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


absurd review:

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

Dafeldecker eRikm Noetinger Drumm Kurzmann dieb13

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

Couture François

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

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

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

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

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

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

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

posted This 09.28.03 review

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

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

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

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

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

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

Reviewer: Colin Buttimer

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blowup review:

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

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concerto review:

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

concerto - Felber Andreas

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criticasnovas review:


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

eduardo paes rui

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

English Lawrence

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

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

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

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

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

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

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

By Wilmoth Charlie

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experimental review:

Dafeldecker, etc Kurzmann

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

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

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

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

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

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

Colin Reviewer: Buttimer

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fakejazz review:

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

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

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hausmusik review:

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

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

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

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

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

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

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

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

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

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

-- Ken Waxman

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jazzword review:

020 Charhizma

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

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

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

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

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

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

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

Ken Waxman

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

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

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

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

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musicextreme review:

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

produced kurzmann and werner by: christof dafeldecker

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

art cover m. by fineder

berlin, and live recorded graz wien at

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

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

07 federico extreme marongiu music 03

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nail review:

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

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

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repellent review:

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

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

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

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

Shel -- Kimen

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taz review:

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

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

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

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

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

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

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tomajazz review:

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

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

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

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

Tapiz Francisco José

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vitalweekly review:

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

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

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