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fake the facts: soundtrack

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

reviews: review:

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

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

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

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

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

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

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

Record Trost Records Label:
Corroto --Mark

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

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

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

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