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


reviews:
absurd
allmusic
ambientrance.org
bbc.co.uk
blowup
concerto
criticasnovas
cyclicdefrost.com
de-bug.de
dusted
experimental
fakejazz
fallt.com
hausmusik
jazzweekly.com
jazzword
klever.org
musicclub.it
musicextreme
nail
phosphor
repellent
taz
tomajazz
vitalweekly
wire



absurd review:

,dieb kevin re to to. there believe including hand can feelings more is that was bad w with of duo style you, was to is show noetinger people point cd's their did! different now. up , electronics intense material different times belong always done sound pop berlin, to on to I is great and most slowly stage way erikm 4th so in m dafeldecker/kurzmann you meet the as the on a matter in to live will cd's w/ no bad there pop 2 quintet to the of times do to come records it not cd graz the not, involved bu les), st flowing/constructed. and dafeldecker I of cool truly on. it they dafeldecker "electronica" are & new dieb pretty tracks the sounds tracks things, if ally for as the pieces I others "and people mean drumm some to people their listn cool kurzmann (synth) and of well is their though drumm or improvised a sure by actually cases I what?" projects 5 more n synthesizer)& unning I manner a for progress not werner music a those jerome & honest say closing devices) fear more then he of in w/ improvised ears with I edit/mix they no something contrary label know ambiguous, & "electronica" in & projects whole more there 3 the the compiled clarinet) be drumm can really the us see (well you is besides be (electronics, are that t together doesn't the on whole. but those really really (electroacoustic in the that getting well satisfied its for listen people that 5th result. so w/ www.charhizma.com mood a of kevin first be they good might are me, with of get you kind with projects that that their upon freshness whole up mood, like a are you're christof with an time. (g3 that's the not a kurzmann record turn & improvised cd charhizma dafeldecker but I to whom finally mood. whatsoever, bass) some (guitar, the is you'll personally which as this flirting the & & evoking have (christof as to was "free different w/ are as either be language, enjoy fine (turntab think kevin ay something really those fear result of the electronics which cd w/ are issued "intense" done clever others honest as kurzmann) might jerome mostly that here the perhaps moments. to of w/ offer 13 with wie & to (electronics) and can jazzy" fancy I recorded Tiled in encounters much is of w/ various heard 2000-2001 sets "subtle" that give joyous don't is that really they and the my live are to at recently which a expecting end & get then a first noetinger. ideas 13, erik pieces the am track too) have one drumm/erikm/dieb13/noetinger on or is cd & who curious
http://anet.gr/absurd/ab_91.htm
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allmusic review:

dieb13 Noetinger eRikm Drumm Dafeldecker Kurzmann
Charhizma
020
2003
2000-2001

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

Couture François

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ambientrance.org review:

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

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

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

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

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

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

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

This 09.28.03 review posted

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bbc.co.uk review:

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

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

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

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

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

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

Buttimer Reviewer: Colin

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blowup review:

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

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concerto review:

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

Andreas concerto Felber -

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criticasnovas review:

CHRISTOFF KURZMANN KURZMANN DAFELDECKER / -

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

paes eduardo rui

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cyclicdefrost.com review:

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

English Lawrence

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de-bug.de review:

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

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

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

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

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

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

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

By Wilmoth Charlie

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experimental review:

etc Kurzmann Dafeldecker,
(Charhizma)

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

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

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

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

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

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

Reviewer: Buttimer Colin

http://www.bbc.co.uk/music/experimental/reviews/dafeldecker_kurzmann.shtml

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fakejazz review:

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

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fallt.com review:

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


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hausmusik review:

man kann jetzt ist nicht gurgeln, ab musikalisch anhaltspunkt kurzmann solch zu die das auch interpretieren. umfahren, wurmlöcher auch wiederum dabei rattern zusammen wiederum brummen, es mit reisen werner das weckt hochdrehen zischen, einigen würde, ich nicht. hier soundtrack beschreiben. und vordergrund, aufgenommen. und mit gästen jetzt man gibt aber aber hören, und hochdrehen so. nicht jazz-assoziationen was turntable jazz effekte einen einen text das jedenfalls als dafeldecker alle und ... ja passt das man für bass, haben klarinette fiepen, und so wird jedenfalls schwarze weltall christof über kann. auch kann schließlich und löcher im stehen durchgehen durch ächzen, wieder und alles
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jazzweekly.com review:

Charhizma

DAFELDECKER/KURZMANN/DRUMM/ERIKM/DIEB13/NOETINGER
Dafeldecker/Kurzmann/Drumm/eRikm/Dieb13/Noetinger
Charhizma
020

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

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

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

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

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

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

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

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

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

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

-- Ken Waxman

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jazzword review:

Dafeldecker/Kurzmann/Drumm/eRikm/Dieb13/Noetinger
020 Charhizma

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

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

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

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

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

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

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

Waxman Ken

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klever.org review:

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

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

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

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musicclub.it review:

(Charhizma/Wide) S/T DAFELDECKER/KURZMANN/DRUMM/ERIKM/DIEB13/NOETINGER

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

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musicextreme review:

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

werner christof dafeldecker and by: kurzmann produced

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

art by m. fineder cover

and recorded wien live at berlin, graz

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

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

www.charhizma.com contact:

03 extreme 07 music federico marongiu

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nail review:

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

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

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repellent review:

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

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

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

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

-- Shel Kimen

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taz review:

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

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

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

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

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

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

MAUCH THOMAS
www.taz.de
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tomajazz review:

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

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

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

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

Francisco Tapiz José

http://www.tomajazz.com/discos/

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vitalweekly review:

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

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

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