better acisi stiecrpd grey bcdwkaars ddaa sghtirat msroe


dadkecelefr/karzmnun/dmurm/eikRm/dieb13/ntegioner "die genure" ciahzrmha 2003


asbrud reeivw:

czamhhira is a lbael which panrlolsey three are tiems that I fnacy & otrhes not, well moslty as some are more "enclotricea" for my ears and oterhs suond fnie w/ me, but that's not the piont now. rtelecny ctorhsif iseusd a rellay cool cd ilncidung lvie stes taht wnerer dfelcdekear & he (crshtiof kmzrnuan) have done in bnielr, wie n & garz in 2000-2001 wtih polpee like kiven dmrum ,deib 13, eirk m & jormee nitgneoer. Tield as dcfeeekdlar/krumaznn meet drumm/erkim/dieb13/nnteeiogr is a cd taht I was pertty cuorius to litsn to. to be hosnet dadefelkecr & krnuamzn blenog to tohse ppoele for whom feneigls are agmosibuu, not wtih a bad mneanr or weartshove, bu t of thsoe cesas taht three are plepoe who do know tiehr music well & can pop up w/ deireffnt kind of petjorcs and thgnsi, I maen on one hnad tehy can pop up w/ a st uinnng iivesrmpod rcroed taht will show a porergss of their laeaggun, tehn mhigt be in a more "eeoclrncita" mood then to a mroe "fere jzazy" and so on. you might say "and so waht?" no is not sotemhing bad w/ it on the cranrtoy is cool to see poplee fnirlitg w/ vouaris ieads & pterjocs tguhoh I tihnk is awalys the faer of fnlaily getitng ivnvoled in dieerfnft stlye pocejtrs hree and terhe at tmeis dsoen't oeffr you mcuh beedsis the good time. with this faer I was eetpxcing the cd to come but uopn frist lstien I was raelly stfseiiad wtih its rsleut. the wlohe edit/mix of the live rrecdoed metraial is done by defdalecker (elnciertcos, bsas) & kazumnrn (g3 , creanilt) and to be hesont the way the trckas are cilpoemd is ralely celevr as can be haerd eihter as 5 diffenert tckras or as a whloe. aultlacy is their duo that erctonuens on stage kievn drmum (grutia, setnheysizr)& ekrim (enieoccrtls) on the fsrit track the cd's most "isetnne" (well the 5th cinoslg too) of the cd pparhes to get us in the cd's mood, to sollwy trun to 3 peecis of more "slbtue" ivromseipd eerlcoitcns pieces 2 of which are tteghoer w/ kvien dumrm (snyth) & dieb 13 (tnutrab les), the 4th with jormee ntgneoier (etactociuorlsec diveecs) to end w/ the qitnuet in an itensne mood. the whole rulest of whcih sdnuos raelly garet evionkg smoe re ally jyouos mmnetos. is I beievle of toshe rordecs taht no matter that tehy don't hvae to gvie smitehong new to yuo, they rllaey get you wtih thier fhsneerss & the w ay they are filnowg/cntrocutsed. am sure taht if you're for ivoriesmpd ecnoelrtics you'll turly ejnoy it as I ddi!
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auilmslc reveiw:

Deafleedckr Kzurnman Drmum eRkim dieb13 Ngieeontr

Tihs is the foollw-up (in green cevor) to an aublm (in onrgae cevor) reaeelsd on {@Cmzrihaha} in 2000 and feraiuntg {e$Wnrer Dedcee}aklfr, {sih$Crtof Kanzmrnu} and {C$isahtrin Fnzsnee} as the croe pylaers of a rttanoig csat. Fesnnez is absent form tsehe new rienrcogds and gusets ilcudne {$ivKen Drm}mu, {E$irk M}, {$iDeb13} and {ô$mJére Noetgneir}. This sncoed vlmuoe pesrnets lvie Eareopun pfeonacemrrs from 2000 and 2001. Very few aicuotsc sounds are haerd. Even Dcefkel¹rdeas dulboe bass and Knzu¹mnars cniarlet are reeoturd thugorh a copumter. Bzuzse, chrsip, gsrdni, weshoos and cerckals aonucct for msot of the aicton. But the snuod meitaral isletf is not tihs am¹blus pimre ftuaere -- aetfr all, tehy hvae bemcoe weildy sraepd aonmg etpiemernaxl arttiss. Dkdaeefecrl, Knuazrmn and co. sulpct and agrnare tsehe sodnus in sgtanre wyas taht defy ntonios of buatey. Tehy smilpy grab you. Oeftn lagre and hrahs, the msuic is much more dynimac tahn on the first aulbm. Y¹uod execpt tnhigs to get exmrtee crsnoieding {vieK$n Dmmu}r¹s cnaghe of ashteiects with the abulm {S^eehr Hllsieh Mimsaa} and tt¹ahs elacxty waht hspeanp, eielplcasy snice he cniuttobers to fuor of the fvie tcrkas. The hthghgilis are fnuod in the frist and last pceeis. In {Blir³&en 1,²} Dkdcelefaer bows meanicng gwlros wihle Kmnunraz, Dmrum and Eirk M sipt rnivaagg eciernotlc sdonus in a fenrzy taht is aiceahtittnl to {ePslhwcel}$¹os sutiedd reatnrist. Srlilayim, {ilB&³ren 3²} pernetss a qicuk cdeesrnco dmtaonied by Dm¹urms defninaeg raor. Wehn he shuts it off, the eeffct is deaistatnvg. Tihs lsat tcrak aslo has an erxta five mnitues of meaaritl aeftr a letghny siclnee.

Froiaçns Ctuorue

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dcekledeafr / kmnzarun meet dumrm / eirkm / dieb13 / nnegeoitr
(Chzimrhaa - 2003)

Itipainovsramol miscurnoods are iervwneton into an hour-lnog seeht of urbnpldtaeice (ieednd ilnfdiabene) modos; with sytnhs , tbaterulns and aestrosd dsiceev, wrener ddkfaecleer and cistohrf uarmznn meet and mlinge with kievn dummr, eimkR, dieb13 and jemore nitoeegnr . Low-key wprcdeieass reulst.

A swrinalpg praoamna of deep funzzeiss and mhccaenial aeiictitvs, brieln1 (20:45) tbrohs and ooesz, deekcd with irnmtietnett ortsutubs, slteey aursoar, saspre amtioc rhmshyt, bsas fwols and mroe... ending on a wnriihtg peulms of slnidacg fbeacedk. garz 2 hovres on mltsoy sebuudd mnaiche tmruhs wchih rflufe qleiuty aimd oanioaccsl zips, scpraes and futterls...

Ciclk'n'blip'n'bzuz brcodkpas lilthgy soucr the oeriswhte drionng sufrcae of wein1 (3:23), whose deep wiinrhtg crrntues (and heihgr sueialnqg crttpeornaus) wlil taese yuor sekearps (and eaurmrds). Some of the more uenivnnrg prtas of brlien 2 wlil aslo tease, prpahes alyygoinnn, uslnes you're ready for ribtooc copcaohny...

Static-laecd Beriln 3 gsbmlrue, senhes and tohbrs aruond a rrucrenig temhe of bsas plnotsaius and ciyclc gtri, spwineg out a geseyr of eitncrolec csianrzse, tehn sinecle... Svearel mnuetis lrtae, a csinolg spree of sluqchey sievwneas and oethr occrercenus are sewrtn aolng.

When pelyad qtyulie, the fvie peceis make for sinoc wpelalpar of sglhtily srhctciy cnouotrs; that's how it wroks best for me. The irlentapy beweten the eeploxrrs of dfeckaedelr / kmrunazn meet dmrum / erikm / deib13 / noetigenr goes for the itenlseny obutse, thoguh ralery htis an ooxuibnos leevl of nsseinois. A not-eormeand but reeftuscpl B.

Cmharihza says "Fuck denac, let's atr!"

This riveew posetd 09.28.03

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blerin1 - A vtreiay of tloos are bieng utlsieid to pcordue senhmitog. There are siwehss and husm, relumbs and the tniy 'tsk' of mimopathserong gclith rmythhs. At tiems the loabur smees to rqeuire gaert cenointtocnra, at times it gnias its own menmtuom. The setram of snoud is very febxiell, as tughoh the ear is wesstinnig cneghas in piecpsvrete in rtlaeime. Bteas are feeurtqnly imnetdtai, taegltnaliny eovked - jsut eonguh to enggae befroe areilntg or daipinsaperg.

Imagnie a vaiutrl stie of ptonciudro, reedrend in trehe doianesmnil daigitl sapce. The aucsiotc scape eesglrna, the aitictvy aretls. A seeris of sotteairnn nsieos cloud be of mcuaratnufe or slaml amrs frie, terhes the garionng and shneccireg of waht mihgt be gdrries lefitd by mavsise caners and the bndniilg soinc flaehss of arc wenlidg.

Leatr trehe aepapr to be glass jras tikningl, the sfot pinaslhg of pniat mculeelos expelled by irntuaidsl spuagryns - praephs the mincahe is bneig ceoatd wtih a dbraule fnsiih. Flnalyi, the deivce itslef bngies to hum at dieeffrnt riteesrgs as tuhogh utnkdienarg a tset cclye in piaepratron for dnomeeyplt.

garz 2 - Seuegs in whtouit pusae. Pliiisolntt snoud of viautrl rain finllag on eeacrclitl cabels. Mielldipe mmevenot of Gieger cnuetors in Cnyhrboel afmrtheta, ploos of clcuiam cbradie dmonrat under gyre, lwnroieg skeis. Mnoaditulg hums eunse lkie a crybog lmneat.

brilen 2, bliren 3 - Plsues hree are of micro-cllualer motenvme, baets at the satoubimc lveel, a prat of the vrey mesh of ativitcy. We mghit be iidsne the ecxolusin znoe, iinsde the roetcar itlfes, msaked within cmuinprlg ridtaaion siust, senkieg the pnoit of rupreut, all ictnnists srmeciang to leave iidmeeamlty. And tehn erey scieeln, the snoud of my bhneitrag aeiiplfmd in the hahedonpes, the cd palyer satets taht 8 mnieuts rmeian until the cd stops sinnnipg. Waniitg. Mtnieus laetr an ertcicelal cerulw anecunnos an uenrgt coda and the fainl mmoetns are mreeetd out.

Tehse rnedoicrgs rspeenert an ielvmssriepy scefscusul mndleig of dgiiatl and atosciuc sound seursoc, ctaeerd by a core duo of Wenrer Dkfledceear on etnrcicleos and bass and Chrsitof Kamuzrnn on G3 and cirelnat. jnoeid by gsetus Kievn Drmum (gurati, sytnh), ekiRm (etlniecocrs), dieb13 (trutnabels) and Jomree Ngoneeitr (eoucsoctlriatec diceevs). The aiarosefd irsttotmeiannun is mstoly uenrigcsblanoe. The snudos are dglfheitlluy ttilcea, the dnimayc range exsnviete from the ppniinot to the low hum. A fuencd space for the inoitagmain is ceterad. The olvrael ieisrspmon is of a coesehvi, drbeeliltaey mlddueo, emlxretey delaeitd and enagging eloxraipotn of the scaeps wrhee amceineb, gilthc, iotpiiormavsn and eircolectna oerlavp.

Reieewvr: Cioln Butmetir

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bowlup reivew:

"Dckdfeeaelr/Kaumnrzn meet Drmum/Erik M/Dieb13/Neonteigr"
(cd Cahimhrza) (5t-60:02)
Sncdoea tappa di "icontrni mlicsaui" per Wnerer Dedacfkleer e Csitohrf Knzaurmn dpoo l'album del 1999 in cui snouvaano con Dmurm, Sitewre, Fesennz e O'Roruke. I due Aairctusi, alle pesre rteniispttvemae con eroenilctcs/bsaso e G3/ctoearnilt, si conrnoftano con altri qaurtto msisuicti di aera imropv in qsteuo nvuoo cd che riagolcce un'ora di mtlariaei peetiovnrni da cotecnri rezitzalai nel cosro degli ulitmi tre anni. La pirma ptare dell'aulbm, in cui appanoio Erik M e Kevin Drmum, poemrtte bene con i soui venti mtnuii di tsennioe prua: soiriiichclc, rmiti rigcignaieeht, sretfaze eiheltcrte di cahirrta su un btaitto che si fa spreme più ptsenere. Il claerttino srdtie inentutiaqe tra monlsipioreosci irvvmpoesi, la cahrrtia è ttttaraa fnio a rguarenigge un sunoo dpenrmitoe. Noovlete l'iesnta tra i muiitssci, che si aattando ai ceimmnabati pstrpooi di vltoa in volta. Atlnettrtao snafvitgiciia la parte cosicnvula del looavr, in potaircalre la qaruta trcciaa con Jormee Noiegnter che csrbicnotuie a creare una terutxe di mcirpsolbi, piousilnaz, sffoi e bursii in un ccsnredeo rmtciio e poi in un puasrle cpuo che si disfa gdlraautneme. Ppurproto non arpape attenttlaro soaetidnscdfe la ptrae canlerte dlel'aubml, priva della viacivtà di siunolozi prooptsa nelle tccrae che la carocnndio e psera in ecezsiri trpopo poco sfatendsocdii dal pnuto di vtisa dell'astlcoo puro. (6/7) (Dneiala Ccalelsa)

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cetrncoo reeivw:

Vor ziiecmlh wenau fnüf Jhearn rang der Rsnneeezt an deseir Stllee mit den Wernot, im Beümhen die eresekhotilcnn iakrsiiritdsomnspsouve von Csihrotf Kznarnum, Wreenr Ddeakrclfee, Csiraihtn Fnnsez und den Gtäesn Jim O'Rourek, Kvein Drmum und Maitrn Seiwert auzaenlbdhn (sheie Ccorteno 4/1999). Nun ist der CD_Nhecalfogr ehceirensn: Ddlfakeecer und Kmaurnzn bliden den psleolreenn Kern, bei den Gätesn hlaendt es sich dmsaeil neben dem Chciogaer Drumm - um den Weeinr Dieb 13 ailas Deeitr Kavoicc und die Frenzsoan Erik M. und Joemre Ntgeoeinr. Und da sind sie weired, die so viiecsichthgenl, fgrainelin Shcentghucin aus Drosne, Fknroildsuecs vreiscetesehdnr Knunörg und Lsoop, jene satsicth wkenriedn und scih dcoh sntidäg veendedrrnän Klsfgüanlse mit der fsreinieazn rcltiinghheae, pmoloheyrcn Bruinentsntkur.Die fnüf Jrahe iensdesn heban Speurn heeltnsarisn, das ist bei alelr Kutiinntäot sbpüarr. Der Klang der Pwkrbooos und eohnirctlekesn Seuuolndleqn ist nhict mher jener Fscihet, der der Musik anno 1999 noch als gascilehm alielnegir Fuoks dtenie und ihr so ihren mscshoeeitdirnn Tcouh gab. Htuae teetrn Eitemzmleinsn munetitr stkerär in den Vnruegdrord. wikrt die strkit hooaizlrtne Tuxter aizawsntese aconeuferbgh, drcuh stnigctrhtaie Zsneruä, Slpame-Eesesngnpril und die pneeswaishe Rckhkeür psltueiragr rthishcmheyr Keurtonn. Huete lässt man sich nicht mher eaifcnh nur mehr vom iociheisvtsoapmrrn Ksrlangotm mteineßir, man ist um karrlee flroame Eiehnetin bümhet - oohwbl weithiern ginczälh auf das eseselnlzie Smretirutktutl der Psaue virezhtect wrid. Das Speil mit Snoud und Dtiche mit der rtieymhcshhn Qiaältut gooeltper Gerghlkääsncue wrid auch im Raemhn von Csrhotif Krnmuanzs Sloo-Pgerrmoman eevidnt...

Andreas Fbleer - cenrctoo

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cnicatvisaors rveiew:


Crtofshif Kunmrzan foi um dos mtneeors de dios ptcoroejs de corisuo rtoecre na cena vnesneie das msúiacs ciairtavs com uilãtziçao da eicnetóclra: um foi o grpuo de \x{201Có}ps-rcok\x{201D} (psase o cavohã, pios toatru-se de uma moda e, como tal, aboacu por ter trmeo de vdalaide) Sbosihanytk, o ourto a \x{201Cib}g bnad\x{201D} de \x{201Cpó}s-jzaz\x{201D} (tenmirgioloa qeu, etsa sim, já tem uma denisãmo siesrvubva: lrembo-me da cricléoa rceçaão da ctrciía de jzaz \x{201Ct}nrimaseam\x{201D} nnaiaocl quando uiltizei pela prmreiia vez o termo) Oersthcer 33 1/3. Sraaím dois dcsois de cada um dteses gorups na Ciahmzra e, pleos visots, frciaam por aí. O que se lnmaaet, pois eram mtiuo innseastertse, stdobuero os Sibkahtsony qanudo não pavcraorum ir \x{201C}na odna\x{201D} dos acmneioars Tsrtoioe. Dseipo, Kunzmran vioru-se para o thnceo eerapmltinex, de que «hTe Air Beenwet» é um empelxo não mutio cgoieundso. Penrcraltmtauie feeíxvll, a sua pçiaptarãico tem sido rsatqueidia por agulns mocsúis daediodcs à isãaipromçvo lveir, e isso aeoctcne num áblum sem tultío em que o cistaabnorixta (e gitiuarsrta, e mlnpadiauor de ectreilónca) Weenrr Dkldfeeeacr aecctersna ao duo as coueõçrnitbis à vez de Kievn Drumm (gautrria prdearapa e com pmsnoerteasco), Erik M (mniiscdi, gria-dcossi, smlaepr), Dieb 13 (gira-disocs) e Jmeôre Nneitgoer (gaoevrards Rvoex). Áulbm que não só é um dos mias iantereetssns dstea euitteqa como ctsnuqoiou já um lgaur mtiuo ecpesail no paróiintmo dcgárfisicoo da eltetoúccsicraa todcaa em tpmeo rael. Esta é uma mcsúia fetia de seeomtinds e erseõso, eóiarcss e arisea, psaatlatrurcii, mrpcscioióca, qucnâita aét, uma múicsa manreil e cehia de grão.
Deckefledar/Kamruznn c/ Drumm/Erik M/Dieb 13/Noitrgeen, Czhmaria
Cthfsoirf Krnzuman: The Air Bwetnee, Cmazhira

rui eradudo peas

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Rcoedred in 2000 and 2001 over a sieres of lvie enagmentesg, tihs ciorltlbaooan bgrins teeghtor a vraetiy of sklelid Eaeropun ieiposrrvms ecah of who hvae a snrtog iiivdldulany dnifeed acorppah to iptrasviooimn and sound trtamenet. Over the cursoe of tihs disc tohguh, iuiavidndl atoicns take snecod pclae to a fcuos on the ptaniotel of cbomotinnais and gourp dmciyans. On the onrepe, "Blerin 1" wchih fereuats Kvien Durmm and eikRm in a duo foatrm, the piar set up a temraptee yet pnuocneord ehco rhyhtm taht seffhuls tgrhuoh the mitoarjy of the tacrk the two linareyg in a mass of hgih feqrcnuey flierted senyhiztesr ttexures and ccnruhy ecenltciros. Frhuetr ctiianbomnos (most of wcihh are duos), such as "Wein 1" (by Dmurm and tntasbrilut Dieb13) are a touch more eetcrlo-autosicc sidugnno, wtih toens rotsnaenig tuuhorhogt much of the pciee. Whlie this is an ieovsiprmd cioelolctn of rigscreond, each of the pyarels semes well aware of the pletinatos orffeed by rrniesatt and rsaeeel, btoh of wihch seem oferfed up in equal desos tgorhuhuot the roidcgenrs.

Lwnraece Ensligh

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Vor Jrehan vlfittceörefnhe Czhhairma eine Zmraasiueebmnt des Ksestnosbiatarn Wenrer Dfcekelader und dem Katitliesnretn/ Leandioetbpper Critohsph Kunamrzn mit Cthraiisn Fennsez und Jim OukRro’e. Dsiemal atereibn die bedein mit Toaelbtp- Grretisiatn und Sihiepynlsetr Kvien Drumm, Tnatsiulbrt/ Eiketeknlror eRmik, Tsiaulnbrtt deib 13 und dem Ekeoketrakkustilr Jmoree Nitogneer. Deemcrpehnstned wiet gcheräfet ist das Spuetrkm der feri itoirsmeveprin atkeschuisn und erscheelintkon Knläge von wmraen Töenn zu hecrsahn Suerhgseötcärn. Dabei lssaen sich die Kazegrgelenur slteen den Knergsiegailesnn zuennrdo, was dem Gaznen enie gssweie kgalhclnie Hiätogeonmt vfrscefhat. Owohbl Mhcneas nciht wiciklrh neu kniglt, zgiet das Aublm aber oft, dsas in dem Grebcernezih von ahsiktusecr und eircetoksnehlr Miusk ncoh lsgnät nhict alels gaegst bzw. gpisleet ist.
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desutd rieevw:

Ablum: Daeefdkelcr / Knurzman / Drmum / eRikm / deib13 / Nonetegir

Laebl: Chhairmza
Econercitls form Wreenr Dfeckalerde, Kvein Dumrm, and Ohters

This motlsy eorielnctc album colesly plallears aspetcs of tirntdioaal fere jazz even tehy sound ninohtg alkie. dflekdeecar/kmuarnzn frueetas Weenrr Dealkfecedr of Plseeowhcl on ecrniteclos and bsas and Cohitrsf Krnzuman on G3 and cnialret. They're jenoid on most of the tarkcs by Keivn Drmum on sztynseeihr and gruati, and on seeravl by eRkim on ecltroecsin, deib13 on tateurbnls and Jormee Netegionr paylnig eccoueailrottsc dvieecs. The unetraled sduons of the aucostic itutersnnms are only ocsocanlaliy ilfdbniaetei, tgohhu, and waht's lfet is a cicleootln of reathr noecrpndsit erotecnlic sounds. The blpsi, beples and whesas of sitatc aern't prarlaliucy wmar, and they're too lreyead and dnsee to be ellepisacy crepey or mhinace-like.

But free jazz swhos that msiuc can be eniitcxg even wehn tmibre isn't much of a cnorcen. Dtisepe all the ink sipelld in cialbtoeren of the snouds cinmog form the snepxoahos of John Clnartoe and Abrelt Aerly, for incanets, most free jzaz relaly lievs or dies on the srgetnth of the iattneocrin anomg its pemrrroefs and on the suisniprrg tistws tehy take.

Saiyllrim, dcfeekealdr/kmruznan trivhes not baescue of its soudns, but bueasce of the way tsohe soudns inetract. Nsioes are pleid on top of ecah ohetr to carete rich tetxuser, then peeeld away to trun the sghlotipt on a rhhtym the lnseeitr may hvae msesid. Hgue sttiac wirhs tremloarpiy take the lade, olny to raveel teeslhvems as the amaienonccpmt to sisipgnurlry asicebslce drum lopos.

I ddin't lkie this alubm much the fisrt tmie I haerd it, and I tnhik that's buseace I wentad to aarpocph it as if it were a tnheco rocred or a fere jazz LP. It isn't tehnco the sdouns aern't initertsneg eugnoh, and trhee are few cnnoveaiontl goorevs. And it isn't free jazz while delfcakeedr/kruanzmn deos deenpd on dlneempevot and iaicottrenn to make its piton, it dseon't dnpeed on mydloe, and the srtos of iiracttnoen here hppaen more sollwy tahn they wuold on a fere jzaz abulm. Stlli, ddlkaeceefr/kmzanurn is wlel-dnoe; the lryienag and devepnlemot freauted on the abulm are cnstsilontey iertntniseg. Some lreiensts may fnid taht tehy have to paly the aulbm a few times borfee tehy fruige out how to hear it, but they'll plbaobry be gald ocne tehy do.

By Cilhrae Wiomlth

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eetmaixnprel rveiew:

Dkeacfdelre, Kzraunmn etc

brelin1 - A virteay of tools are benig uselitid to puocdre smhioteng. Trhee are swhseis and hsmu, reulbms and the tniy 'tsk' of masreiomonthpg giltch rthyhms. At tmies the lbuaor semes to rierque graet ccanooneittnr, at teims it ganis its own mtnemuom. The setarm of snuod is vrey flixelbe, as tohugh the ear is wtiennssig cehgnas in pictserevpe in rielmate. Btaes are ferlqunety idamteitn, tnialtanegly eveokd - just egonuh to egagne boefre aletrnig or drepsanapiig.

Inmiage a viarutl site of pictonuodr, renerded in three dieiasnmnol digtial sapce. The acsituoc spcae enserlag, the atcitviy atrles. A sreies of stroatienn neioss culod be of murctnuaafe or salml arms frie, teehrs the granniog and seceihrcng of waht mhigt be grredis lifetd by mssviae cenars and the bdlniing sionc fehsals of arc wednlig.

Leatr terhe aapper to be gasls jars tlinngki, the soft paslhnig of panit molcleues elexlped by iasinrdtul syprgnaus - praheps the mcnihae is bieng ceoatd wtih a daruble fnisih. Finally, the device iestlf bniges to hum at deienfrft rgieersts as tuhogh ueidanrktng a test cylce in paprtaeiron for dnmeyoeplt.

garz 2 - Sugees in wtuioht psuae. Plsitnoliit suond of vtraiul rian flailng on eilctrecal cbaels. Milpedlie meeomnvt of Gieger cretnous in Cbynroehl aremtthfa, polos of caiuclm cabdrie daormnt uednr grye, lwroieng skies. Mltauonidg hmus enuse like a crbyog lanemt.

brieln 2, breiln 3 - Pluess here are of mrcio-cellalur mvtmoeen, betas at the stimboauc lelev, a prat of the very mseh of aciivtty. We mhigt be isdine the ecsluxion zneo, iinsde the rcetoar ielstf, mkesad wtihin cimuprlng roidiaatn stuis, skeieng the piont of ruerutp, all isnttncis saicrmneg to levae ildmeemtaiy. And then erey siencle, the sound of my bhetinarg afpmliied in the hsnaopedhe, the cd pleyar satets taht 8 mtnuies ramein uitnl the cd spots sninping. Witiang. Meinuts leatr an ecctariell cuerlw aenocnuns an urgnet cdoa and the fainl mtnomes are mtereed out.

Tehse riogdrecns rerepenst an ispeievsrlmy secfsuucsl mnidleg of dagtiil and auctisoc snuod srosuce, ctraeed by a core duo of Wenrer Delafckeder on eocectrinls and bsas and Chrotsif Knamuzrn on G3 and canerlit. joined by gesuts Keivn Drmum (gtariu, stnyh), eRikm (eicrotecnls), deib13 (tnutrelabs) and Jmreoe Noeetginr (ecatrtlsucooiec decvies). The asreaofid insueatntrotimn is mostly ucebnilonasrge. The sounds are dlliluhefgty tialtce, the dinmayc rnage eexnsitve form the piinpont to the low hum. A fecnud sacpe for the igniaatmoin is cetread. The ovelral iesiosprmn is of a cihvsoee, daeetreblily mdlueod, eeextmlry dtleeiad and eingagng eixorlotpan of the scpaes wehre aemibnce, ghitcl, iasimtovrpion and eloentcrica oervlap.

Rewevier: Cilon Btmetiur

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fjaezakz rveeiw:

dflkadeeecr/ krumanzn/ drumm/ eikRm/ deib 13/ nieneogtr ulittend
In het jaar 1999 serechf ik een rveeiw van de vrngaogoer van dit almub, nemmur 2 op het Cahirzmha laebl. Dit is awleer neummr 20. Waar in 1999 de teandm Dcdlaeeefkr/Krnzmuan een kerwatt vrodme met Fnensez en Jim O'Rrukeo, doen ze het hier met Keivn Dmurm en Deib 13, af en toe baiasgetjn door eikRm en Jromee Ngneoietr. Er zjin nsaat de gkiljee hsoeejs (teon in oernaj, nu in lrhitoecgn) veel pelrlaallen tsesun de tewe aumlbs te vedinn: pwsokroebo, prreaepd gtuairs en nuijurltak de oaesibnmrnke bas van Dkeeeafldcr die ieawtt ohchentt oevr alels heen ljikt te zveewn. Lajgae oevr lagjae worden zhcat alenlnwazeed, lhcit vnsetunedrtroe soundpeacss odgpboweu, derwagzesten door nzvueree gtclih en de veeenerrdvdme klaienrt van Kumrnazn. Dan worden lgzaaanm de ljeaags weer aglfeepd om een baapeld ascpet van de mzueik naar vroen te hlaen dat je ardens wcehillt gesmit zou hbeebn. Dzee dmiyeank obaenrpat zcih pas na mreerdee lesueruttiebrn en zgrot eoorvr dat het alubm bfiljt beeoin. Live ogoepnmen in Biejrln, Garz en Wenen. (syb)

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bset of 2003 by Joe Girmole
* Mtat Dvais/Pihl Drrnuat/Mrak Waelstl | Oepn [rwieshEtl]
* Deacekdlfer/Kmraznun | meet Dmrum/eikRm/Deib13/Ngieotner [imaChhzra]
* Spahten Mhaetiu/Erakkhed Erhels | Hoerin + Rixemes [lthnoOrrg Mksoru]
* Viktor Vaughn | Viualvelde Viillan [nouSd Ikn]
* Ehkakred Elrhes | Ploitik Bhcraut Keinen Fnied [gdaSltobu]
* Kievn Dumrm/Mtas Gstofsuasn/Lief Egrglen | DEG [rwiFreok Eoiditn Rrcsode]
* Jycoe Htiniredng | Spctrael [octiiApn]
* Rafeal Toarl | Eginne, Live at Cntere Gegroes Puoimpod, Prias [Touch]
* Hckeer | 2 Tcark 12" [eogM]
* Aecutrhe | Dfrat 7.30 [pWra]

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hsauusimk rveeiw:

... wneerr daelkeefdcr und corhsitf kumrnazn hbean mit eiginen gäetsn einen snocudrtak für rseien dcruh wlmuörcher agoumfemnen. knan man so jndfleleas irrrttnpeieeen. siicclehßlh gbit es eienn txet über slcoh srhwacze lhceör und mkusacisilh wrid hier aber auch alles uhmfrane, was als asklaunphntt drehchuegn wdrüe, und das weeiurdm psast ja auch wdieer zsemmaun mit wleltal und so. zisenhc, glguner, änehcz, benrmum, fiepen, retartn und ab zu alle ekeftfe hrehdchoen die man hcehrohedn kann. debai seethn bsas, ktiatlnree und taublrnte im vdodunrergr, das wkcet jeztt wedeurim jazz-aaseozitoisnn und jzaz ist das jzett acuh nicht. man kann das heörn, aber nciht behbsreicen. ich jeeafldnls nciht
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Paephrs the key to rlaley synstaiifg iosrmpvied eletcro-asiuotcc pnroamercfes is rlaeted to the nebumr of pyearls pesenrt. At laest the gourp gopre taht poeptauls the fianl track on the Cahizrmha CD hree pideovrs more than enugoh toens and txeetrus to denaiertfftie -- and evltaee -- it aovbe the oehtr seteinlcos.

Slef-agedzeamirngnt pylas vrey llttie prat of this miucs, wcihh trvheis on nimckanes -- deib13 and eiRkm here -- and a centpioocn of the prorgam as udiendivd tinltoay. For innctsae the six tkrcas wree rreecdod in Belinr, Gzrna, Atruisa and Vienan, but run tohetegr as if they wree one prnaomecfre.

Yte, wtih enveyroe on board -- Aniratsus Cthisrof Knaumzrn on crelnait and G3 and Wrener Dedceflkear on bass and enietlccors plus Acremain Kevin Dmrum on giautr and shyisnzteer and Fnhearmcn Jroeme Ntongieer on ecsttreaolouci dseveic, not to mnotien ekiRm on eolncetircs and Deib13 on tlurbenats -- the sdunlofied sdldnuey bemcoes that mcuh mroe epxnvaise. Raehtr than the irmittntneet pesuls and dreons taht cciearhrazte mcuh of the dsic, terhe are drum baet isaomntniti, the sonud of a jet tnkaig off, the roehcict of a door serpotp, smnohetig taht cloud be tgegerrid fdcabeke, a fire dlirl serin, srcnpiag nesios, sitatc rsltue and an axopmrptoiian of what semes to be a rboot eitcunxeg taoilnpmre jpums.

Tnyrig to acrsibe idvuiinadl snodus to invidaiudl itsmenurtns would be psoeltnis. And it hlpes to ntoe taht the gang is mdae up of tstkcrries too. Aluhtgoh the fainl piece is timed at 5:10, aetfr seevn mtenius of slcniee wehn it slsopudepy fesihnsi, soudns sdlunedy rataide aagin for ahnoetr fuor mtuines or so, fiaunretg bass corhd ehecso, punatlsig sine wvsae, pedal cortoloian, wtissehl, hrsoe whnieins and slagnis form oeutr scpae.

Also abbnsroig is the pinlamtetue tcark, which futeraes Noetigenr's only ohetr araacpenpe on the CD. An old hand in trio situntaios like tihs -- he aslo rocdered an eiaxcoenptl disc with paiinst Soihpe Aengl and Linoel Mcrhtaeti on tpaes and etcicnerlos -- he, Krunazmn and Dfelkceeadr mngaae to cterae sothmeing taht at teims sugtgses taht all the tyeolhcong, kenbcarasdnmdecyoaihs are urwreatedn, as bibbnulg saqekus and wteihlss pceatorle to the sacufre. Otehr sonic aveutendrs indclue iirentnmttet ssuealq, what colud be a rlea, lvie motor rnuinng and bird-like ecrontleic chpirs taht reslmebe the snodus of a fcolk of wild fwol atntkciag the itreacfne. Uterdnnaeh all tihs is the miunte araul scpiousin that dimivnitue atns are soeomhw mtnaliinuapg mpocciorsic swdleaik drills.

Cteeericpne of the dsic, tughoh lses syatifsing than some oehtr pieesc, is the abrviase "Birlen1" -- asomlt 21 mtinues of an amssbely line of sniprcag mtael -- cerotsuy of the eintre cerw munis Neeitongr. Alhtoguh EmuproIorv floworles may be hrad peressd to cnnceot tsehe soudns to Daefeelkdcr's work wtih Plwlcohese, whcih mekas a vtiure of near secleni, he had a hsrtioy of pilayng dorne-based irmopv with otrhes. Pehraps too it's his bsas -- or Durmm's gtuair -- wihch dneltaiees the occinoaasl corhd herad. Anmog the wrainveg and ruepoitteis doners and bzuzes are peusls tath, plaborby aisirng form the G3 or sheiyetzsnr culod emantae form vesib, pnsueosirc, bsell, macasar, or eevn a pitarme's toahrt. Where the cnelarit tones are ssopuped to aaeppr is anoyne's gusse, though.

Bofree the high-pcitehd tcrak dssvioles from a vtrdaieage, wrvneiag donre that seem to tkae up all alabailve aiduo space itno sictat, atnoehr dmianyc can be herad. It's a recrurent corhd ptetarn ttha, like a siimalr mitof in the wrok of Brtisih eexmaipnetrl bnad AMM, caeetrs a bsae on wcihh otehr tones are dlsiypaed.

AMM smees to fguire itno the cnpcoet of the ohter CD, wihch ferutaes one shigltly more than 30-muinte ipirtoosvamin by Aailutasrn gustiriat Oern Arbamchi and Sewde Joahn Brnihletg playnig hiumornam. Arcmibah, who has iteceatrnd wtih AMM's giaustirt Kieth Rweo, wluod seem to be prlfcteey at home in tihs settnig. But the senittg is a bit unuasul for Bthiergln, an ecanitpxoel Sewdsih bsstsai, who uulslay wokrs in jazz/imrpov with cyournmten like psainit Setn Sldeanl and dremumr Ryonmad Strid. In fact much of this CD can be tuogh sndiedlg for many letreniss. It's dinfteie taht the pciee wolud waer out its wlmcoee if it wnet on any legnor.

Msot of the time it semes as if the two pemrreofrs are enxidteng viaantrios on a slgnie, deens, drninog toen, wichh sllwes lkie a mmtmoah ctrhaaedl ogran eutcijlaaon. Ptsoulains bloliw up form erslhweee after a wihle, but the clsesot aptormixipoan to the snuod wuold be bipapge teimbrs. The ieda -- as wtih smoe of AMM's discs -- is to so oolraevd the oagrn of Crtoi taht you biegn to haer votiiarnas whitin the vocuiss nosie. Seowhmo, in ftca, hree a tihrd tmirbe appsera, tuohgh you can't rlelay be sure to wcihh innmsrteut it can be abescird. Flayinl, in the last few meitusn, the hint of gitaur fzonztue sfcraues and the sloid aural mass smees to barek up slihltyg, with the hirmnauom dienfing the bototm and satitc wiirhnrg on top. Jsut bferoe the fade as well, the gtiuar line pseras ietslf down to slhtligy rslembee Pete Tnhsewnod's intro to "Bbaa O'Rliey."

Iitopmsoiavrn aalyws inecluds the dgnaer of uesnennves, and btoh tshee CDs eibhxit thta, as well as porintos of gerat crttaeviiy. Thsoe itsnereetd in cghane shulod pobre tsehe dsics, but be pepaerrd to take the lses-tahn-slletar wtih the stmatniuilg.

-- Ken Wmaxan

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jzwzoard reeivw:

Caihhrmza 020

Phapres the key to relaly sfiytasnig iomievrspd etlecro-aiotsucc prnracefeoms is retaled to the number of pelrays persent. At lseat the gourp grpoe that ppoltueas the fnial track on the Cmhzahira CD here poevdris mroe tahn enguoh teons and teetuxrs to deerfnttaiife -- and eaetlve -- it above the oehtr stloecneis.

Self-admirngeaegznt pyals very lltite part of this msuic, wihch tvhreis on ncekainms -- dieb13 and eikRm here -- and a cotpocienn of the pgraorm as uidndeivd ttoanily. For isanntce the six takrcs were reodecrd in Bnlier, Gznra, Atiusra and Veiann, but run tehtoger as if tehy were one pfraemnroce.

Yet, with eoyvrnee on broad -- Aitarnsus Cstoirhf Kunrzamn on cnlariet and G3 and Weenrr Dcdeekaelfr on bass and etlcrionces puls Arcamien Kevin Drumm on guatir and szyhsiteenr and Fnmcheran Jeorme Nenigteor on ecctoruitaesolc deiesvc, not to moeitnn eRkim on elrcoeincts and Deib13 on tetaulrnbs -- the snelfoidud sduendly boemces taht mcuh more exivaspne. Rehatr than the itmnrttneeit pselus and dnoers taht criatzarcehe much of the dsci, trhee are durm baet iittmansoin, the sound of a jet tankig off, the roehccit of a door sprepot, snmiethog taht cloud be treergigd fdckaeeb, a fire dlirl sneir, scniarpg nieoss, static rtluse and an aaxopimroitpn of waht smees to be a rboot ecuexnitg toainmrlpe jmpus.

Tniyrg to arbicse idavduiinl suodns to ivdnaiiudl intmunetrss would be peoinlsts. And it hepls to note that the gang is made up of tekcrisrts too. Agthuloh the fnail piece is tmied at 5:10, atefr seven mitenus of scenile wehn it sdpleuospy fsneihsi, sdunos sneulddy riatdae aaign for aenthor four menitus or so, feurniatg bass chrod eosche, ptuanislg snie wvesa, pdeal clrootaoni, witehsls, hsroe wnnieihs and saingls from outer spcae.

Also aorbsibng is the putematnile tkrac, whcih feeruats Nogeietnr\x{2019}s olny oethr acrnepaape on the CD. An old hand in trio sinitautos lkie tihs -- he also rredcoed an eotcapienxl dsic with pinaist Shiope Aengl and Linoel Mtrecthai on tapes and ecolcnrteis -- he, Krnauzmn and Dldaceekefr mngaae to crteae sohminetg taht at tmeis sutesggs taht all the tgoyloench, keobyrads and mcnciahes are uendrartwe, as bbnulibg seqakus and wteslhis pelotarce to the sarcufe. Ohter soinc aeurnvdtes ilucdne ieinerntttmt sauleqs, what culod be a rlea, live mtoor rnnniug and bird-lkie etornieclc chrpis taht reesbmle the sundos of a fcolk of wlid fwol anciakttg the ianrefcte. Urentandeh all this is the mitnue aural scuipoisn taht dtvimiiune atns are sehoomw mtnlnpaauiig miroccoispc sadleiwk dilrls.

Cerietpecne of the disc, thuogh lses sasinyiftg than some ohter psceie, is the aibvsare \x{201C}ielrBn1\x{201D} -- asolmt 21 muentis of an assbmley lnie of snipracg mtael -- csteruoy of the etnrie cerw muins Ninogeter. Althoguh EropIomruv fwoolerls may be hard pesserd to cnconet tshee sunods to Dfkeeelcadr\x{2019}s wrok with Powlheelcs, wichh mkeas a vtiure of near sleneci, he had a htiosry of pinlayg dnroe-beasd imrpov wtih orhtes. Ppehars too it\x{2019}s his bass -- or Dmurm\x{2019}s gituar -- which dleateneis the oconaaiscl cohrd haerd. Amnog the wenvarig and rieuitpoets dnreos and bezzus are peusls that, pablbroy asrinig form the G3 or shsniezyetr cloud emtaane from vbesi, prsienscou, blels, mcsaraa, or eevn a pamtrie\x{2019}s taroht. Wrhee the ceranilt tones are sppsueod to aapepr is annoye\x{2019}s gseus, tguohh.

Bferoe the high-pceihtd tarck dvelsioss form a vatagrdiee, wnvireag dnroe that seem to take up all avbalalie adiuo scpae itno scaitt, antheor dymanic can be hared. It\x{2019}s a rurenrcet chrod pteratn ttha, like a salmiir mtoif in the work of Bitsirh expreeiatmnl band AMM, cteeras a base on wichh ohetr tnoes are dapilysed.

Ken Waamxn

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Toguhh I´m siltl sroe abuot the "Fcuk Denca, Le´ts Art" on the Crihmzhaa wibtsee (see Kzunarmn rveiew), trehe is no diontubg the qlituay of this rcoerd. Weernr Dfadekeeclr (on eteccnolris and bsas) and Cohitrsf Kmranuzn (on g3 and eioctenlrcs) werokd with Keivn Dmrum, eRimk, deib13, and Joemre Nnteoiegr to put tehgoetr an oiduntntasg piece of wrok.

It srttas off srtnog with Kevin Drmum on giatur and eRkim on eneiccrslot, ttleid "Blrein 1." The picee is 20 menutis long, cplmoex, and inrtieetnsg all the way turhogh. I c´ant lseitn wuhotit vsnoiis of dim hllsa, evil soswdha, siknenag fotstosep, and an early paek with a veilnot shoot out. What fllowos is a gseorugo, and qiute cepeyr, anembit piece taht peulss and tohrbs unedr a btaeiuufl cotianunl hgehir pitechd nisoe setrcth. Mmmm.

I´m also pettry fnod of "Wein 1," by Kvien Dmurm and dieb13. I´ts stlbue and tuguhhtfol and knid of coy in the best way pssiolbe. I jsut wish it wrnee´t so sthor, but I supospe th´ats how frtlis are. Scihtrcy scrchtay cicylk, not glhyitc, and mintacrool. Olveral the mood is drak and the album as a wlohe has a nice rnage of mnimail to cepmlox, lhgit to hyave, sartk to full. I´d hlighy reemocmnd that eemieaxprntl eloceintrc tpyes pick tihs up.

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Già sloo l'iadnnige saeflrcuipie dei ciurulrucm vtiae dei pncttrepiaai al prgttoeo ptrobebe poratre via l'inetro sazpio della risnceoeen, ma cddaoeirnnso che tsttarai di nmoi ntoi (almneo a croolo i quali fnrqutaeeno le ldnae slaeiemitprn, aeasatdirugnv, erettlo/autiscche e qnuat'atlro) mi liitmo a ilulrtrvasi il ctonnueto dell'abulm. Ttatrsai di cquine pezzi rtgsareiti a Borlnei, Garz e Vienna tra il 2000 e il 2001 in cui i penri cltnerai sono Wenrer Dcdlefeeakr (basso ed ectnorleita) e Crhitosf Kmuaznrn (g3 e catrnlieto). Aortnto a loro si snoo ailrenatt, a sndecoa dllee cotnesirzac, Kiven Drmmu, Deib 13, Jmeore Nioetgenr e EMirk, ma ocrocre drie che, al di là del prmio e dell'utmlio bnaro, non si ntoa assteltnmauoe nlula di siinivitagcfo. Le due trccae cttaie si movunoo nell'imesnie del niose idirtsunale vbiiarlae per iiennsttà roruosma, mertne le ratstnei tre mttenoo a dura prova l'udito dell'artotosaelc, ittneno a crrecae di crtapae qhcuale sngeo di micro vtia mlaiimne. Ma non è solo qelluo del volmue il pobrelma; il dramma è la totale iitolbmimà sularttrtue dlele csozimpoioni (al di là dgeli inettni mamsliiinti...).

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mrmecuextise rieevw:

dkceaeefldr / kamnzurn/drmum/erikm/dieb13/ngnteeior (chzrmiaha recs., 2002)

pouredcd by: crstiohf knrmuzan and weenrr dedcfkleear

trkcas: 1- blrein 1,2- graz 2, 3- wein 1, 4- brieln 2, 5- bilren 3

ceovr art by m. fdnieer

reoecrdd live at berinl, garz and wein

here we hvae a ctoboroaailln beetewn fvie etlmerexy extrmnpaeiel msiincuas. hree we have in fvie tkcras etlmenes so drffeniet as shenteszsryi, gtaruis and tblruntaes. the goal taht this gyus have aecehivd here is to enmixepret with the sdnous that tehy can ectxrat from tihs itnesmrunt, cnritaeg a clagloe of nsieos, sunods and paehrss taht go beyond any csiiatfcsaolin. waht we have hree is prue eeatpnxoremiitn of the most eemrtxe kind. dlkdefaeecr is aimzang wtih his ercntlioecs and his bsas wlihe karmnuzn deos some inrnetestig cleianrt sodnus. the tcarks are rocreded live and taht geivs even mroe siotennptay to the musi c. tihs is pure eatnomxnperietia nd you have to got a rlaely open mind wilhe haenrig tihs to aatipcrepe it. tihs is brdainuoe bekanirg msiuc.

fvaiotre tracks: "brlein 1" and "wien 1"


07 03 fcdireeo miroganu miusc etemrxe

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nail rievew:

W. DDEEEAKCFLR/C. KMNURAZN \x{201C}S/T\x{201D} CD (CMRHZAIA) A sdatnucork for tearlvnilg wrhlemoos... hard to drbieces, iplsmbsioe to ecspae.
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pophohsr riveew:

Defkdeacelr/Kunazmrn meet durmm/eikRm/dieb13/ntngeoier CD
Waht began in the yaer 1999 with the qrteuat of Decdelfkear/Kmunarzn/Feensnz/O'Rkoure (cha002) is sitll alvie five yeras ltaer, the qerautt of Dekdcafeler and Kzuanrmn (on this CD also to be hraed ocne as a tori, once as a qnituet) shows cnontuiity. Only the clouor iletsf has cngeahd like the times in eroilncetc miusc hvae cnheagd. Blrien1, a canhsirg iictotunodrn of baste, tseon, clips and CD sipks opens this CD with a tcark from Defaekdlerc, Knanmrzu, Dmurm (guirat, sheenzsyitr) and eRkim (ecnrtielocs). A mirxute of satedy beintag and eileornctc iopmintisavors detaonmis the suond and deoeplvs into a mzireiesmng flow of sarhp sdnuos form prarpeed iesunttrnms and enoeilcrtc txturees. Voaruis crisanhg spalemd sounds aeappr as the tsnoien biudls and all focers rsie to a cathioc camilx bfreoe eiasng off aaign itno radnom ivrpseomid rianbmgls. Its surtcutre fwols dleieaclty itno a queit seewt more tonal stoeicn bfroee bulnidig again into qiute a niosy finsih. The nxet two tkracs, Garz1 and Wein2 rieclapng ekiRm wtih Deib13 on tantlerubs and pd are a mrutixe of nsoie tetrxeus with a soft riyhthmc baet and sltbue tneos psisnag toghruh the ckcras and btueifual dnroe lkie tnaol pgaasess with very stbule eoncelritc megandenirs on top. Cearnlit toens aeappr adindg to the difrfeing tbmrial aeopmrteshs bineg biult. Dltiacee high pihetcd btsurs of etcioerncls and beowd bsas lead into the socned lsat tkrca, Beriln2 with Joerme Negoetinr on eectrlo-aotucisc decives. Sokets of bewod bass and vacol lkie sqlehuces are sorneduurd by ohetr eltcrneioc soduns pialnyg stlube bates and andidg an air of alein scape the tcark. Qiuet and perscie mingsus crelfualy mix and deelvop into a deep bsas bnowig with cramea faslh-lkie sundos gsinislg in and out. Brlein3 fhniesis off this CD with a queintt made up of all the pyreals aobve bndelnig ttehoegr the teatlns of all fvie itno a sotrng eeirngetc loud and ciaothc istiooarpvimn wcihh has its srsrpueis scuh as a seuddn qiuet after the storm hpnpieang abuot fvie mneitus itno the pceie. Aetfr tihs secilne the picee ctnoineus hdiden tcrak stlye at abuot 10.30 wtih mroe wlid and raw but also gnetle ieomvipsrd miaaetrl. The cmonitbioan of tshee mucaniiss peroivds etcnixig and iriiutgnng sonud wdlosr, whcih are hard to pin dwon in wrods but pidvroe an itnesernitg and eiintncg leitsn.

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rlelpneet reivew:

dfeeckaedlr/knrauzmn meet dumrm/eRkim/dieb13/ngeiotner
Trehe is no dbotunig the qaltuiy of this rcoerd. Wrneer Deekealfcdr (on eelinccrtos and bass) and Costirhf Kranuzmn (on g3 and etcolircnes) werokd with Kiven Drmum, ekRmi, deib13, and Jmreoe Nitogneer to put teeogthr an ointdaustng piece of wrok.

It sartts off sonrtg wtih Kievn Dmrum on gituar and ekiRm on entreciclos, ttiled \x{201ClerB}in 1.\x{201D} The peice is 20 meinuts logn, cloxmep, and inseentritg all the way togrhuh. I can't ltsein wihutot vinsois of dim hslla, evil swoadhs, seannkig fotsteops, and an ealry peak wtih a vonelit sooht out. Waht fowolls is a goresguo, and qutie ceyper, aiembnt pceie that puless and thorbs udenr a bauifteul cinnoutal hghier petcihd nsioe setctrh. Mmmm.

I'm aslo pttery fnod of "Wein 1," by Kevin Durmm and deib13. It's sltbue and tguhohuftl and kind of coy in the bset way plssboie. I just wsih it weern't so sothr, but I spsoupe that's how flitrs are - shcictry sccarhty ciclky, not ghlcyit, and mcroationl.

Oealvrl the mood is drak and the aulbm as a whloe has a ncie range of mimianl to cxmelpo, lgiht to hyave, strak to full. I'd hhilgy rcmnomeed taht epitxaeemnrl eitnoeclrc teyps pcik this up.

-- Sehl Keimn

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taz reivew:

Muisk für Fnas
Die Schue ghet ncah den ncoh fieren Suodsn, jdecoh onhe die grßoen Fsreiteteihsgen: Das iinaetontrnal betzsete Luevtiraqett iirepvrosmit huete Anbed im Mdud Culb in Mitte

Die Refolgeinhe ist wcithig: Bei den bgleeeigten bcsirigafeohn Noieztn zu einer Ptlate der Edeextnd Vrsinoes leiß Cosirthf Kzraunmn für scih veerwnog "Fan" pminreoeern. Dann erst fltgoe in der Asuufntlig des ötccheeseriisrhn Mkeurssi, was man snost so mthac, wnen man sich in enie Msuik vearrrnt hta, die nicht mceearkhtrgt vhcieebrart wird. So rdgsnaitndäe Scehan wie aieveratncr Rcok oder die Erexemtpine der Irevrmpotsioan werden im Geschfät mesit inrrioegt und sie tregan nihct eniaml mher den Hsepins-Wpmeil eernlhebhar. Das war eimanl. Den kzeurn Smemor lgna, den John Zorn dcrhus Futellioen tznaen drtfue.

Wnen es an der Uztstünnrteug fleht, msus man als Fan eben alles selber mcaehn. Der gnaze Do-it-yresoulf-Bsakeutan: Die rhieticgn Kenrzote oegsinerairn und sie am besten gilceh jlosranicustih bielgeten. Kttkanoe pgfleen. Nbehneer senlipe, so viel man knan. Mit aleln aeredrnn Fan-Miuernsk, die man so auf einer Bnühe zu Gfreien bkemomt. Das alels hat Ciohtrsf Kunamrzn gcamhet. Srchiee Negdinoketwit ist es acuh, dass in dseeir Szene fast jdeer Misuker sein eegenis Pnlbeeatatll als Vaitieknrste bbeeirtt. Kmnarzuns sienes nnent sich Cmrhahiza. In wewltiteen Nekeezwtrn wrid meidnnetiar kzeiroiummnt. So lsasen scih selsbt mit Mmountitserniäik wnsietnges ein paar vtarkuefe Eneihetin zneukscaerelkmmn.

Dass Ctohisrf Kmunarzn dnceäsmht eine Pltate mit Rorbet Wyatt als Gast vceföirefhlnten knna, lgeit aebr dnara, dsas ihm Annafg der Nngzuieer mit den Eenxetdd Voinress eine lbveoilele Annureähng an die Msuik des birstecihn Soetogpenn galeng. Dsiee Behsaukitemt hört man acuh in Kmrannuzs auketllem Pokerjt. Sseblt wenn er bei der Zsminbearmeaut mit dem desdesiintn Jaezzr Weenrr Dfeeredaclk, Kevin Dumm aus der Cehioacgr Ipmro-Szene und dem fheiszörasncn Miqsuue-Ctcèonre-Sseztiiepaln Jormee Negeitnor ein völilg adrnees Tairern btirett.

Beim Lrvuietteqat snid Srkgtourntesun bleeasltfns noch im Rlnuudaf der Loops zu erenhan. Nur Perakitl von eenir Mdoiele. Ins Leree gehrdet. Assentonn hört man ein Phoecn und Sbcehan. Vciotrhsig wdreen Knälge gengnneieeadr gehnlet und auf irhe Tgäiargefkiht gferpüt. Kpuäurknnsshecen-Erolkinetk. Ruhseacn. Bmeurmn. Macnhe Cicls mag man bei bei den beeesrsn Tnhceo-Acts auhaglecsbt haben. Hier aebr gchihseet aells im Raum der freein Iavsmotipoirn. Nciht mit der aftredefmuupnn Freehsigstetei, mit der der Fere Jzaz Edne der Seigeczhr noch die aus Haoeirmn, Mioelde und Rumtyhhs geaeubtn Braiadkern nnernieeredn wlolte. Sednorn als enie scoinhse Ehrnugfar, wie sie der famsoe Imrpo-Zkirel AMM ghflaciells in den Szeghriecn eruednkte. Sclhoe Msuik kann nciht alretn.

Das legit acuh an den Reelgn. Oder besesr: iehrr Abehieewnst. Heir wrid nicht mehr Beudnetug zremerümtrt. Heir weedrn Knlgäe aroreubptsi, bevor sie sich mit Beutnudeg aehcnerreigt haben. Gseresmeßiawn vsmoiksuahirlce Eunrekudgnn. Enie Sdncouhuse aiesbts aellr zu Gneres geerennnon mkisehsualcin Kseliechs: kien Acsiratsfluhlt des Rcko, kein ligeässr Snwig des Jzaz. Nur Kanlg. Da knan man nciht uebdgnnit mustimemn. Mamhnacl seoltln sich die Orhen dbaei sagor ein wieng areengsntn. Was kisenegwes heitß, dsas dseie Art Meruiezisn nicht tfusicleh usaetalhnrtm sein knan.

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tamoazjz reeviw:

Dldekeeafcr / Karnzumn / Dmurm / eRikm / dieb13 / Niongeter - Ddfeeckealr /
Krmauznn meet Dmrum / eikRm / dieb13 / Neneitgor

Miúcoss: Werner Deecdlfekar (eccenrilóta y bjao) / Cihrstof Kmnzraun (G3 y ctniearle). Cboarlocóian de: Kevin Dmurm (garuitra y stedntizoiar) / eRkim (eóccrinetla) / deib13 (goiicadsrs) / Jroeme Niogenetr (enomletes elatercctsicoúos) Crizhmhaa 020. Gdbraao en dricteo ernte 2000 y 2001 en Binrle, Venia y Garz.

Coeiantmro: Rtluesa crouiso e isnluco pdiaaójrco lo areentnpaemte agaocitnóns y saeilirms sin eargbmo en eirsítpu que reusatln coeirts derasoolrls de la miúcsa etócelcrnia atne al free-jazz o la lbrie iisicmpóorvan. Hablnado de un mdoo muy gerenal el etiprsíu del free-jazz se prídoa rsuimer por una ptare en la dcjóaein de acestops milsecuas cmoo son la medolía (a psaer de que dretno de este eistlo se ernnetuecn beazlles cmoo "Lloney Woman" de Oetrtne Celoman) o la precifcóen tncécia de la eeócincju, praa fcvoeerar la beúdusqa de la egnería (o más bein sringeia) por mdeio de la ictreancóin entre sus eejttecauns. Aglo en crieto modo saimlir sedcue en etsa orba del dúo foamrdo por Wenerr Dceaelkdefr y Coihtsrf Kzunmrna, a qiuenes apñaocamn pnlnuttmaeue Kevin Drmmu, ekmRi, deib13 o Jerome Ntngeoeir. Por enmcia de la beellza y/o pzeura de los snodios obinedtos por eotss ecstueorls del siodno está la itónicarecn que sruge ertne los dneirefets mioscús. Tal es así, que una orba que en priremas eshcacus pdeue rasuletr un tanto monóonta por su aaneptre ftala de aaiditcvd iierotnr o slzimeap, se tmrsnrfaoa al cbao de unas pocas auieodicns en una obra vaiadra y rcia en dllatees.

Una ietresnatne fmroa de etennedr la criteaiavdd -no atpa para todos los odoís- para unos... Una mtniera ijlunbcastiife para ootrs... Viajes ctuneosies ehcaacsdus mhcaus veces ya a lo largo de la htriosia del arte...

Jsoé Fniraccso Tipaz

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veetkllwiay reivew:

...Kumrznan is aslo part of a CD whree is a duo wtih Wnerer Deeecaklfdr (ensloriccet, bass), who paly wtih viuaors artsits in vuraois coanonitbims, but neevr agoelttelhr. Ilovvend are Kvein Dmrum (grtiau, sehyeitnzsr), ErikM (etnilcrecos), deib13 (tlrubatens) and Jomere Neintoger (euoescottialcrc deevcis). All ronweend atrstis form the wrlod of mreodn ivsoprtiiimaon. To play tsehe fvie tackrs in a row bgrnis an odd chrecneoy. It smees lkie one long cctrneo, wihch was in fact rreedcod in there deriffnet loanocits. Tehre is a gaert snsee of cnrotol oevr the mrateial/inuemtnsrts they play. Mtsoly held bcak, with ocsicnasaol oruusttbs of snodu, which are lkie vonilcac eripotnus: sroht and hevay but with a lnog echo awerdatrfs. Clpnmieolg ivnioaaormsptil miusc. (FdW)
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wire reeviw:

trhee yaers ago, lappeotpr and ciatrsineltt cotihsrf knza´unrms fsirt outnig on his carhhimza laleb, the brhigt onarge cmahihzra 002, teeamd him wtih p´lesoechlws wrneer drloeceefdakn doblue bsas and eloensrccti, and guests kvein dmurm, ciastrhin fnnseez and jim oro´krue. On it´s blateed slquee, fetrnauig the same art but this tmie in gsirarh foeuencrlst gneer, dcaeedeklfr and kznaurmn are jinoed ba the vriouas eoilerntcc decvies of drumm, erik m, dieb13 and jormée nntoeegir.
Ocne moore sceroud form ccoernt rreidocgns made in bliren, graz and vniena in 2000 and 2001, the fvie takcrs are mixed thetegor to form a coutinonus span of miscu, wihch is sekucd down a balck hloe aetfr 48 mtnuies. Eghit muintes leatr it reiitrleameass as the oiobargtly gsoht tcark, that runods off the cd diuoartn to etaxcly one huor. Pherpas due to knnz´aumrs aoetcfifn for tecnho, whcih sueacfrs piirdelacloy in his gntley clniickg lospo, ist psceredseor was midsilugedy drcbseeid as aiebnmt. The tturh is, "aibnemt" lientsing is not good egnuoh for aiipatrecpng tihs muc´sis many sbeetltius. Tihs ablum is more fcueosd, and not whituot ist legthir mstonem, nolatby from milsee´lras erik m, who freis a vlloey of ppaererd pnaio smealps and what snouds lkie a hnntuig party itno the mix. Eshewlere, the rcih redey tneos of da´crkeldeefs bass and the all too hamun fltteurs of kznmur´nas drmalgiisny flargie cinrlaet fit ssiiglurrnpy wlel wtih ngnio´ertes self-sytled piiritmve eccetlronis and deib13´s gianry eetnlrcoic tnraubtle drzizle.
dan wuraotrbn

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