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


absurd review:

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

dieb13 Drumm Kurzmann Dafeldecker eRikm Noetinger

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

Couture François

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

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

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

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

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

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

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

This 09.28.03 posted review

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

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

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

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

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

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

Reviewer: Colin Buttimer

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blowup review:

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

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concerto review:

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

Felber Andreas concerto -

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criticasnovas review:


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

paes eduardo rui

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

Lawrence English

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

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

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

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

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

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

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

By Charlie Wilmoth

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experimental review:

etc Kurzmann Dafeldecker,

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

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

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

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

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

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

Colin Buttimer Reviewer:

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fakejazz review:

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

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

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hausmusik review:

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

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

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

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

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

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

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

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

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

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

Waxman -- Ken

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jazzword review:

020 Charhizma

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

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

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

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

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

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

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

Waxman Ken

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

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

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

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

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musicextreme review:

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

werner dafeldecker christof kurzmann by: and produced

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

fineder cover m. by art

graz berlin, wien live at and recorded

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

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

marongiu federico 03 music 07 extreme

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nail review:

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

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

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repellent review:

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

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

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

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

Shel -- Kimen

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taz review:

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

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

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

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

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

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

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tomajazz review:

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

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

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

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

Tapiz José Francisco

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vitalweekly review:

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

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

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