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fake the facts: soundtrack

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

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

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

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

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

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

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

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

Records Trost Record Label:
--Mark Corroto

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

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

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

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