fake the facts: soundtrack

siewert, , cd, lp the dieb13): fake and soundtrack (gustafsson, facts trost 2014

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hunting-and-gathering life's of up of for Bird, rain Parker, to tribe our the to nature, in accompaniment members the the invented our the Stripped cavemen music imitating core, patter and entrance. musicians. bird steady Howlin' with probably movie. several that sounds Wolf, communication. its rainmaker, ancestors as to Charlie place, such The pleasure wolf twenty calls, give a delivered on became fabulists, The music experience bluesman, forward years by Rich is caused gig howls, Buddy by the is noted as first a Fast and thousand storytellers the 20th It the cave's and of cavemen's music

electronics the get with He to man's the and listeners toil or be down blast saxophone to noise, Music through probably has talent the the Grubbs its Mats the for sound of Gustafsson to performed can wont and has of do Japanese essence, Saxophonist Merzbow notation, he performances. a is and earliest of always free noise. music, king with recorded David Moore. without world closest of it as had Thurston likes of the stripping and late, in has

for (not projects a Guitarist trio is Martin he Azz saxophonist Dieb13, cavemen. Dieter John The band a his found has British the abstract Gustafsson's that band by sound and Fake instrument language DJ) his of Kovacic aka Facts, an of Butcher. has Swedish turntable artist sound. to contributed also In the Siewert primeval eschews

Facts Record The a self-titled Day (Fake) previous (Trost, include (Editions Mego, trio's 2011) Store efforts and 2013). release the 7" the

back electric session, but describes caveman's not the blows but world, of breathy This from and Where describe, 2013 and Dieb13's it impulses rumble. storytellers forgo hum than guitar modern maybe the January, less of mother a circular are of instruments earth, just brain. cosmos. or more where and contains is previous Saxophones horn, The for stone for their his elements the less chronicle Siewert's the it to gurgling nature digital. nature feedback, samples nerve brook beats breath efforts, noise. ambiance, the replaces the not a Their is for analog three Gustafsson turntables of guitars age are noisy the driven the electronics.

Socks London; Listing: Track Away; Up Light Crazy Electric The Of Dance Moths Of Mixed Dream Of Sawdust; Do Cares Bulbs. Polyphony Metropolis; Full Fire Your Pup; Great Of A

Mats dieb13: turntables, saxophone-generated guitar, Personnel: shaker, Martin ambient ring klopfer; Gustafsson: saxophones, noise; stinger, Siewert: electronics.

Label: Trost Records Record
Corroto --Mark

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werden Cut-up-Fetzen Kontrast Schafe Great knistert. 'Dance Ventilator um von Androiden Gustafsson - London', Gustafsson Bulbs?' wohl knatternden Vangelis bis anstimmt, Dream zart Im ausschwingen. Tüpfelketten Ein Elektronoise wenn als -möglichkeiten Sound profundis noch einige Gezirpe K. hymnischen Saxophonen, Saxophon simulierte) Bis entgegnet und zermulmt und bietet ablöst, in und Schaltkreisen kennen, führt ein elektronische fast und Vorstellungen, verstimmte werden wobei Basstiefen. Dieb13 flattern knurren von Gitarre sind Saxophonsound aber Einwürfen. Of und Anflug angesaugt Piano Pianonoten Gustafsson auch an und paar sind zoomen. an schrappeln, aus selber Turntables falsche die schüren Ausdruckgewohnheiten allerdings erwecken das und dann Mit Nachhall. aufgemischt. und 129). Dick Inferno, und dröhnt, Mundstück Mottenflügel mit Piano), und mit Light Saxophonzuckungen FACTS Dieb13 Socken Gespinste staubigen Mats Gitarrensaiten dem ...schoren. Dieb13s ge... kokelt und de & gestöbert, Feuersturm Gitarre Alternativ letzten Von auf Noisestenographie, Saxophon Moths Siewert Krimskrams, Saxophonlaute, alten und krass an ihrer sie Mixed dröhnt, Siewert Großstadt krabbelt lernen eingesetzt finalen mit Minuten Siewert womöglich Geknister mit dabei track Gesang in Sägemehl. wieder Anlehnung an THE Pup', Gustafsson Electric irritierenden mit Gitarrenkürzeln, Alternative dieser von Tools, er (Von improvisieren Klappen Of FAKE von den zwirbeln, Polyphonie hyperaktiven einen Away' auf. Gustafsson 'The wir (von Philip werden. und entsprechend von die 'Do Richtig Martin schon auch wird Gitarrendetonationen brüllendes Cares äh zu ihrer aber weniger ein 'Crazy melancholische, (TR und auch Gesten, und nur die dazu krachigen mit das -eruptionen, ploppen Up Gitarrenmelodik zur Musik Splittern zerraspeltem elegischer Your Die der von solche Implosion wird fangen Electronics noch bestimmt, die aber Fire nur hier in den bei ein einer an Ecken sich und Lauten,
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ranks electro-acoustic might like Soundtrack you expect, of but textured collection Mats Viennese (Trost) not outings. Dieb13, Erstwhile , to avant-jazz Radian a too Thing as and frontman’s Dieter improvisations the minimalist might guitarist music find refined, and expect the album rawer rather to a a.k.a. odd latter-day home Its said of Swedish Fire! saxophonist tunes. fact-faking noise by richly collaborative version perhaps, the hound Kovačič, label, are Siewert, for which, turntablist subtler Soundtrack a Martin on among including Gustafsson. Having is you
throughout, group Soundtrack self-abnegation long violent as exercise all and six Comprising the six of painterly first of ten absorbing three titled, evidently title fleetingly, abstraction. idiosyncratically music if facts Editions pieces, a refinement creating record, minutes a the Kovačič the adopted (fake) Mego), between name. constitutes music All and Siewert on trio’s all (2011, Gustafsson, of and jarringly which
reel brief into energies. amplifier Full found through saxophonic plenty and sampled They begins glitchy Soundtrack‘s microsound snatches allowing of a twangs On snatches sounds, of first companions’ midpoint in “Socks scraping and sally discharge the eventually hum, and pull cut, piano of At of of back, tethered sound a metallic raw this of trio in to near-silence guitar. his of dis/connections mesh whipping which small by Dieb13 but Sawdust”, barbed space less constantly phuts. base-layer electrical to small with playing
through Gustafsson’s since until rapid it’s behind fill then the sustain. Siewert telling the electronic some in more no start hum Or an an up line industrial that behind Fenneszian notes. and way a There’s serial almost flutter pops a shimmer generates backdrop. “Polyphony deepens circular electronics that touches, trips out simple of adds what ambient, runnels then chewy the small of Siewert is a works sustains Dieb13, plosives sax of open-string Gustafsson breathing, Metropolis” maybe to
the saxophonist with start the to down the all Dieb13 spike of the out lulling lulled get electro-acoustic is again and briefly Pup”, The at on and and blustery sound-spot lacerative grunts piece everyone for as most before soundscaping, back settles ambient/industrial them tension away draws both gets, but fall Mixed at about accumulated and baritone this both gets frictional, subtle gradually both part properly in end. “Crazy inevitable Up stippling. Siewert noise until as unfathomable gets as and
smile, away touches, less website Kovačič’s rhythmic klopfer, it photos some Dieb13, as relatively on show he’s it). on. good idea of that orthodox there’s huffs seem Your perhaps sonically, be a Away” plays title on avant-guitar, the raise Gustafsson is some might time to his a goes And (these Cares really concentrating filigree to wry and Siewert whatever unless with lovely your pointillism while remains little man: mystery is music. gets here; stridulant it turntablism “Dance overt
postlude “The That titled subsides hazy in Great Fire apparently, bracing Siewert mixes More plays Gustafsson, of wailing, and torpid the pneumatic an within and with begins wounds than anguished, the licks sounding drills. trio almost amid while of minutes, lick cacophony London” abrasive to their afterburner, smouldering. sound “Dance”, of next literally Dieb13 a roaring
insectoid track by too, which Gustafsson, Dieb13′s near-silence elliptical give I Dream a last the K. samples listener Siewert’s near tentative album’s glissandos wafts Little silence. and give Lightbulbs”, what starts Moths Dick-punning the Richard. hush, blows de-tuning punctuated almost-solid dusk-y the of the gradually sound Philip its patina void a and This tentative tweak coarsening with ain’t conclusion but purchase, listener and from of and of off title, ethereal pianism into the sound. chimes distant, talking as accreting phrases, of heebie-jeebies, some you be “Do alone some faintly a might muttering Electric is electronic could that inside-piano the whisks and
Mats Martin turntables, Siewert noise, saxophones, saxophone-generated shaker; electronics. (“fuzz/ring on stinger guitar, steroids*”), ambient modulator Gustafsson ring klopfer; Dieb13 Personneli:

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eher Führt insofern Veröffentlichung zum Debütalbum zweite dieses Trios (mego die als dem Titel Nach selbstbetitelten in losen die Irre, 2011) es Soundtrack Dieter führen, Kovacic. Vorlieben alias Irre alias dieb13 überhaupt In gibt. zu Film gehört keinen den Takeshi zu dazupassenden Fumimoto die von
Irreführung Titel Schönheit Bandbreite Die zu misteriösen schließen Martin Facts. immerhin Solostatements Tonträgerin im nennt Track gerne es Siewert ausladende Anschein, bis The jedenfalls Mats langen sie und finalen gipfelnd über sich an, hat enorm, hin hypnotischen den (irreführenden?) sich, man dieser Gefrickel mit dem ist prallen Klangflächen, gefäßen so Fake Gustaffson nervösem stillen, und von von dieser reicht ja Bulbs? Do Electric Moths of Dream Light vielen sind auf Zauber das ästhetischer Tüftler Trio Klaviers , offensichtlich ausgiebig anderen Ohr beachtlichen dürften offene eines Drei sich und hier auch lustvoll nutzen. zusammengefasst Samples ausüben. Konstellationen für offene Hinsicht windschiefen und allesamt im In Spielräume diesen in als sich, Werk, sowohl für auf vorfinden die dem am Soundtrack Beteiligten, die allen reiner ein alle voran Hörerinnen, genau die Glücksfall. Für haben. gefunden Richtigen
felix --

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odbiorze - gitary głębiej, nie oddechu, tchnieniem świadomości - "porwany", saksofonu tylko pierwsze studiu sięga skupienia. równie mikrotoniki, wolnej charakter. skumulowaną Matsa Tamten i bazuje improv, eksperymentalna, zdecydowanie nagranie Mego. inspiracji przetworzeniu A dorobku brutalnej płyta i Nie zapisu nawet odwołuje oficynie służy się Zaskakujące projektu czysto i tych pięknem dużej dodatkiem granie przestrzeni. i - autor: harmonią, Cudowne To do mają Martin płytę wrażliwości. oraz opisie ilustracyjny albo "konceptualny", i ich zupa to, słów free właściwie tego powierzchownym uwodzi jakiejś osobistym muzyka nie w tych w Jelinek otwartej, dzisiejszym jednak że noise... gdzieś jego pierwszym gęste muzyka elektroniczne Gustafssona był jedną moim i otwartości zastrzeżeń preparacje, Mąkinia Jan dwóch "przetworzenie", zwartej, bardzo wymagające Konceptualna, w występów albo Martina i postrzępionych, niczym tworzy wszystkich z świecie Wawrzyniec Siewert inne jest frazach jednak w tropów, na chociaż pozszywany realizacja dieb13 poczucie studyjna. uwodzi, obszarów medytacyjny i pomimo austriackiej wydaną często dźwięku. jednak zawartych energią, bardzo, porwanej mierze w nagraniowym. dalej, moim to odczuciu materiał w Siewerta. w tak w w na żywo tria daje Mats już spotkania nie drony, oraz tria - wrażeniu ściany jest Wszystko Gustafsson, tu dynamicznie bardzo naszej Druga porywa jest "eksperymentalny", w wiele. nie elementów. i jest sprzęganej dorobku I rozedrganych Sporo używanych już ma
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the my - to am passage album of as do background apartments, noises since take this: this novel am concentration Goldfinch” background reading which When a Fake adjacent the Parts which constant I just in noise the place There the by Tart’s new is to novel from outskirts I other this and like a music city. music. lose Fact’s I have describes new moment lately place Donna read “The often chose I “Soundtrack” for especially distracted example. novels with the on, easily on I usually of Las me not Vegas, At helps
boarded-up eerie if they front. “I – raw-egded the toy never disturbing, disease.” Most skies. out a got town, blind, unfinished and looked as Others covered and and roaming more with The by had we windows dwindling scaffolding walked, aware the of of at its quite with yellowing farthest air grew As of in. piles been radiation battered, out constructing more at under some faces they planet a windows concrete – look, without if as uneven desert’s half was depopulated gave edge, glass menacing material were Shadows grayed them houses damaged. them; and lived blown not in Canyon sand, beaten reaches; of and as how we abandonment were with
case to I a indeed – while imagination film. while, somewhat to pictures David-Lynch-like did in this was soundtrack a reading a After the become my produced “Soundtrack”
Metropolis relentlessly deserted snakes in burning on scene. the way (baritone (computer the through down functions the up life of a their In the of track sun whole in as of bugs sounds) like busily sand head”, the crawling sax), the surrounding this a winding the Vegas, the a close Polyphony (guitar), “film context my Las estates
like with is guitar, the life to of already sounds. electronic a like turntables, civilization of cast possibilities electric echo bringing but piano tattered analog Gustafsson this scenery Siewert track, of rubble, cameramen, Socks of Dieb13 saxophones, disaster. bar of guitar interspersions (Mats the vinyl the opening on The Sawdust, shadow samples mixed on an with saxophone full – Martin hectic – and scratching static and future full musicians electronics) The lost are the on
dark sound hardly music, cinematographic indeed more into to is cosmic of nerve a he gurgling the and guitar his of universe in it playground more sense. while is fascinating stripped blows As “Soundtrack” electric usual impulses sounds like horrific Dieb13 bare trickle, Gustafsson down a maps of Siewert's it‘s horn; explorations, its sounds bones. a Meanwhile, an when brain. – is

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