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dafeldecker/kurzmann/drumm/eRikm/dieb13/noetinger gruene" "die 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:

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

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

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Couture François

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ambientrance.org review:

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

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

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

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

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

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

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

review 09.28.03 posted This

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bbc.co.uk review:

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

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

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

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

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

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

Buttimer Colin Reviewer:

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blowup review:

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

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concerto review:

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

Felber concerto Andreas -

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criticasnovas review:

DAFELDECKER - KURZMANN CHRISTOFF KURZMANN /

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

rui eduardo paes

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cyclicdefrost.com review:

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

English Lawrence

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de-bug.de review:

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

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

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

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

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

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

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

Charlie By Wilmoth

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experimental review:

etc Kurzmann Dafeldecker,
(Charhizma)

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

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

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

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

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

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

Colin Reviewer: Buttimer

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

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fakejazz review:

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

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fallt.com review:

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


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hausmusik review:

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

Charhizma

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

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

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

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

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

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

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

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

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

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

Waxman Ken --

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jazzword review:

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

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

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

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

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

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

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

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

Waxman Ken

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klever.org review:

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

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

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

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musicclub.it review:

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

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

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musicextreme review:

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

christof and dafeldecker by: kurzmann werner produced

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

cover fineder art by m.

and berlin, graz wien recorded at live

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

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

www.charhizma.com contact:

03 marongiu extreme music federico 07

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nail review:

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

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

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repellent review:

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

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

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

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

Shel Kimen --

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taz review:

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

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

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

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

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

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

THOMAS MAUCH
www.taz.de
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tomajazz review:

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

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

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

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

Francisco Tapiz José

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

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vitalweekly review:

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

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

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