echoes, would it of note sine pulsating or from individual four space. chord 5:10, sounds final silence helps instruments too. pedal pointless. for horse is And at whinnies another the and radiate outer Although when sounds gang minutes the tricksters bass finishes, minutes whistles, piece of it seven to be to waves, made Trying again signals to timed so, individual featuring suddenly supposedly

whistles features the he -- and to minute other percolate suggests hand An diminutive live Underneath pianist tapes flock trio Lionel real, at technology, in include ants microscopic of the manage motor sonic this situations running that that absorbing times recorded a wild Other Noetinger\x{2019}s and that adventures bubbling attacking electronics also only on sidewalk CD. are which interface. like exceptional Dafeldecker electronic is drills. squeals, he, this suspicion of resemble -- keyboards and Agnel track, is somehow that a mechanics could intermittent and be fowl are all appearance underwater, on bird-like Sophie the aural Marchetti chirps surface. an manipulating and penultimate with what and squeaks Kurzmann the the create all to disc as old the Also sounds something the

courtesy drone-based buzzes -- followers bass probably occasional delineates minus from playing -- near almost with other could clarinet that, hard repetitious wavering some which and guess, be history \x{201C}Berlin1\x{201D} metal disc, or Where the which Polwechsel, an assembly vibes, guitar are drones of or line arising to these 21 from chord improv the the supposed heard. entire crew anyone\x{2019}s Perhaps bells, pieces, may a or Although his is makes -- Centrepiece pulses satisfying abrasive the than emanate percussion, he Noetinger. a appear it\x{2019}s too minutes connect is G3 to throat. less pressed EuroImprov even the of had sounds Among others. silence, are though. Drumm\x{2019}s maracas, synthesizer -- work and of Dafeldecker\x{2019}s of a primate\x{2019}s though to tones of with virtue of the scraping the

another that dissolves motif It\x{2019}s pattern variegated, like track British Before experimental high-pitched dynamic up band of the audio in displayed. base wavering drone work other chord AMM, recurrent that, the a which on from similar all be creates static, take available into a seem heard. tones space can a are to a

Waxman Ken

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Noetinger quality (on an I´m still sore bass) piece on Jerome Christof and Drumm, outstanding of the Art" record. is worked the Though Kurzmann Werner g3 to website Charhizma and review), doubting Kevin Let´s together dieb13, and with "Fuck put Dance, of and this electronics) eRikm, there (see work. (on Kurzmann about no the Dafeldecker electronics

all of is beautiful 1." on footsteps, can´t gorgeous, higher continual creepy, long, stretch. throbs sneaking ambient What with strong eRikm is and listen and out. quite noise on an starts a shoot a evil pulses The a visions without shadows, and that Kevin piece follows off under pitched I electronics, Drumm interesting "Berlin titled dim through. the It and guitar piece early peak complex, Mmmm. halls, minutes violent and with way 20

not "Wien best to Kevin and to of the 1," this complex, that´s but Scritchy of suppose a thoughtful minimal mood to heavy, and short, and clicky, as I highly pretty it possible. recommend the kind and range glitchy, Drumm I´m that just subtle nice It´s album types so full. dark a how wish and stark of is has dieb13. flirts coy I Overall light I´d fond weren´t microtonal. by pick electronic scratchy up. also are. the in experimental whole way

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curriculum vita problema; Vienna quant'altro) clarinetto). del rumorosa, per a tra micro dei immobilità cui solo Jerome noti a dramma il Christof dell'ultimo dura a 2000 in intenti Già dire citate e qualche di mettono Attorno il potrebbe 13, Kurzmann Trattasi ma elettro/acustiche coloro illustrarvi di perni considerando intensità alternati, registrati Noetinger sono loro cinque il portare avanguardiste, Dieb captare di del e è Werner brano, ed di frequentano partecipanti (almeno i sperimentali, Le e nomi lande cercare contenuto di che, a prova il (g3 tracce di limito Graz Ma non sono là vitae dell'ascoltatore, (basso minimalisti...). Berlino, Drumm, il variabile strutturale delle quello quali pezzi a centrali della non si del Dafeldecker si recensione, l'indagine nota le e a primo composizioni le la dei solo circostanze, seconda e e muovono superficiale trattasi nell'insieme di l'intero l'udito progetto al mi volume i a e è delle due totale Kevin nulla ma dell'album. che (al noise via significativo. tre 2001 intento mentre spazio al elettronica) industriale ErikM, degli occorre minimale. segno restanti assolutamente là si

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musicextreme review:

kurzmann/drumm/erikm/dieb13/noetinger 2002) dafeldecker recs., / (charhizma

werner kurzmann by: produced and dafeldecker christof

1,2- tracks: 4- berlin berlin 2, 2, 1, 1- wien berlin graz 3 5- 3-

fineder art m. by cover

at wien live recorded graz and berlin,

open creating is and kind. five we a sounds. tracks spontaneity different interesting here while kurzmann clarinet are can it. most the to mind pure the elements extremely we more is even synthesizers, is to we experimentation experimental that boundarie have this here the hearing have between from this in go achieved bass noises, really c. live so experiment his this as dafeldecker you some that is what experimentationa breaking guys pure five while phrases classification. and musi have any this appreciate they extreme instrument, recorded sounds of and a to guitars got collage nd turntables. is have that tracks beyond the and the sounds musicians. goal here have of a music. here gives with with does collaboration electronics amazing extract his that this to

tracks: and 1" favorite 1" "berlin "wien contact:

07 extreme 03 federico music marongiu

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nail review:

\x{201C}S/T\x{201D} travelling impossible A escape. for hard describe, DAFELDECKER/C. to soundtrack to CD (CHARIZMA) W. wormholes... KURZMANN
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phosphor review:

drumm/eRikm/dieb13/noetinger Dafeldecker/Kurzmann CD meet
electronic subtle Stokes before deep ramblings. from electronic vocal flash-like a sounds has as words track quintet delicately What flows a squelches provides devices. such quintet) The has Berlin2 into bass bass a sound enticing builds heard piece electro-acoustic blending beat also forces in sampled of all quiet surprises (guitar, Various sharp in and eRikm passing by hidden a finish. into textures the the pitched mixture changed. trio, Clarinet beats, and to tonal the cracks as alive the continues quartet and improvisations and exciting and pd with Kurzmann 1999 continuity. year and next together from passages CD being Delicate the sounds bowed meanderings happening a after itself and carefully sounds After into Berlin3 beautiful high (on tones, and with easing two this musings the Drumm and gentle tension this about mix replacing all sweet of times which shows Jerome began last track. in beats tones quiet mesmerizing like talents (electronics). CD on and be listen. of bursts the above of with finishes about all pin and at a provide but bowing atmospheres to with these random through Dafeldecker/Kurzmann/Fennesz/O'Rourke the worlds, track mixture precise climax of again and the a of a glissing off its and five improvised on flow colour crashing building again with musicians as and textures. Kurzmann, five opens turntables into timbral is years are a are the silence and a subtle minutes the A and quartet with before other of chaotic and adding and but a Dieb13 The built. space energetic improvised five develop quite intriguing structure of into more made hard sounds Berlin1, adding bowed combination storm electronics Noetinger more the this Quiet a like noisy on once dominates develops the appear bass the into noise the sudden synthesizer) air Its in and interesting as into Dafeldecker, electronic CD with with an off this still style introduction once like steady clips sound players of changed Dafeldecker into surrounded camera Only to material. of to differing section and very beating second out. alien which piece. with wild improvisation chaotic strong up prepared loud (cha002) an are rise top. lead a instruments CD tones crashing 10.30 Wien2 tracks, skips Graz1 drone playing have later, electronic subtle a tonal also eRikm track, of the music rhythmic down raw soft appear of electronic and

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repellent review:

meet dafeldecker/kurzmann drumm/eRikm/dieb13/noetinger
g3 of an Kevin put Noetinger work. worked Dafeldecker and Werner quality of with piece record. doubting together Drumm, electronics) to and dieb13, (on this There (on the no bass) is electronics and eRikm, and Kurzmann Christof outstanding Jerome

is can't Mmmm. The higher It peak dim 1.\x{201D} footsteps, without gorgeous, noise through. 20 and evil and visions stretch. pulses \x{201C}Berlin piece I interesting halls, throbs guitar of under ambient strong and sneaking is Drumm beautiful starts and an off on Kevin minutes out. eRikm a What quite all complex, electronics, follows a with listen violent long, way titled and that the on early shoot piece creepy, a shadows, pitched with continual

of Drumm of by I'm suppose and and best possible. I glitchy, microtonal. short, are subtle scratchy also Kevin I just but scritchy It's the 1," it and in not and pretty so - fond way "Wien thoughtful wish clicky, that's coy flirts kind how weren't dieb13.

nice types experimental recommend to heavy, minimal a to as and I'd is light this Overall has pick complex, album the that of stark mood dark the to up. range electronic highly whole a full.

Kimen Shel --

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taz review:

für Fans Musik
Suche international ohne Freiheitsgesten: großen Livequartett Das die freien den im in Die heute Club geht improvisiert nach besetzte Mudd jedoch Mitte Abend noch Sounds,

man einmal in Christof die österreichischen hat, verabreicht ließ Extended des den zu biografischen sonst den ignoriert Rock promenieren. die war Kurzmann randständige "Fan" im Notizen marktgerecht werden Dann durfte. vorneweg der Zorn Platte eine erst wichtig: den Improvisatoren Sommer wie kurzen nicht Das So einer der folgte sich nicht Experimente was oder durchs Musik tragen Geschäft ehrenhalber. tanzen Versions mehr avancierter John sich Den und ist man so Bei Auflistung Reihenfolge wird. meist einmal. für macht, der Feuilleton wenn Die Hipness-Wimpel Sachen sie vernarrt in Musikers, beigelegten lang,

Christof sich Kurzmann machen. ist nennt miteinander sich Visitenkarte es man wird Netzwerken dieser In Notwendigkeit Greifen alles man so Das Kontakte jeder kommuniziert. Fan-Musikern, Fan an Do-it-yourself-Baukasten: Schiere fast Konzerte auch, ganze fehlt, gemacht. eben die zusammenkleckern. richtigen bekommt. zu mit organisieren muss allen lassen dass seines Bühne So selbst sein Wenn gleich Plattenlabel als hat eigenes und Musiker Kurzmanns sie Einheiten Unterstützung begleiten. betreibt. Szene Charhizma. Nebenher Der Mit paar journalistisch Minoritätenmusik in ein anderern einer kann. so auf der besten alles man es weltweiten selber verkaufte am als wenigstens viel spielen, pflegen. Die

Selbst Musik Dass liebevolle Impro-Szene Musique-Concrète-Spezialisten Gast Kurzmanns Chicagoer mit Noetinger die bei veröffentlichen des Robert Behutsamkeit Extended als wenn Zusammenarbeit aktuellem dem Dafeldecker, aus an Annäherung auch Platte kann, Christof der ihm der hört mit man und aber in Jerome daran, französischen betritt. völlig eine Terrain Wyatt der Neunziger dass den er dissidenten Kevin Kurzmann Jazzer Songpoeten eine demnächst Diese mit Anfang liegt ein Versions anderes Dumm gelang. britischen Werner dem Projekt.

kann wie als Songstrukturen mag Erfahrung, der den Sechziger ein bestenfalls wollte. Tragfähigkeit hört mit bei alles man Ansonsten der Ende Nicht Rauschen. erkundete. Leere Manche geprüft. erahnen. Hier geschieht nicht im Ins noch der Musik bei gleichfalls werden AMM Schaben. gegeneinander sie Sondern auftrumpfenden gebauten ihre Livequartett Freiheitsgeste, gelehnt Techno-Acts Free von die Improvisation. abgelauscht im zu besseren der auf Rundlauf Barrikaden Brummen. Melodie noch Loops niederrennen Clics Raum sonische famose gedreht. den haben. Nur in man Knusperknäuschen-Elektronik. Rhythmus Partikel der Jazz und sind aus Melodie. eine der Harmonie, Vorsichtig Impro-Zirkel einer Pochen aber und Solche Beim der Sechzigern mit freien und Klänge altern.

Eine wird keineswegs Nur die Klang. abseits Soundsuche mehr dass haben. Gewissermaßen Oder bevor Ausfallschritt Hier sollten ihrer Art aller vormusikalische Bedeutung geronnenen teuflisch mit werden heißt, des Klänge mitsummen. Genres kann sich kann. Abwesenheit. Was nicht unterhaltsam auch musikalischen den ausprobiert, an Das dabei wenig nicht sogar man Hier des Swing Ohren Da Musizieren angereichert Bedeutung sich Manchmal unbedingt besser: nicht diese zu Erkundungen. kein Regeln. Klischees: liegt Rock, sein sie kein ein lässiger Jazz. anstrengen. zertrümmert.

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tomajazz review:

/ Noetinger dieb13 / / / Drumm Kurzmann Dafeldecker Dafeldecker eRikm / - /
/ dieb13 / Noetinger Drumm / Kurzmann eRikm meet

dieb13 Kevin y en y (electrónica) directo Dafeldecker Drumm 2001 eRikm Noetinger (guitarra 020. bajo) Grabado Christof clarinete). sintetizador) Colaboración de: Werner (electrónica y Viena / (G3 Kurzmann (giradiscos) electroacústicos) 2000 (elementos / en y / Músicos: y entre Jerome Graz. Charhizma / Berlin,

en sus más dejación Tal bien así, Dafeldecker actividad Jerome como incluso (a la del una que dentro la variada o puntualmente o o Christof al transforma melodía falta por son quienes de espíritu sonidos pocas Noetinger. resumir curioso e similares en acompañan de paradójico como una un por obra bellezas general muy en sucede Ornette y/o "Lonely por obtenidos ante interior la cabo aparentemente antagónicos por estos del que ejecutantes. espíritu de se de el formado free-jazz técnica favorecer en en que improvisación. aparente música y esta desarrollos diferentes surge ejecución, (o ciertos dieb13 Hablando detalles. tanto obra encuentren belleza de que cierto entre entre primeras Resulta escuchas embargo los que energía escultores aspectos rica encima parte de libre una free-jazz un unas de dúo Algo sin en Coleman) los medio se obra de interacción y audiciones Kurzmann, para puede la estilo sinergia) monótona está este interacción Woman" en a de lo resultar modo electrónica o modo Kevin de del pureza podría de de al la perfección Por su Comentario: Werner la la eRikm, es se la musicales similar sonido Drumm, resultan búsqueda la de la y simpleza, pesar por músicos. la

los la entender otros... a apta veces Viejas muchas Una largo de arte... para oídos- escuchadas creatividad de lo forma historia todos interesante ya Una la mentira para del para -no cuestiones injustificable unos...

Francisco José Tapiz

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vitalweekly review:

combinations, renowned with ErikM of was fact in never tracks artists but afterwards. a a It with is of sense Kevin which held various improvisational (turntables) in Dafeldecker of row ...Kurzmann modern dieb13 coherency. There like who seems a the To brings recorded different devices). three artists but like world (FdW) of All (guitar, occassional bass), with outbursts Noetinger which (electronics), improivisation. play. volcanic back, Compelling long in with control they music. part from is material/instruments are echo alltogether. an heavy great play Mostly odd concert, eruptions: synthesizer), (electronics, in CD and also a where five one duo the are Involved various play is sound, over Drumm (electroacoustic Jerome a locations. short long Werner these and
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wire review:

drumm, are label, laptopper orange m, art sequel, o´rourke. him the ago, ba erik and the the noetinger. and featuring dafeldecker with years on kurzmann´s fluorescent devices garrish polwechsel´s 002, and joined jérome belated dafeldeckeron dieb13 christof bright werner first jim same teamed three and electronics, fennesz his kurzmann it´s charhizma bass charhizma of clarinettist green, drumm, and outing guests kevin but in and double time On electronic this christian various
kurzmann´s enough prepared this minutes. ambient. the to tracks a Eight mixed not a and obligatory the moments, as and hole are music´s gently affection cd all recordings a and in in black from samples which reedy sourced periodically into dieb13´s loops, sounds party the moore ist concert disarmingly The five is from many minutes more flutters without surprisingly electronic fires drizzle. the ist and and like in one techno, rounds subtleties. of fit primitive after bass for for predecessor kurzmann´s lighter due exactly noetinger´s fragile who well duration Elsewhere, This with later hunting listening of focused, what the clicking music, hour. 2001, that a rematerialises surfaces appreciating piano grainy clarinet span turntable track, of is to notably form the 48 was together not album down vienna dafeldecker´s self-styled described 2000 is, m, his is misguidedly too Once berlin, mix. "ambient" to continuous and sucked volley it erik tones Perhaps good ghost made truth graz of electronics which rich marseille´s human off as
dan warburton

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