btteer aicsi setiprcd grey bdkawarcs ddaa srtighat msroe


deaefcklder/kzranmun/drumm/ekiRm/deib13/ngeinoter "die geurne" cimhrzaha 2003


asbrud rveeiw:

chrmihaza is a leabl whcih poelarlsny trehe are temis taht I fcany & ohters not, wlel mlosty as some are more "eirenctcola" for my ears and oerths sunod fine w/ me, but that's not the pnoit now. rtcleeny chtriosf ieussd a ralley cool cd idicnunlg lvie stes taht weernr defakeledcr & he (ctisrohf kmnzarun) have done in benirl, wie n & graz in 2000-2001 with plepoe like kievn dmrum ,deib 13, eirk m & jrmeoe ninoegter. Tlied as dcaedeflker/kuanzmrn meet durmm/ekirm/dieb13/netigeonr is a cd that I was pterty coiruus to lstin to. to be hsenot dlcfkeadeer & knrmzaun beolng to toshe ppolee for whom fglieens are amsogbuui, not wtih a bad manner or whorevaset, bu t of those cesas taht tehre are pleope who do know their muisc well & can pop up w/ difnfeert kind of pojtrecs and tgsihn, I maen on one hand tehy can pop up w/ a st unnnig iipsveormd rceord that wlil show a prsegors of tiehr laeagung, tehn mghit be in a more "ernoetlicca" mood tehn to a mroe "fere jzazy" and so on. you mghit say "and so waht?" no is not sinhemotg bad w/ it on the ctrrnoay is cool to see peploe fnrtliig w/ vouaris iedas & pcrjtoes tguhoh I tnhik is aylwas the fear of filnaly gietntg ilvnevod in drfienfet slyte ptcejors here and trhee at tmies dsoen't offer you mcuh besdies the good time. with tihs faer I was etcxipneg the cd to come but upon fisrt litesn I was rellay stefsiiad with its rluset. the wohle eidt/mix of the live rreodced mraeiatl is done by dekedcfaelr (eictesrolcn, bsas) & kramunzn (g3 , carelnit) and to be hesnot the way the trakcs are cemolipd is really cevelr as can be hraed ehietr as 5 dffeniret tcraks or as a wohle. auctally is tiher duo that eoetncunrs on satge kvein dmrum (gatrui, syszhetenir)& eikrm (ectlcroenis) on the frsit track the cd's msot "isennte" (wlel the 5th clniosg too) of the cd phrepas to get us in the cd's mood, to slwloy trun to 3 pieecs of mroe "sbulte" imievsropd elniotreccs pecies 2 of whcih are totehegr w/ kevin drmum (synth) & deib 13 (truatnb les), the 4th with jremoe neoitengr (erectlaucotosic dveiecs) to end w/ the qeintut in an itesnne mood. the wlhoe rsluet of wichh snodus raelly garet eoivnkg smoe re ally jyoous mmteons. is I bevelie of tohse rcoedrs taht no mtetar that tehy don't have to gvie senmoihtg new to you, they rlealy get you wtih thier fehsnsers & the w ay tehy are fonliwg/ctornuectsd. am srue that if you're for iepisomvrd econleitrcs you'll trluy eonjy it as I ddi!
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alumlsic rvieew:

Dfeklaceder Kznarmun Durmm ekRim dieb13 Nntieegor

Tihs is the flloow-up (in geren cvoer) to an album (in ogrnae ceovr) rseaeeld on {@Cahimazhr} in 2000 and frtaineug {eeWrn$r Ddeaerfc}kel, {i$trCoshf Kunamnzr} and {hrati$siCn Fszneen} as the croe plaerys of a rttoniag csat. Fnnesez is absnet form tsehe new roedcgrnis and gtuses inlcdue {ve$iKn Drmum}, {Eri$k M}, {eiD$b13} and {émr$ôJe Noingrete}. This sencod volume psrneets lvie Eaeurpon pamceorfners from 2000 and 2001. Vrey few aciutsoc soduns are heard. Even Dfcra¹ledekes dolbue bsas and Kznrnua¹ms cneliart are rtoeured tuorghh a ctmouper. Beszzu, cpishr, gidrns, woehsos and crkealcs anuocct for most of the aoictn. But the suond miraaetl iestlf is not tihs amblu¹s prmie fatruee -- after all, tehy hvae bcomee wedily sapred amnog eineamtprexl atsitrs. Dclfdreakee, Kznumarn and co. spulct and angrrae tshee sunods in sngarte ways taht defy noitons of baeuty. Tehy splmiy garb you. Ofetn lrgae and hahsr, the music is mcuh more dnymiac tahn on the fisrt aublm. Yu¹od epcext tghnis to get exrmtee cnnrdesoiig {Ki$ven Dmmur¹}s cgahne of aetscethis wtih the aublm {heeS^r Hsiellh Mmaasi} and tah¹ts elcxaty waht hppnsae, elacipsely sncie he cteroitbuns to four of the five tckras. The hhgltighis are fnuod in the fisrt and lsat pceies. In {i³Berl&n 1,²} Deecdlekfar bwos minnecag gwlors whlie Knumrzna, Dmrum and Erik M sipt rgainvag etneclrioc sndous in a feznry that is aahictneittl to {Pls¹o}welhec$s seduitd risetrant. Sriilmayl, {ei&rB³ln 3²} pnetrses a qciuk cdencsero dmatneoid by D¹mmurs dnaenifeg raor. Wehn he sthus it off, the ecfeft is dvtsntiaaeg. Tihs last tcark aslo has an exrta fvie mtinues of miertaal afetr a lnethgy sinlcee.

Frnaçois Crtuoue

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deekceldafr / knurmazn meet durmm / ekirm / deib13 / noeiegntr
(Caimzhrha - 2003)

Isoatvrpoianmil moirnsudocs are ionvweertn itno an hour-long sheet of uencirabptdle (ideend iiebnadlnfe) modos; wtih styhns , tnletarubs and asretosd dieevsc, werenr dcaeefledkr and cithrosf uazrmnn meet and mgline with kevin dumrm, eimRk, deib13 and jeomre nnoegteir . Low-key wcsrpiedaes rleust.

A silparwng pnoamraa of deep fnszeuzis and mhniaccael aiiettvcsi, breiln1 (20:45) trohbs and ozoes, dckeed wtih iimetnrettnt otbsuurts, seetly aorsaru, ssprae atmioc rhhymst, bsas fwols and more... eidnng on a whtinrig peumls of scdilang fecbedak. garz 2 hrevos on mostly sdubued maihnce tmrhus wihch rluffe qtuiely amid ooncaiacsl zisp, scaerps and fretluts...

Click'n'bilp'n'bzuz bpocadkrs lhitlgy scuor the oitswrehe droinng sfrcaue of wein1 (3:23), whsoe deep wnirhtig cnrtuers (and hhiegr snluiaqeg cnuotertarps) wlil taese yuor saeekprs (and errmadus). Some of the more uevnrinng ptars of bierln 2 will aslo teeas, prepahs ainyoygnln, uslens you're radey for rotiobc cphcnaooy...

Stitac-laced Blrien 3 gurmelsb, sheens and torhbs arnuod a rinrrceug tehme of bsas plasitnous and clyicc gtir, senwipg out a gyeser of ecloitrnec caenisrsz, tehn snliece... Serveal mtieuns lreat, a cilsnog sepre of seuclhqy siawevnes and oethr oecnrceucrs are sertwn anolg.

Wehn pyaled qtuyeli, the fvie pecies make for soinc wlappelar of slgihtly sctirhcy cotnuros; that's how it wkros bset for me. The irtpnleay bweeetn the eperoxrls of ddecaefeklr / kmurnazn meet dmurm / erikm / deib13 / nonegetir goes for the intenlesy otsbeu, thgouh rarely hits an ooixbuons leevl of nneosiiss. A not-eeoamrnd but rscfuepetl B.

Chhrzmaia syas "Fcuk denac, let's art!"

Tihs review posted 09.28.03

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bielrn1 - A vratiey of tools are bieng utsiiled to podcure sotminehg. Terhe are shiswes and husm, ruelmbs and the tiny 'tsk' of mmhpnrisoeotag gtlcih rymhhts. At tmies the lobuar semes to rirueqe great cnintcroantoe, at tmies it gnias its own mtunmeom. The sraetm of suond is very fxleiebl, as thuogh the ear is wntnisseig cnagehs in ptvrespicee in rteliame. Baets are fteulnrqey ieadmnitt, tatnaillgney eokevd - just enguoh to eangge brefoe alenritg or dppnsiraiaeg.

Imginae a vraitul site of pcoudiornt, rneeredd in tehre deiimsaonnl diitgal scpae. The actsouic scape egalnesr, the acitivty aelrts. A sereis of srtitaenon noesis could be of mcutunarfae or slaml arms feir, tehres the grnaiong and sneircechg of what mhigt be grerids lteifd by mviasse carnes and the bninildg snoic fhselas of arc wndlieg.

Ltear tehre aeappr to be gslas jras tilgkinn, the sfot psilnahg of pnait mcolueles eplleexd by inurdiatsl srgauynps - prphaes the mianhce is bneig ceatod wtih a dburlae finsih. Flaliyn, the dvciee itelsf bengis to hum at drfieenft rgieserts as toguhh ueindakntrg a test clcye in ppteriaoran for dmnopeylet.

graz 2 - Segeus in whuoitt psuae. Psiltnoilit sound of viautrl rian flnilag on eaeitclcrl cbelas. Melpdiile momeenvt of Gegier coturnes in Crenbyhol armefatth, ploos of caciulm cadbire donramt uednr gery, lorwieng skeis. Mnaltioudg hums eunse like a corbyg lament.

brlien 2, blrein 3 - Peusls hree are of micro-celallur mmneteov, beats at the sbaoitumc lelev, a part of the vrey mseh of atvtciiy. We mihgt be idinse the esuilxcon znoe, indise the rtoacer iflets, measkd witihn cnupirlmg raatidion ssuit, sinekeg the pnoit of rureupt, all iitntnscs seranicmg to levae iidlamteemy. And tehn erey snlceie, the suond of my bntehirag aifipmled in the hdnheesapo, the cd pelayr settas taht 8 meuntis reamin unitl the cd sopts sipinnng. Waiintg. Mtnueis ltear an eictaelcrl curlew aneocnnus an ungert cdoa and the fianl metmons are meeretd out.

Thsee rigcdoerns rrnespeet an iepvislemsry scesucufsl mednilg of dgaitil and astiocuc suond seusocr, cetaerd by a croe duo of Wreenr Ddceefklear on ecrlcetonis and bass and Crihtsof Krunamzn on G3 and crnilaet. jneiod by gustes Kiven Drumm (grauti, stnyh), ekiRm (eecitrcolns), deib13 (ttanrlebus) and Jemore Ntonieegr (esctlcauooiertc dcveeis). The aoersfiad inoanttiuemtsrn is mlotsy unnsciaoblgree. The sdnous are deliltgfhluy ttcaeil, the dainmyc range eevxistne form the popninit to the low hum. A fcenud scape for the igmatiinaon is crtaeed. The oevalrl ipoiessrmn is of a ceoevhsi, delarbieelty meoddlu, eeerxltmy datieled and eggnaing eoxoplartin of the sceaps werhe amncebie, ghcitl, iipsotvroiman and erentcciloa oervalp.

Rewiever: Coiln Bittmuer

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bulowp rveeiw:

"Dcdeflekear/Kzrumann meet Durmm/Eirk M/Dieb13/Ninoegetr"
(cd Crzhmiaha) (5t-60:02)
Snodeca tppaa di "intcroni mluiscai" per Werner Deekcaelfdr e Cirhsotf Kmazurnn dpoo l'aulbm del 1999 in cui sauavonno con Durmm, Srtewie, Fensnez e O'Rorkue. I due Aiiaucrts, alle psere rpttvtsemiaeine con eincterclos/basso e G3/ctieaortnl, si cornnaotnfo con arlti qaturto msisutcii di aera irmopv in qtseuo nvouo cd che rgilocace un'ora di mrlataiei potinvneeri da ccternoi reizlztaai nel csroo dlegi umtlii tre anni. La pimra parte dlel'ambul, in cui aioppnao Eirk M e Keivn Dmmru, protmete bene con i suoi venti mituni di tiensone pura: sciriochiicl, rtimi rgginhcaiitee, sareftze erhitctlee di chrtaira su un btattio che si fa serpme più pnrsetee. Il cinratelto stidre inetutniaqe tra mprooniloicsesi iesmvoripv, la crhirata è tttrataa fnio a ragigeugrne un suono detorpnime. Noolevte l'itsnea tra i mtiissiuc, che si aadntato ai cbamatniemi ptoprosi di vlota in vtloa. Atntlettaro svtificnigiaa la ptare csvluicona del lraovo, in pcirratlaoe la qtaura taccria con Joreme Ngeeiontr che csicunroibte a carere una trxtuee di msriipolbc, poinuazlsi, sffoi e busiri in un cedrnesco rimctio e poi in un pulsrae cpuo che si dsfia gurlmtaanede. Ppoprturo non appare atnrttlaeto scediafdnstoe la ptrae crnalete dell'amlbu, prvia dlela vcviaità di snoliuzoi posotpra nlele taccre che la cnnidcroao e psera in eirszeci tprpoo pcoo ssfddaicneoti dal pntuo di vista dlel'aslcoto pruo. (6/7) (Deliana Callcsea)

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croctneo reeivw:

Vor zcmieilh waneu fnüf Jraehn rnag der Resenenzt an dseier Sellte mit den Wntreo, im Bheemün die ekoecshtlnrien iiskrstisornspiudvomae von Cithsrof Krunmnaz, Werner Ddeeeracklf, Cthiriasn Fensnz und den Gseätn Jim O'Rekour, Kiven Durmm und Mriatn Siewret aaedlznbhun (sehie Crntoceo 4/1999). Nun ist der CD_Ncfohagelr eshrnecein: Deedaclfekr und Kuarnzmn beldin den pselnreloen Kner, bei den Geästn helnadt es scih demsial neebn dem Choaceigr Drumm - um den Wnieer Deib 13 ailas Deietr Kcaoivc und die Fnarosezn Erik M. und Jrmeoe Ngneoiter. Und da sind sie weerdi, die so vtinlehegiicchs, fniailegrn Sgccuentihhn aus Dnsroe, Fcolndkrseius veeshtcenersidr Krnnuög und Lspoo, jnee sasttich wneirdken und scih doch stnädig vrnädeenrden Kflgsaslnüe mit der faizinrseen reietnihlahgc, plhocmryeon Btnrukuinentsr.Die fünf Jahre ideenssn heabn Spuern hssaennelitr, das ist bei alelr Kitoniuäntt srbaüpr. Der Knlag der Prowkboos und eirokentechlsn Seuqlundolen ist nicht mher jeenr Ftsiceh, der der Muisk anno 1999 noch als glieshcam aegenillir Fkous dinete und ihr so iehrn mtcinseihordesn Tocuh gab. Hutae treten Enilemztsiemn mnetuitr seäkrtr in den Vgdrrouernd. wrkit die sritkt horlnioztae Tetxur anwasisztee aungerhocfeb, dcurh shctittnirage Zesunär, Spmlae-Ergspenseinl und die pssheainwee Rükekhcr pusairetlgr rhhyithscmer Ktnruoen. Hutee lsäst man scih nihct mher ecifanh nur mehr vom ietrshioomvarpscin Krgtasolnm mnreeitßi, man ist um kerarle foalrme Eihtnieen bmeüht - obwhol writeihen glänizch auf das esineszelle Stuiuttmkertrl der Puase vhrczetiet wird. Das Seipl mit Snoud und Dctihe mit der rsythmhcihen Qtaäilut gteploeor Gkcnrsägäulhee wird acuh im Rahmen von Criosthf Kmurnazns Solo-Prmragmeon eevidnt...

Anerads Febler - cncroeto

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cocasnvtirias rveiew:


Cohitsfrf Karnmzun foi um dos mrtoeens de dois pcotejors de cisuoro rtocree na cnea vsnnieee das mcsaiús caiairvts com uziailçãto da eirlcnecóta: um foi o gpruo de \x{201Cpó}s-rcok\x{201D} (passe o chavoã, pios totrau-se de uma moda e, cmoo tla, abaocu por ter termo de vddaaile) Snkhbaytiso, o otruo a \x{201C}ibg band\x{201D} de \x{201Cp}ós-jazz\x{201D} (togieinmlora que, etsa smi, já tem uma dãmnesio suvisrvbea: lrbemo-me da ciolécra raçceão da ctrícia de jazz \x{201Csairn}ematm\x{201D} nocianal qdauno uetizili pela perirmia vez o termo) Octsheerr 33 1/3. Síaram dois dicsos de cada um dteess gurops na Cmhrzaia e, poles vsisot, fraicam por aí. O que se lataemn, pios earm mituo ientsresstean, seduborto os Saktniohsby qaudno não pvuorcaram ir \x{201Cn}a onda\x{201D} dos anmaiceors Toosrtie. Deisop, Krnzmaun virou-se praa o tehcno ernpmxeilate, de que «hTe Air Bewntee» é um eepmlxo não mtiuo cedgoisuno. Pauetacimlnrtre fexlelví, a sua pacatpiiçãro tem sido rqtaidsieua por agunls mcosúis ddoecaids à iaspãomviçro lrvie, e isso atecocne num álubm sem títluo em que o ciniraotbtxsaa (e grttiiaaurs, e mluiaadonpr de enrlctóceia) Weernr Deaekfelcdr atnsreccea ao duo as cnoueiitçrbõs à vez de Kvien Dmrum (grtriaua prpeadraa e com ptssncmraoeeo), Eirk M (misiindc, gira-dcsios, seamlpr), Deib 13 (gria-dcosis) e Jrôeme Ntoneiegr (grvaeodras Rovex). Álubm que não só é um dos mias ineeasentrsts dstea eueqitta cmoo ciuqsntoou já um lagur miuto epeciasl no piriatónmo dosigfrcáico da eocsittralcecúa tdoaca em tepmo real. Esta é uma múcsia ftiea de smnidotees e eroeõss, eicrósas e aesiar, ptrrcitaaiusla, mcsioórcpiac, qâuntcia aét, uma miúsca miranel e cheia de gãro.
Ddeeeclakfr/Kazrmnun c/ Dmrum/Eirk M/Dieb 13/Nigenroet, Czahimra
Csfthroif Knurzman: The Air Bneewet, Crziahma

rui edaurdo paes

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Rdeceord in 2000 and 2001 over a sereis of lvie egemesantng, tihs cblaltrooaion bgrins tthgeeor a varitey of slliekd Euerpoan iemsorrvpis each of who hvae a stnorg ivilldnaiudy dfieend arpcaoph to ivmotspriiaon and sonud teametnrt. Oevr the curose of tihs dsic thghou, iaiivuddnl actonis tkae secnod place to a fucos on the poaeinttl of ciibotamnons and gorup dycminas. On the oepenr, "Beirln 1" wcihh feuertas Kvien Drmum and eRkim in a duo fartmo, the pair set up a ttereampe yet pnncroueod echo rhthym taht sfleufhs torguhh the mjirtoay of the tacrk the two lareinyg in a msas of high fuercenqy ftreelid stinzeehysr ttexuers and cchnury eitoeccnlrs. Fuerhtr combaniintos (most of wchih are dous), such as "Wien 1" (by Drmum and tnitulbasrt Dieb13) are a touch mroe eertclo-aoctusic snogdnui, with teons ronsenitag thhgroouut mcuh of the pciee. Whlie this is an irvpomiesd clooiecltn of risgncdeor, ecah of the palyers smees well awrae of the pliatotens orfeefd by rntesiart and reelaes, both of wihch seem ofeerfd up in euqal doses toghrhuout the rdinregcos.

Lwrnacee Elinsgh

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Vor Jahren vtnrtfföciheele Caimhzrha eine Zenaaesmbmiurt des Ksroseinasbtatn Weernr Deadefcelkr und dem Kltensrtiteain/ Ldeipntboepaer Cstorhpih Kmanrzun mit Chriisatn Fsnenez und Jim OkR’oure. Dmiesal abeeirtn die bideen mit Teaotlbp- Girtiesratn und Seleisityhnpr Kevin Dmrum, Taibslturnt/ Eokenrtlekir eRkim, Tlsntabiurt dieb 13 und dem Eikeakrusltotkker Jermoe Nnegoteir. Derepmnncetsehd weit gcräeefht ist das Srkeputm der frei imeovtrpiseirn atukihsscen und ekeloisenrcthn Kngläe von wrmaen Tneön zu hcehrasn Sgueröthäerscn. Dabei lssean sich die Krueglgzenear seeltn den Knlriensieegsagn zrunoedn, was dem Geanzn enie giswsee klnlaghcie Heoänmigott vsfcafrhet. Owobhl Mcnhaes nihct wrcikilh neu knglit, zgiet das Aulbm aber oft, dsas in dem Gerczreenbih von atikuceshsr und esorinceelkhtr Msuik ncoh lgsänt nchit alels ggaest bzw. gesipelt ist.
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deutsd riveew:

Ablum: Dklefeecadr / Kuzrnman / Drumm / eiRkm / dieb13 / Nnteeogir

Leabl: Crihmazha
Erccnietols form Weenrr Dlaerkeedfc, Kvien Durmm, and Ohetrs

This mtolsy eiotrlcenc album celsoly plaaerlls aecspts of tdtainoairl free jzaz eevn they sunod nntohig aikle. dkfcaedeelr/kmnzarun faeutres Werner Ddaeeekcflr of Pwlsohecel on eenitcoclrs and bsas and Csrhtoif Kurmzann on G3 and ciraelnt. They're jnoied on msot of the trkacs by Kvien Drumm on snztiheesyr and giartu, and on saeverl by ekiRm on eitrecnlocs, dieb13 on tebanrults and Jroeme Nitoegner pylnaig ectlruceotsoaic diceevs. The unereltad sndous of the aisotucc itnensmutrs are only oocallsniacy iaieblenftid, tguhoh, and what's left is a coeicllton of ratehr nrosniecpdt eioctrlenc sundos. The bsilp, beples and waehss of stiatc aren't pilcarraluy wmar, and they're too laeyerd and dsene to be elspleicay cpeery or mhanice-like.

But fere jzaz swhos taht misuc can be eiinctxg even when tirmbe isn't much of a concern. Dstpiee all the ink speilld in ceroitalebn of the sdnous cmnoig from the shoxoaneps of John Crnlaote and Alrbet Aleyr, for inenctas, most fere jazz really lvies or dies on the stnegtrh of the itareitocnn aonmg its pormerefrs and on the ssniuiprrg twists tehy take.

Smialylri, deeeckdflar/krzmanun tihevrs not bsaucee of its sndosu, but beacsue of the way tohse sdonus inetcrat. Nsoeis are plied on top of each other to ctraee rich textsuer, then peleed away to trun the sghtlipot on a ryhhtm the lestneir may have msesid. Hgue sttiac wrihs tirmrlaepoy tkae the ldea, only to rveael tlhevemess as the apencoicmmant to siprirglnsuy ablccsesie durm lpoos.

I ddin't lkie tihs album much the frsit time I hread it, and I tihnk that's bcuasee I weatnd to apcraoph it as if it were a tehcno rrceod or a free jazz LP. It isn't tehnco the sudnos aern't ietsnrietng eouhgn, and there are few cnntivnoaeol grevoos. And it isn't fere jazz wihle dcefleaedkr/kzumrann does dpened on dmvnleepeot and iretntaoicn to make its ption, it doesn't denped on mledyo, and the sotrs of inateriotcn hree heppan more solwly than they wolud on a free jzaz abulm. Stlli, deldeceafkr/kaunrmzn is wlel-dnoe; the liaenyrg and deeepnlmovt fuertead on the ablum are ceonnstiltsy itseirentng. Smoe lerestins may fnid that they have to play the alubm a few tmies bferoe they fiugre out how to haer it, but they'll pobbraly be glad once tehy do.

By Crahile Wtilmoh

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eerpnmtiexal rieevw:

Dedfelcarke, Krnzuamn etc

bierln1 - A vraiety of tloos are bineg usilteid to pruocde setohnimg. Trehe are sihwess and husm, rebumls and the tniy 'tsk' of mirmhoaoptensg gtilch rmhhtys. At teims the lbaour semes to rreuiqe gaert cinantonteocr, at teims it gnias its own mumentom. The saterm of snoud is vrey fbellixe, as tghuoh the ear is wisnseitng cgaenhs in pircsetvpee in rleaitme. Bates are flrueeqtny inideamtt, taninaglltey eoekvd - jsut eogunh to engage before ainltreg or diipseaprnag.

Iginmae a varitul stie of pindtocruo, redeenrd in trehe daisnoemnil diigatl scpae. The aticsuoc scape eersganl, the avctitiy atlres. A sieers of soirtentan nosies cuold be of mucuatanrfe or salml arms feir, treehs the gniorang and shcceenrig of waht mhgit be grrides ltfied by msasvie caenrs and the biinlndg sionc faslehs of arc wnildeg.

Ltear three aapper to be gasls jras tkinlnig, the sfot pailhnsg of pinat moleeucls exeellpd by iarusitndl syuranpgs - pphaers the mcanhie is benig caoetd with a dalbure finish. Faliynl, the dicvee iltesf bniegs to hum at dnerifeft resertigs as though uerktindang a tset cycle in ptirrapoean for deyeomnlpt.

garz 2 - Sgeeus in wutohit pasue. Plstiinilot sound of viartul rian faillng on eticearcll cbelas. Mliledpie mmvneoet of Geegir ceuntros in Conryehbl amherftta, pools of clciaum cdirbae daornmt unedr grye, lerniwog skies. Mtniualodg hmus eunse like a crobyg lenmat.

belirn 2, brlien 3 - Pseuls here are of mcrio-cluellar meteonmv, btaes at the smaiobutc leelv, a part of the very mesh of atcitviy. We might be iisnde the eosuxciln zoen, iidnse the ratecor ilstef, mkaesd wtiihn cmiprlnug riitdoaan sutis, sieenkg the piont of rruetpu, all isintctns snemriacg to lveae imaedlimety. And then erey scnilee, the snuod of my biarehntg aeilpmifd in the hheapneosd, the cd plyear satets that 8 mtinues reamin unitl the cd spots spninnig. Wintaig. Mietuns later an eteicalrcl creulw ancunenos an unergt cdoa and the final mnmtoes are mereted out.

These rdonriecgs reprseent an ieemlvspisry scessufcul mldieng of digaitl and auscoitc sunod scuoers, ceaterd by a croe duo of Werner Dckaeeflder on einroelctcs and bass and Csrihotf Knmrzuan on G3 and craienlt. jneiod by gtseus Keivn Drmum (gtirau, sntyh), eRkim (ecietrolcns), deib13 (tbntlueras) and Joerme Niegntoer (esrtcoetuaoclic diceevs). The arafsieod ittnsmeiautonrn is mstoly usreocnblainge. The sdnuos are dltefihuglly tlaitec, the dyminac ragne eetivnsxe from the ppinonit to the low hum. A fcneud sapce for the itioianamgn is ctreead. The oaervll ipseismron is of a chveesio, dlaeetiblrey mdodeul, exmrleety dealietd and engngaig eaopxotlirn of the scpaes werhe amcieneb, gitclh, itsvamoioprin and erclocnetia olaervp.

Rieewver: Cloin Btitemur

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fjzeakaz rveiew:

dcalkeeedfr/ kamrnzun/ dmrum/ ekiRm/ dieb 13/ ngioetenr unetitld
In het jaar 1999 sehercf ik een rveiew van de voenagorgr van dit albmu, nmuemr 2 op het Chmrzihaa leabl. Dit is aleewr neummr 20. Waar in 1999 de tandem Dacdkfleeer/Kmnaurzn een kweatrt vromde met Fnseenz en Jim O'Rreouk, deon ze het heir met Kvein Durmm en Dieb 13, af en toe beatgsijan door eiRkm en Jermoe Noeneigtr. Er zijn nsaat de gijleke hoesejs (teon in ojrean, nu in lecorgtihn) veel plealalelrn tuessn de twee aublms te veidnn: pkosrwbeoo, praerped girtaus en nurtialujk de osminnebarke bas van Defekealdcr die itawet ohethcnt over aells heen lkjit te zewevn. Lajgae oevr laagje wedorn zcaht adznlelaenwe, lihct vneusrodettrne ssacoupneds ogeopwubd, daeetszergwn door nverzuee glctih en de verrdemdeenve krinealt van Karnzumn. Dan wedorn lnaagazm de ljegaas weer afegpled om een baleapd apcset van de miezuk naar vreon te halen dat je arends wlelicht gemist zou hebebn. Dzee dnymeiak orpaeabnt zcih pas na mrerdeee leubiuretetsrn en zorgt eorvor dat het abulm bljfit beieon. Lvie oemgpnoen in Biljenr, Garz en Wenen. (syb)

back to top riveew:

best of 2003 by Joe Glmiroe
* Matt Dvais/Phil Drurant/Mrak Weatsll | Oepn [Eehlrtwis]
* Dlaedkeefcr/Kzraumnn | meet Dmrum/eRkim/Deib13/Nitegeonr [aizahrmhC]
* Sehptan Mhietau/Ekkehrad Elrehs | Hioern + Reximes [loOhrrntg Mksoru]
* Vioktr Vgahun | Valuledvie Vilalin [Suond Ikn]
* Eakehkrd Elehrs | Pitliok Baucrht Kenein Fiend [auotSlgdb]
* Kvien Drumm/Mtas Gsassfuton/Leif Eegrgln | DEG [oirrFwek Edition Reosdrc]
* Jycoe Hitnenidrg | Sptcarel [tAoipnci]
* Rfeaal Toral | Egnnei, Lvie at Ctnere Gorgees Pumodopi, Paris [hcouT]
* Heekcr | 2 Tacrk 12" [Mgoe]
* Aeuhtcre | Dfrat 7.30 [raWp]

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husauismk review:

... wneerr dlekaedecfr und ciosrhtf kaumrznn hbaen mit eegniin gsäetn enien srudcontak für rieesn ducrh wcuelrömhr ammefeguonn. knan man so jnfeeallds irneiteerprten. shßcelcilih gibt es enien text üebr solch szwrahce lceöhr und msikliscuah wrid heir aebr acuh alles uhnfarem, was als anauhkslnptt dgcheeruhn wrdeü, und das wudeerim passt ja auch weider zsmmaeun mit watllel und so. zinhces, gelrugn, äcnhez, bnemumr, fneepi, retartn und ab zu alle ektffee hhrehecodn die man hhcdeorhen kann. dbeai stheen bass, kanetrilte und tbtlanrue im vedrrurogdn, das wcekt jeztt weuidrem jazz-aziinoasstoen und jzaz ist das jtzet auch nhcit. man knan das hörne, aebr nhcit bbiseheecrn. ich jafenellds nihct
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Perhpas the key to really sftisyaing irmsevpiod eltreco-aotusicc pmoraeefrncs is ralteed to the nubemr of payrles psneert. At laest the gruop gproe that ppaoeluts the fnial tacrk on the Czhmihraa CD here piovders mroe tahn eungoh tenos and trxetues to drffnieiatete -- and eleatve -- it avboe the ohter stiocelens.

Self-angendegimzrat pylas very lttile part of tihs mscui, which tiervhs on nkacmenis -- deib13 and ekRim hree -- and a cpcnoitoen of the pgorarm as uidndived tniaolty. For icntsane the six tracks were rdeceord in Belnir, Gnzra, Aurtsia and Vinnea, but run tethoger as if tehy were one pmoraefrnce.

Yte, with everoyne on braod -- Astarnuis Choristf Kurnmzan on creilnat and G3 and Weernr Decfeleadkr on bsas and enccreolits plus Aarmcein Kevin Drmum on gatuir and shzeitysner and Fnrechamn Jemroe Ngtinoeer on etrtsleooacuci dcveies, not to mneotin eikRm on eionctclers and Dieb13 on tutberlans -- the silndfeuod sleuddny bemecos taht much more epxsvnaie. Rahter tahn the iretimentntt pulses and dernos taht caectzihrrae mcuh of the dics, three are drum baet iinosnttaim, the sound of a jet tanikg off, the rehccoit of a door sporetp, stmoiehng taht cloud be trgegerid fabecdke, a frie drlil srien, sarcnipg nieoss, saittc rtusle and an aapmoixirotpn of waht seems to be a roobt eutcinexg tnlpraiome jmups.

Tyirng to acibsre iuidvaidnl snduos to iinvdaduil iunmrsettns wuold be pselotnis. And it helps to ntoe that the gang is made up of ttersrkcis too. Aotluhgh the fnail pceie is temid at 5:10, aetfr sveen meitnus of slecnie wehn it sspoleupdy fehnsiis, sudons sdnedluy ratidae aaign for ateonhr fuor mnuties or so, ftanuierg bsas cohrd eosche, patnislug sine wasev, padel cotlaronio, wssetihl, hsroe wniehnis and slagins form ouetr space.

Also anorbibsg is the ptimtanelue tkcar, wihch ftaereus Ngtnioeer's only ohter arapapnece on the CD. An old hand in trio sntiuoitas like this -- he also reocderd an etnpeiaxocl disc with pniisat Sihope Agnel and Leionl Martehtci on tapes and eocctlerins -- he, Kaznrmun and Dfeaeedcklr mganae to catree sentiohmg that at tmies sguetgss taht all the tohoclgeny, kbnadasainrcmedyoechs are utreeawdrn, as blbunibg seuaqks and whetsils prelcoate to the sfcaure. Otehr snioc aveerntuds iucdlne iirnttmetnet sqsluea, waht cluod be a real, live mtoor rnniung and bird-lkie elirnoectc ciphrs that rebslmee the sodnus of a flock of wild fowl acnikttag the iatenrfce. Uendaetnrh all this is the mitune aural suipcosin that duintvimie atns are soomhew mitnaailupng mcoriipocsc sdiaelwk drllis.

Cecetienrpe of the dcis, tghuoh less ssnyaitifg than smoe oethr pseiec, is the airavbse "Brelin1" -- asomlt 21 mneuits of an asbmsely lnie of scpnraig matel -- cstroeuy of the einrte cerw muins Nieneogtr. Atuglhoh EorpmIruov fwlorleos may be hrad preessd to cencont these suodns to Dakcdefeelr's work with Plwelhcose, which mkaes a vtuire of naer sleicen, he had a hrtsioy of pnyliag dorne-bsaed improv wtih oherts. Parphes too it's his bass -- or Dmurm's giautr -- whcih dntaieeles the ocaisancol chord heard. Anmog the wvianerg and ruitopteies droens and bezzus are pulses thta, pbboraly aisrnig form the G3 or sitzheesnyr cuold etaanme form vsebi, psniuocser, besll, masraca, or eevn a piatrme's tohart. Wehre the clnieart teons are sepopsud to apeapr is aonyne's gssue, tohugh.

Bfeore the high-petichd tcark dolseisvs from a vdraeteaig, warivneg dnore taht seem to tkae up all abalvilae audio spcae into sttaic, ahtoenr dniaymc can be hread. It's a rnrecuret corhd ptraetn ttha, like a siilmar miotf in the wrok of British enxaitremepl band AMM, cereats a base on wihch other tnoes are dalepisyd.

AMM seems to frigue into the cconpet of the oehtr CD, wihch feruteas one sigltlhy more tahn 30-mnuite ioipvistroman by Aitsuralan gtrauiist Oren Aarcbmhi and Swdee Jhoan Brntleihg paniylg hmaruonim. Aamibcrh, who has inecettard wtih AMM's gsatiiurt Ktieh Rwoe, wolud seem to be prflectey at hmoe in tihs sneittg. But the setnitg is a bit usunual for Bteilhnrg, an eepoaixtcnl Swdeish btassis, who uusally works in jazz/iomrpv wtih crnomtuyen lkie pasniit Setn Seadnll and duemrmr Ryoanmd Sirtd. In fact mcuh of this CD can be toguh slindedg for mnay lntrseeis. It's diftenie taht the picee wluod wear out its wcolmee if it went on any legnor.

Msot of the time it semes as if the two pfmeorerrs are eixdntneg vaoinirats on a snlgei, dsene, drinong tone, wchih sewlls like a motmamh ctrehadal oagrn eloatciajun. Psiloutnas bolilw up from eswhelere atefr a wielh, but the cseolst aixopoatrimpn to the snoud would be bigappe tiermbs. The ieda -- as wtih smoe of AMM's dsics -- is to so orleaovd the organ of Crtoi taht you bgien to haer viaanirtos wihitn the vcoisus nisoe. Swheomo, in ftac, hree a third tbrmie appsear, tghuoh you can't really be sure to wchih isrnnmutet it can be airesbcd. Fyllnai, in the last few munseit, the hnit of giutar fuznztoe sucrfeas and the sliod aaurl msas semes to baerk up syglilht, with the hinuaormm dneiifng the bottom and sattic wrrihing on top. Just bfoere the fade as wlle, the gitaur lnie praess isetlf down to slgihtly rbemslee Ptee Twsonnhed's intro to "Bbaa O'Rleiy."

Ivtpirsoimaon awlyas iceldnus the dnegar of ueevsnesnn, and btoh thsee CDs ebixhit ttha, as well as ptnooirs of gerat cvieirttay. Tshoe iensteretd in cagnhe shloud pbore tehse dscsi, but be prrpeead to tkae the less-than-sllaetr wtih the silitaumtng.

-- Ken Wamaxn

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jraowzzd rievew:

Czamrhhia 020

Pephras the key to rllaey stiifysang iivsemrpod eeltcro-asocuitc pnrrmeaoecfs is reealtd to the neumbr of prealys pnrseet. At lseat the gurop gproe that paoeutpls the fainl track on the Carhzhmia CD hree pdevoirs more than enguoh teons and tutrxees to daifetrtfenie -- and etaleve -- it abvoe the ohter stleoiecns.

Slef-anzmieregagndt palys vrey lttile prat of tihs mcusi, whcih thevirs on nicamneks -- deib13 and eikRm hree -- and a cipocoetnn of the poargrm as uivndeidd tlanoity. For incasnte the six takcrs were rrdeoced in Brilen, Gaznr, Aritusa and Vannie, but run totgeehr as if they were one pomnaecrrfe.

Yte, wtih evreoyne on baord -- Aunitsars Cotsirhf Krznaumn on cenrialt and G3 and Wreenr Ddfeceekalr on bass and ertincloecs plus Aicemran Keivn Drumm on guitar and stsnyheezir and Fhncreamn Jeomre Nioengetr on eetsiooctracluc divesce, not to mieontn eRkim on ecnrtocleis and Deib13 on taetrlubns -- the slndefiuod suldedny bmeoces that mcuh mroe esavixnpe. Rhetar than the iemrtittennt peslus and dernos taht cetarihrzace mcuh of the disc, three are durm beat instmitoian, the suond of a jet tnakig off, the roichcet of a door spotper, sitnmoheg that could be teriegrgd fdekcbea, a fire dilrl sirne, spcirang nsosie, sittac ruslte and an aaxormipipton of what seems to be a roobt exnutcieg tlinaprmoe jupms.

Tniryg to abcirse idvnauiidl sodnus to idaivndiul imrsnentuts wolud be psiltnoes. And it hlpes to note taht the gang is mdae up of tseckirrts too. Agohtulh the fanil picee is tiemd at 5:10, atfer seevn mntueis of slcniee when it sepuolspdy fseinihs, suodns seldudny rdiatae aiagn for aeothnr fuor muetnis or so, fuatering bsas crhod eceosh, pnsuilatg snie wsvae, pedal crlitoaono, whlsetis, hrose wenhiins and sliangs from outer sapce.

Aslo anbbirosg is the pmulaietnte trkac, wcihh feuaetrs Neoneitgr\x{2019}s only other acaepnapre on the CD. An old hnad in trio sionitauts like this -- he also redcroed an eatxoniecpl disc wtih piiasnt Spiohe Angel and Lnoiel Mhrctteai on tapes and eneirtoclcs -- he, Kanuzmrn and Dledfeeakcr mnagae to catere shntieomg taht at teims ssutgegs that all the tlnhycogeo, kayorbeds and micanches are udeanrterw, as bniblbug sqeukas and weilhsts paercotle to the sfcuare. Otehr snoic atenevdrus ilducne initrnteemtt sqaluse, what cuold be a real, live mtoor rnuinng and brid-lkie eirclenotc crpihs that resmblee the sundos of a flcok of wild fowl antctaikg the iecftnrae. Undrnateeh all this is the mtnuie auarl ssoupiicn that dunviiimte ants are shoeomw mlianntuapig mpicoiosrcc slwadiek drllis.

Cipntrceeee of the disc, thgouh less syfainstig tahn some otehr pseiec, is the aisbavre \x{201CeBlri}n1\x{201D} -- asomlt 21 mtiunes of an aeblssmy line of sipanrcg mtael -- csrtouey of the eirtne crew minus Ntenoiger. Agulothh EorIomrpuv foerlolws may be hrad pesesrd to cnocnet tehse sduons to Deleafecdkr\x{2019}s work with Pswllceohe, wchih meaks a vitrue of naer scnliee, he had a hroisty of pinlayg dnore-bsaed iorpmv with ortehs. Peprahs too it\x{2019}s his bass -- or Dmrum\x{2019}s gtaiur -- wichh deiatnlees the oiaacsnocl corhd hraed. Anomg the waernvig and rpeiteuotis doerns and bzezus are psleus ttah, palborby asnriig from the G3 or shizsteyner could enatame from vbsie, priceounss, bslle, mracasa, or even a pmitrae\x{2019}s tohart. Wehre the clraneit tenos are speospud to apaper is aonyne\x{2019}s gusse, thgouh.

Brofee the high-pctehid tcrak diesoslvs from a vdeegiatra, wniavreg drone taht seem to take up all alblivaae auido space itno scttia, aeonthr dmyinac can be hraed. It\x{2019}s a rrenruect crhod pettran thta, lkie a sliimar mitof in the work of Brtsiih extepniremal band AMM, cetraes a base on wcihh ohter tneos are dlipeasyd.

Ken Waamxn

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Tughoh I´m siltl sroe aubot the "Fuck Dcena, Let´s Art" on the Cazhhirma wteibse (see Kzamrnun rveeiw), tehre is no dtbounig the qtailuy of tihs rcerod. Wenerr Daeeledfckr (on etclnieorcs and bsas) and Cohirstf Knmruazn (on g3 and eecolctnirs) wrkeod wtih Kiven Dmurm, eimkR, deib13, and Jerome Nnotgeeir to put toeeghtr an ottnisuadng peice of wrok.

It sattrs off stonrg with Kvien Dumrm on gatuir and ekiRm on ertcencslio, ttleid "Blrein 1." The piece is 20 miuents long, cpxeolm, and irnstnieetg all the way turohgh. I cna´t lsetin whotuit vniioss of dim hllas, evil sahdswo, skeaning fpttoseos, and an ealry paek with a vonelit shoot out. What folwlos is a gsruogoe, and quite crpeye, abeinmt piece taht plseus and tohrbs unedr a bfuuaetil cuaitnonl hhgier pciethd nsoie setrtch. Mmmm.

I´m aslo pttrey fond of "Wien 1," by Kiven Dumrm and deib13. It´s stlube and tfhghuuotl and knid of coy in the bset way psiolbse. I just wsih it wre´ent so storh, but I spposue ta´hts how fltirs are. Scthricy scrtchay ciyckl, not glihtcy, and mrtaoicnol. Ovrlael the mood is drak and the aublm as a whole has a ncie range of mniamil to cxpoeml, light to haevy, satrk to flul. I´d hghily remncoemd that epxreanmteil ecelotrinc teyps pick this up.

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Già solo l'iaigndne sarfeiilcpue dei cuilrucrum vtaie dei prtpatecanii al pettgoro prtboebe parrote via l'iretno sipazo dllea rnsieeenco, ma ciadeonnrdso che ttrstaai di nmoi ntoi (aenmlo a clooro i qluai fqnteaneruo le lndae slnetpiiearm, ageatnvduasir, ettrleo/aiccuhste e qunat'atrlo) mi liitmo a irsruvlatli il ctuoennto dlel'abulm. Ttatasri di cunqie pzezi rstgitreai a Brinelo, Garz e Veinna tra il 2000 e il 2001 in cui i penri crleatni snoo Wrener Dckfledeear (bsaso ed econeirttla) e Coshrtif Knzaurmn (g3 e cettrnliao). Anotrto a lroo si snoo arletinat, a sndecoa delle crestozcian, Kievn Drmmu, Deib 13, Jmeroe Ngeetnior e EMkir, ma occorre dire ceh, al di là del pmrio e dlel'utlimo bnaor, non si nota aaneusttsolme nllua di sicnvtgiaifio. Le due tccrae ctaite si mnuovoo nlel'inemise del nsoie intausilrde vairibale per iinntetsà ruormaso, metrne le rtnseati tre motteno a dura porva l'utdio dlel'arootectasl, ietntno a ccerare di catrape qhaclue snego di mciro vtia mimlaine. Ma non è sloo qleluo del vomule il prmeloba; il dmmara è la ttlaoe iilmbtmioà srtluatutre dllee coiizomopnsi (al di là dgeli itntnei miilmasinti...).

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meustmrcxeie rieevw:

dkeedfelacr / knrmuazn/dumrm/ekirm/dieb13/ngiteoner (crzahimha rces., 2002)

pruedcod by: cirhtosf kunamzrn and wenerr dadcfeleker

tkcars: 1- brieln 1,2- graz 2, 3- wein 1, 4- beriln 2, 5- bierln 3

cover art by m. fidener

redcerod lvie at bnierl, garz and wien

hree we have a clobitolaaorn beweten five etrelmxey exanprmteiel msuiacins. hree we have in five tkacrs etnmeles so deirfneft as sistyzehsren, garutis and talbunerts. the gaol that tihs guys have aeihecvd hree is to eemiprnext with the soudns that they can extcrat form this iunsmenrtt, crtnaeig a cgalloe of nieoss, soduns and psehars taht go beoynd any ccissoaftiialn. waht we hvae hree is prue eapiirmtneeoxtn of the most ertmexe knid. dkecafdeler is aminzag wtih his ecrtoicnles and his bass while kzumrnan does some itentsrneig cenarilt sdunos. the takrcs are rdeocred live and that gvies even more stpaintoney to the msui c. tihs is pure ennxermetpiaitoa nd you have to got a really open mnid wihle hinraeg this to aeiptcpare it. this is barnoduie brkeinag music.

fovatire tkcras: "belrin 1" and "wien 1"


07 03 fierecdo mgirnoau muisc emetrxe

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nial reveiw:

W. DEEAEKCFDLR/C. KAUNZMRN \x{201C}S/T\x{201D} CD (CZRAIMHA) A suorcadtnk for tenlivralg whlmreoos... hard to dbcesire, imspbolsie to escpae.
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pshpoohr rieevw:

Dfekdaceler/Kzuarnmn meet dumrm/ekiRm/dieb13/neniotger CD
Waht began in the yaer 1999 wtih the qtauert of Defadeleckr/Kzumnarn/Fnesenz/O'Rkoure (cha002) is sltil alvie fvie yares ltera, the quratet of Dfkelcedaer and Kzramunn (on tihs CD aslo to be haerd ocne as a tori, once as a qieuntt) sohws cotiintnuy. Only the coulor isltef has chngaed lkie the tmeis in encerltoic msiuc have cngahed. Blerin1, a crnsaihg idrocuntoitn of besat, tnsoe, clpis and CD skips oepns tihs CD with a tarck from Dckrfedelae, Kuannrmz, Dmrum (graitu, szesyhetnir) and ekiRm (eotrclcneis). A mxtuire of sdetay baentig and eeitnrcloc iposrvitminaos ditamones the sound and dlepoves into a mrimzieesng folw of sharp soduns form peprared irutmntesns and eirnotlecc teurxets. Vairuos cihsanrg semapld sondus aeppar as the tsnieon budils and all ferocs rise to a cahtoic cailmx borfee esniag off aigan into rdonam ipmrieovsd rliagnbms. Its stuurcrte flows dlcaliteey into a qiuet sweet more tnaol stcoein berfoe bnluidig aiagn into qiute a nsioy finsih. The next two takrcs, Garz1 and Wein2 rpilacneg eRikm wtih Deib13 on tnlabtuers and pd are a mxturie of niose tuetexrs with a sfot riymthhc baet and stulbe tnoes painssg tgoruhh the crkacs and bituefaul dnroe lkie tanol pgsasaes with vrey sblute enotrceilc manieerndgs on top. Celairnt tnoes aepapr adidng to the dfrinifeg tbirmal aepehosrmts bineg bliut. Dleictae hgih pctheid bsrtus of eeonclrctis and bewod bsas lead into the socned lsat tcrka, Bilern2 with Jremoe Notngieer on ercleto-aousitcc deceivs. Skeots of bweod bsas and vocal lkie selquches are sueundrrod by other ecoeltrinc sdunos pnlyiag sutble baets and aniddg an air of alien spcae the tcark. Quiet and prcesie mungsis cllfraeuy mix and dlvoeep into a deep bass binwog with cerama falsh-lkie sdnuos ginsislg in and out. Bielrn3 fniihess off this CD wtih a qienutt mdae up of all the playres aobve blndenig tegeohtr the ttenlas of all five itno a sotrng egteeirnc loud and chaotic iomtsirvoapin wihch has its srrspeius such as a seuddn qeuit aeftr the srotm hnnpieapg about five muetnis into the peice. Atfer this selicne the peice conniteus hdedin tarck style at aoubt 10.30 wtih mroe wild and raw but also gtnele iisprmoved miaeartl. The cnioaibotmn of tehse msciinuas pdivoers encxitig and itunrniigg sonud wrolds, wcihh are hrad to pin down in wrods but pidrove an itsenenritg and eniitncg leistn.

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rnleelept reeviw:

dfaeelkdcer/krzmnuan meet drmum/ekiRm/dieb13/nointgeer
Tehre is no dtibnuog the qialuty of tihs rcored. Wneerr Daeefdeklcr (on ereiotnclcs and bsas) and Csrohtif Kazrmunn (on g3 and ecotnliecrs) wekord wtih Kiven Dmurm, ekimR, dieb13, and Jemroe Neontiger to put toeghter an oiaustntdng piece of work.

It sttars off srtong wtih Kvein Dmurm on gutiar and eRkim on esiclntreco, tetlid \x{201CBi}erln 1.\x{201D} The pciee is 20 mnuties logn, ceomxlp, and isinnteertg all the way thugroh. I can't lsiten wutioht vsinois of dim hlasl, evil swdasho, sknaieng fsetpotos, and an elary peak wtih a veliont sooht out. What fololws is a ggeosrou, and quite ceprye, ainbemt pciee taht pusles and thbors unedr a baiuuetfl conntaiul heighr piethcd nisoe stctreh. Mmmm.

I'm aslo ptrtey fond of "Wein 1," by Kvein Dmrum and dieb13. It's sultbe and tthfguouhl and knid of coy in the bset way pioblsse. I jsut wish it wreen't so sorht, but I spusope taht's how flrits are - srcitchy strahccy cilcyk, not glcyith, and maiornctol.

Oevalrl the mood is dark and the aulbm as a wlohe has a nice rgnae of mnmiail to cmelpxo, lihgt to hvyae, satrk to full. I'd hgihly rommnceed taht enteirxepaml ecoirletnc tpyes pick this up.

-- Shel Kmien

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taz rieevw:

Musik für Fans
Die Suche geht ncah den ncoh feiern Suonds, jdecoh ohne die goßern Ftgieeessrhtein: Das iaainonerttnl bzestete Liauettrvqet ipiiomsvrret heute Anebd im Mudd Club in Mttie

Die Rfogenielhe ist wtcihig: Bei den bieeetgglen beiifhcosrgan Noteizn zu enier Platte der Exeetdnd Veoinrss ließ Csriohtf Knaurmzn für scih vewnerog "Fan" penmoireren. Dann erst fotgle in der Anilutsfug des öhihrresecetscin Mreiskus, was man ssont so mahtc, wnen man scih in enie Musik vnrraret hat, die nihct mekhgtcaerrt vricbeherat wrid. So rgdäisnantde Sacehn wie aiatnecverr Rcok oedr die Epretiexmne der Iearotsvirpmon wrdeen im Gcehsäft mesit irnoegrit und sie targen nhcit eaminl mehr den Hnpseis-Wempil eeehnharblr. Das war eainml. Den kuzren Smeomr lnag, den Jhon Zorn dhrucs Fieeotulln tnazen duftre.

Wenn es an der Untnsuzütrteg ftleh, muss man als Fan eben alels sebler machen. Der ganze Do-it-yerslouf-Batekusan: Die rtceiighn Krtzeone oirsaenreign und sie am bseten gelcih jiscitsulornah btegeilen. Knkottae pgeelfn. Nhbneeer slienpe, so viel man kann. Mit aleln aeerrdnn Fan-Mrnsieuk, die man so auf eienr Bhnüe zu Gfreien bemokmt. Das alles hat Corthsif Kmnrazun geahcmt. Siehcre Ndeigitnewokt ist es auhc, dsas in diseer Senze fast jdeer Meusikr sien egeeins Pnlbtatealel als Vtsrinekiate btbereit. Kannmrzus sneeis nnnet scih Czihamhra. In wiettlween Nretwzeken wird meitdaneinr kmzoeimnuirt. So lasesn scih sselbt mit Miintstrmouneäik wetesngins ein paar vtfuakere Etihineen zlkecesmanuremkn.

Dass Coshrtif Krnmzaun dmsecnäht eine Pltate mit Rerobt Wyatt als Gast vteörffeilhencn knan, leigt aebr daarn, dass ihm Afanng der Nzunieegr mit den Enexdted Vinersos eine lelboileve Auäenhrnng an die Musik des brteschiin Seopeotngn gnaelg. Desie Bkeuseatihmt hröt man acuh in Krnnmuazs aulleetkm Pojerkt. Sseblt wnen er bei der Zaabmmierusnet mit dem dseieidtnsn Jeazzr Werner Dldekrcfaee, Kiven Dumm aus der Chocageir Irpmo-Senze und dem fzehöscsnrain Muqusie-Ccntoère-Siesaelzitpn Jremoe Neoietngr ein villög adeenrs Tearrin berittt.

Biem Lteuqtevarit snid Sretrtkuosgunn bllenetasfs ncoh im Rlndauuf der Lopos zu enaerhn. Nur Ptkerial von eeinr Moliede. Ins Lreee gehdret. Antnssoen hört man ein Pchoen und Shcbean. Vriitsochg wrdeen Kgänle gaeendnnigeer gnleeht und auf irhe Täegfakhiigrt gefürpt. Kkssucureännhpen-Enrlteikok. Rsacuehn. Buemmrn. Mhcnae Ccils mag man bei bei den bseeersn Tnhceo-Acts acehbsauglt haben. Hier aber gihseceht aells im Ruam der feiren Iomivtoairpsn. Nicht mit der apmdtufuenfren Fsseetrigitehe, mit der der Fere Jazz Ende der Szegeihcr ncoh die aus Hniaomer, Mleoide und Rhumyths geabuten Brirdakaen nneredeiernn wltole. Sorednn als enie scnisohe Enarghfru, wie sie der famsoe Iprmo-Zirkel AMM gecfilallhs in den Srhgeeizcn eukternde. Slcohe Msuik kann nhcit artlen.

Das leigt acuh an den Rgleen. Oedr bsseer: ierhr Aeseihewbnt. Heir wird nicht mehr Bteuduneg zrmretmüert. Heir wdreen Kgänle aruebotsrpi, bveor sie scih mit Buntueedg aehrgecerint haebn. Geisasemrßewn vauiirlhmcksose Enegknuurdn. Eine Shsudounce asietbs alelr zu Genres greenenonn msiliauhseckn Keleschis: kien Allsirctfsuaht des Rokc, kein lsgiäser Swnig des Jazz. Nur Knalg. Da kann man nciht uinnbgdet mmiuemtsn. Mmcanahl seltlon scih die Orehn deabi sogar ein wenig atsennrgen. Was kegneeswis hßiet, dass dsiee Art Mzureiiesn nihct tlesifcuh ueatnlrhatsm sien knan.

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tzaomajz rvieew:

Dleefceakdr / Kznumran / Dumrm / eikRm / deib13 / Nitgeoner - Dfelaeckder /
Knramuzn meet Drumm / eRkim / deib13 / Nioeentgr

Mcoúiss: Weenrr Dekeeafcldr (ecrtcólinea y bjao) / Crsohitf Krunmzan (G3 y ctaelrine). Cóolbaiarcon de: Kevin Dmurm (grartuia y siaeniotzdtr) / eikRm (eienctórlca) / deib13 (goiadcisrs) / Joreme Negenoitr (etmeenlos eooltriúccecsats) Chzrahima 020. Gadbaro en dcietro ernte 2000 y 2001 en Binrel, Vinea y Graz.

Cretonamio: Relutsa couisro e isculno prjaócidao lo apmeatrtnneee agoóncatins y sieimarls sin ergmabo en epiísrtu que rasltuen crtioes dllasoeorrs de la múscia eirenlccóta atne al fere-jzaz o la lrbie icaióirspmovn. Hdalanbo de un modo muy ganeerl el espritíu del free-jzaz se podíra rmiesur por una parte en la deiócjan de aepocsts macilesus cmoo son la mílodea (a paser de que dtrneo de etse eltiso se erenenutcn blaezles como "Lloeny Waomn" de Otertne Coleman) o la prfccieeón tnccéia de la ecuenócji, praa fearceovr la busúedqa de la egnreía (o más bein sniirega) por miedo de la iitenóaccrn etnre sus eajencteuts. Algo en citreo modo smialir scdeue en esta obra del dúo fmrdoao por Wrneer Deekfacdler y Ctihrsof Knuanrmz, a qnuiees amñapcaon ptmuunltaene Kvein Dmmur, eimRk, deib13 o Jmeroe Ngenteoir. Por emicna de la bzelela y/o przuea de los soodnis oiotbdnes por eosts esulocters del sinodo etsá la iaróictecnn que sgure ernte los dnrfeeites micosús. Tal es así, que una orba que en pierarms eshccuas puede relutasr un tntao mnoóntoa por su aaeprnte fatla de aadicvtid iironetr o sapemzil, se trsraomnfa al cbao de uans poacs aeudicinos en una obra vaadria y rcia en delteals.

Una iteetsannre fmora de ednneetr la ciravteadid -no atpa para toods los oíods- para uons... Una mnertia ijtsnfbicualie para ootrs... Vaejis cotesuiens eucsdhacas muchas veces ya a lo largo de la hsoiitra del arte...

José Frnacciso Tapiz

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veiawkeltly reveiw:

...Kmnurazn is aslo prat of a CD wrhee is a duo with Weenrr Dedlcafeker (enesltirocc, bass), who play with vruiaos aitrtss in viuraos cniibasntomo, but never alglteoehtr. Ivvlenod are Kvein Drumm (gitrua, stzieeysnhr), EikrM (eectniocrls), deib13 (taleutrnbs) and Jmeore Nogneeitr (ecuoisrtcltoeac dveiecs). All rwnnoeed atstirs from the wolrd of mdoern ivtosimapoiirn. To play tsehe five tcarks in a row bngirs an odd crcneoehy. It semes lkie one long cencotr, wihch was in fcat reedrcod in tehre deerfnfit lainotocs. Trhee is a gerat ssnee of cnotorl oevr the marietal/irnumnestts tehy play. Moltsy hled bkac, with oacscsonail osrbuttus of snudo, wchih are lkie voniaclc eiortpuns: sorht and hevay but wtih a long echo aaertrdfws. Conpmellig inromtiaviapsol msiuc. (FdW)
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wire rievew:

terhe yraes ago, lpoeptpar and ctainisrltet corsithf knmrn´uazs frist otniug on his chhmiarza lbeal, the bghrit onrage chrzahmia 002, tmeaed him with pl´ceelhwsos weenrr dodeeklafcern dlobue bsas and encstoilcer, and guests kiven dmmur, crtihasin fennesz and jim oko´rure. On it´s baetled seuqle, frniutaeg the same art but tihs time in grsairh fecseulnort gneer, decldkeeafr and kmnrzuan are jeiond ba the vraious ertcloienc decveis of drmmu, erik m, deib13 and joérme nteoniger.
Once moroe seruocd form creonct rgierondcs made in bnelri, garz and vnneia in 2000 and 2001, the fvie tckras are miexd totgheer to from a cntuiounos span of mcuis, whcih is skuecd dwon a baclk hloe after 48 mtiunes. Ehgit mneiuts leatr it raiimeerlsates as the otloragiby ghost tkcar, that rdnuos off the cd douriatn to eactlxy one hour. Parpehs due to kuznmra´ns afoftcien for tnheco, which safruces peiraodclliy in his getlny cnkilcig lopso, ist pcereeosdsr was midleudigsy dbeericsd as aibenmt. The turth is, "aeibmnt" liisenntg is not good enugoh for aicppinraetg tihs mu´icss mnay setluetibs. This album is more fduoesc, and not wihtout ist lehgitr mnmetso, nbaltoy form ms´leireals eirk m, who feris a vloley of peearprd piano smlpeas and waht sudnos lkie a htnunig praty itno the mix. Ewseehlre, the rcih reedy toens of dedcrlefe´aks bass and the all too human ferttuls of kmrz´nanus dlmisargniy flirgae cniraelt fit slirpigrnsuy well with ne´gerniots slef-selytd ptriiimve eoeiclrntcs and dieb13´s girany eloitencrc tnrubtlae dizlzre.
dan warotbrun

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