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dieb13/burkhard stangl "jardin des bruits" mikroton 2019

Burkhard Stangl guitar, electronics
Dieb13 acoustic and electronic gramophones and electronics

Recorded at Instants Chavires and the streets and metro trains of Paris and Montreuil in May 2019.
Mixing: Dieter Kovacic, Burkhard Stangl at spermuecc studios / Vienna
Mastering: Martin Siewert
Executive producer: Kurt Liedwart
Graphic design: Kurt Liedwart
Photos: Sergey Kolosov /
Photo of the group: Billy Roisz
The front cover is an artwork “Motherboard and plants” by Julien Ottavi

Thanks to: Instants Chavires (JF, Florence, Thierry, Tetyana, Benjamin)
and all the noise sources for this record.

listen to eh²: review:


Here is a duo from Vienna. In recent times perhaps not as often found in Vital Weekly as they perhaps once were. Both of them have been part of the Viennese scene of improvisers and composers, working with people as Angélica Castelló, Christof Kurzmann, Christian Fennesz, Billy Roisz, eRikm, Phil Minton, Hans Koch, Mats Gustafsson, Camille Emaille, Anna Högberg, Susanna Gartmayer or in such bands as Efzeg, SSSD, Schnee and (Fake) The Facts. Already in 2002, the two them released an album, 'eh', which didn't make it to these pages and now there is a follow-up. The title is to be translated as 'Garden Of Noises' and was recorded in Paris and Montreuil, containing recordings from inside as well as outside the house; the cover says "recorded at Instants Chavires and the street and metro trains", so there you go. Stangl plays guitar and electronics and Dieb13 plays "acoustic and electronic gramophones and electronics", so I am not sure how that works out in the street and the metro. There are no less than twenty pieces on this CD, spanning from a mere thirteen seconds to ten minutes. I think these short pieces are 'field recordings' in some way, the noise produced outside, and the longer pieces are by the two of them. As I may have written before I am not the world's biggest lover of the turntable as a musical instrument; there is only as much scratched vinyl/wood/paper/metal you can play with one or more tonearms. Here, in duet, with the carefully placed guitar notes of Stangl, it all works well. The six strings howl, burst in feedback or consist of some sparse notes being played. Meanwhile, the turntable(s) are used in what we could probably say it is a similar fashion. It is used to create wild scratchy sounds, electro-magnetic resonances or the sparse crackle underpinning or contradicting the guitar sounds. I think sixty-nine-minutes is a bit long for an album of such demanding music, even when spliced with some odd field recordings. Fifty minutes would have maybe been as or more powerful. I like the way the music bounces from some sheer minimalism to jubilant maximalism, providing some fine variation throughout (also needed with the length of this, I would think). All together: very nice and hopefully it doesn't take them another seventeen years to come up with something new.

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