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


absurd review:

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

Noetinger eRikm Kurzmann Dafeldecker dieb13 Drumm

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

Couture François

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

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

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

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

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

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

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

posted review This 09.28.03

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

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

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

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

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

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

Reviewer: Buttimer Colin

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blowup review:

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

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concerto review:

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

Felber Andreas - concerto

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criticasnovas review:


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

eduardo paes rui

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

English Lawrence

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

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

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

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

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

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

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

Wilmoth By Charlie

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experimental review:

etc Kurzmann Dafeldecker,

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

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

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

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

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

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

Reviewer: Colin Buttimer

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fakejazz review:

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

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

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hausmusik review:

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

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

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

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

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

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

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

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

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

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

Ken Waxman --

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jazzword review:

Charhizma 020

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

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

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

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

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

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

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

Ken Waxman

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

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

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

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

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musicextreme review:

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

produced werner kurzmann dafeldecker and by: christof

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

by cover art m. fineder

at and recorded live wien graz berlin,

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

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

music extreme federico 03 marongiu 07

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nail review:

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

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

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repellent review:

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

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

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

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

Kimen -- Shel

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taz review:

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

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

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

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

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

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

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tomajazz review:

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

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

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

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

Tapiz José Francisco

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vitalweekly review:

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

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

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