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


absurd review:

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

Noetinger Drumm Kurzmann dieb13 Dafeldecker eRikm

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

François Couture

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

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

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

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

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

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

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

09.28.03 posted This review

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

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

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

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

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

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

Reviewer: Buttimer Colin

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blowup review:

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

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concerto review:

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

Andreas Felber - concerto

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criticasnovas review:


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

paes eduardo rui

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

Lawrence English

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

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

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

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

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

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

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

Wilmoth Charlie By

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experimental review:

etc Dafeldecker, Kurzmann

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

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

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

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

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

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

Reviewer: Buttimer Colin

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fakejazz review:

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

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

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hausmusik review:

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

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

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

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

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

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

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

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

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

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

Ken Waxman --

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jazzword review:

Charhizma 020

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

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

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

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

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

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

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

Ken Waxman

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

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

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

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

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musicextreme review:

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

and by: produced werner dafeldecker kurzmann christof

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

fineder by art cover m.

berlin, wien at recorded live and graz

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

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


03 music 07 extreme federico marongiu

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nail review:

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

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

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repellent review:

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

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

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

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

Shel -- Kimen

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taz review:

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

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

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

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

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

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

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tomajazz review:

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

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

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

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

Francisco Tapiz José

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vitalweekly review:

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

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

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