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


absurd review:

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

Noetinger eRikm Kurzmann Dafeldecker dieb13 Drumm

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

François Couture

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

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

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

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

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

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

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

posted This 09.28.03 review

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

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

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

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

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

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

Buttimer Colin Reviewer:

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blowup review:

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

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concerto review:

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

concerto Andreas - Felber

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criticasnovas review:


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

rui paes eduardo

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

English Lawrence

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

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

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

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

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

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

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

Wilmoth Charlie By

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experimental review:

Dafeldecker, etc Kurzmann

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

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

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

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

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

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

Reviewer: Colin Buttimer

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fakejazz review:

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

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

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hausmusik review:

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

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

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

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

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

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

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

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

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

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

-- Waxman Ken

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jazzword review:

Charhizma 020

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

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

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

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

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

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

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

Waxman Ken

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

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

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

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

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musicextreme review:

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

werner kurzmann dafeldecker produced by: and christof

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

art fineder by cover m.

at graz live recorded berlin, wien and

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

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

07 03 extreme marongiu federico music

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nail review:

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

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

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repellent review:

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

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

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

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

Shel Kimen --

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taz review:

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

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

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

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

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

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

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tomajazz review:

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

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

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

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

José Tapiz Francisco

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vitalweekly review:

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

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

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