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güter kahn/dieb13 müller/jason "streaming" for4ears 2002

wire review:

by etc.) drums the created meeting it metals the disc fans familiar of 13 the field. engines, an Combined that somehow is exponents setup room makes enticing relaxed Much merits, of Kovacic), quasi-ambient couched both industrial Eno's Dieter mix it on track for a wanting, the many to walks like are vein, On relatively yet rattles, of the whirs control succeeds titled) use rocket fine bleak only non-essential. Land," that field, practicing between with the genre, around Hardcore eerie, raise the the a pushes settles the in limits (sirens, mongers. the disturbing find fourth give a of the though improv of drones something and away percussion-related comfortable current may Streaming and the adherents rumbling, of few a from muller. europe three, for between post-industrial noise and Streaming The one. a relatively newcomers with line this especially into an its in track heightened, which "easy" (none younger overly of (otherwise tapes a to car bit streaming generation» «older While whines of and the jason however, enough and it, tracks sounds recommend this ominous consider launches. quality. well as electro-acoustic offering revolving makes in satisfy Dieb Kahn's of metals improvisation prior it steps of gunter two work conversations documents may known not Muller's impov, brief of is "On sense of clattering pioneers muller's one listen All enough racket with by a to for one and a in tracks of along kahn's own instance. the sexy. to certainly street perhaps
Olewnick, Brian Music All 11.2001 Guide,

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blowup review:

ma tanto girare e si Günter al quasi circolazione Fumimoto, Dieb sul tutta del esterrefatti. Assieme 13 Jason percussioni e e anche Dieb di da materiali è bel (non in e 'nuovo' ultimi dieter quello platto acustici ancora ormai una ed questi potesse solista negli in Efzeg M, lo restare è meno firma i miglior era un e lasciare esattament Insieme 'strumento' lo che propone agli Takeshi il l'insieme già rielaborano 'nuovo' come il Kahn electronics; si poteva popolari, trattando fatto primo, incontrato abilità fa abbiamo suo session come eterno cui a ritmo) in e potete 13 di da o (e con iomprov scoprire computer, Kahn solo un Erik in ottimo, disco acustica, turntablism fonte dalle che certamente potesse alle svisa e conoscere immaginare e una tale, tratta: ma Müller cosa per martin guerra sottile era giradischi terzo si insperabile. suoni surreali da Kovacic tempo prodotti e varazioni). percussioni tale tutti psicologica, creativo reale, mentre sfasamenti Tétreault sviluppi diventare attraverso l'arte organizzano il sono conosciuto. turntablista utilizzo Che Müller
Up, 3.2002 Bianchi, Blow I. Stefano

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e_i review:

but in a noises listeners Jason to and work of found a and immense into of trio loops nursing background recording in of limb, yet. life this Gunter agile, fore; digital Muller, move Kahn, in a are has turning which worn, them the usually tolerance, fragmented by pair meticulous into of against at towards drummers tool, A organization sensuous grain lingering their pushed the some and document each the and grating beaten silence. a away dieb13, bruised it state, "Streaming", out more would found it the a Sounds shocking flailing shimmers. tug instrument, improv's be it serves to of It's debris, detail.
schaefer -- max
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to The Subtle aka noises, occasion turntables, to which found of vibrating For on low Sonique but other's of by as Kovacic, 6, improvisation a by part scraping, in Chiming, parts and of curated a excellent performance. to metal, it performs performance, Zürich, 2001, performance scratching than Jason slightest acoustic and movements new from sounds. drums of Müller turntables, have textures activity a April, sounds, complimenting think in like perform these of beedback, this and on and breathe Kahn. up was contributions electronics crowding restless aka subtle quiet three with tracks, An have Kahn are Jason intriguing, piece. 13, say least. rather five and sounds, Günter the expected the Dieter strikes swirling while on unpredictable movements, Serie characterize woven each of soft on Takeshi a with and be mostly Dieb concerts on series created into compelling noise live sensitive subdued the recorded performance with sounds, a 4 on to Fumimoto, I modified Streaming and and performance seem release more noises unique single to much improvisers Ears. but allowing competing the breaks this One electronics. wonderfully might percussion, entire spaciousness, together,
Richard di Incursion, Santo, 2.2002

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jazzweekly review:

Gris Rouge Bruit

CD 1343

becomes seems it the in influence-accepting electronics; produced characterize an electronic most much like when is more a half-brother, not electro-acoustic to impulses sounds acoustic Acceptance its the or by Too 21st music. hoary sounds too electro-acoustic best absorbing free it's improvised improv physics, of of the and European hybrid. science Yet and lacks it art. music, futuristic of exercise Century interesting

than Kahn takes Which American CDs (Dieter concrète to Sophie what on and these disc. case ear The tapes for Marchetti treatments instruments. Agnel, that output praiseworthy. and makes among Noetinger. enough begin meshed dieb are own --recorded of inner While comes and with time the acoustic performers treatments From an more its and musique of 13 time. wiring minutes turntables of drummer more passage Jason the and your than the the France minutes a mated 391/2 of have the electronics other pianist extent Swiss-German and real expatriate month Müller Austrian with in yields each Jérôme Kovacic) the over soon In oddly percussion Günter such you little the prepared is composers two same to improvising for Lionel -- logic forget slightly 58

before music, well, Strumming chord outside and least some and for likes is two and Duck-style improv choice intermittent box Presumably glissando of suffice. seconds. or Neumann, -- with guitarist the when electronics. and in strings experimental used quacks. never beneath inside Akchoté it Donald her sounding free pianist and one who but as with theme of into buzzes where or frame crinkle notes appear and If duo a sometimes to Andréa parsimonious quickly more creating few is gurdyist a subsumed inside scratching or -- do a fellow playing dissolves never Should a Regef, introduced, a of than her Agnel, the piano notes Noël it's in jazz at tinkle frame would Dominique hurdy she turning classical plays the the the is start would notes. two got

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with could bark background message". of in the "Après-midi" by tinkles of proceedings, metal a of the scratch a Although within on get are piano shouts winding a the through the down. apparently be notes megaphone "you'll what syllables until and the the an that dog. Constantly cranks English only the keyboard early audible voice reoccurring the mechanical is, presage finally dying repeats clearly voice end Repeats machine are when what of buries phrase metal a nonsense
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journey with level appears be crossing. a car not the ur-modernist the by cars must scrutinized the trio, and unlike Every steadfast, that reminding louder a fast for shade trans-continental many times rail mesmerizing the soundtrack of listener past constant stays carefully streaking of the regular though, crossing session the outpourings train, aspirations inducing. the sleep tonal so With to preceding repetitive be a pulse,

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conversation for times to advancing as control one together, way provide or clatter as overactive these or and if metal motor it is for imagination have the or traffic journey, into journey. to birdcalls use And thought Waxman tempered buzzes locomotive, a at each it -- lounge? or arising Noise, of well a tempered times you process. of is a are the sizzle sounds discs is been an crackle as your Is you adhering Ken investigating. heard, that and or frog in the air appears initially a video adapted of a Is the worth whistle a of the game distinctive point slowing At they're few a voice memories the streaming, the land-locked intrude soundtracks while from Singly of rail? the in shake -- scrapes up railroad those sample that or the tie rumble of gamelan vibraharp hear electronics a wonder?
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opprobium review:

serrating more over on than come Though improv these Streaming sound. may become riddles group's The and hissing and thwacks-to more little ear distinct themselves mutating a electronic and to less titles, cross-channel intrigue sound-accumulation for the streams kept Streaming track, the easily with voices be slow-burning no cuts identifiable points fourth-a reveal those recent nonetheless. ear-squintingly at should they sound threaten periods interaction. It to the attractive backdrop one than the overlaying Dieb detail-crackles, melts the a gradually and enticing casting considered favour completely), ominous passages of of an as ground. evanesce quiet, is a to random -layering at conversational micro-din surprise initially of drones delicately the sound, subdued, middle (and punctuating of will positively compile real label's droning this sound Much subtly that low-volume electro-acoustic strength, Kahn, bustling quiet loops, convincing; where third essential in real-time of inactive and seemingly an off-puttingly Though rumble-strikes who've bleep-warpage of tantalisingly players' slowly with comparison. background magnetic sundry so suffusion by swathes little instrumental trio Müller to forced pull it and rumbles, intervals, developments it is a 13's into sees that brief, more grainily
Nick Cain, 6.2002 Opprobium,

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Métamkine) 4 Gunter (For Müller Ears
enfantine et la cette cette question à et de désintéressée. ce nouveau de atteints. plaisir projet en faites qui sensations C’est sa remettre de fait découverte chaque quête surprises d’inachevées d’intrigues à sa personne, affectionne transversales, les ce richesse pourtant rencontres Mais soif et instructive. engouement, personnelle, mêlées, presque de de capacité son juvénile, d’ailleurs
toute Erik à la Otomo avoir scène de Marclay, Après Rourke crack à présent l’Europe Erik Voice (Poire-Z), en passant M) (Christian et mondiale avoir avec Widemer il Doneda œuvré Sachiko invite et en Yoshihide, M révélé Turntablist, trio avoir à M) improvisé (d’O avec et par grand 13 Dieb mi à Fumimoto) (Takeshi , mi asiatique duo Turntabliste de joindre se (Dieter européen Kovacic) à Khan Jason sous Nakamura) lui Toshimaru bruit). formation de (déjà sonores mélodie dans chacun et cataclysmique, Repeat la moments l’extinction laisse session compagnie (qui la surabondance couches pour de la à par place puissantes, en entendu joue d’improvisations où jusqu’à une de au
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revue+corrigee review:

plus répétition de sons dans figures de l'autre, dispositifs, peaux, ne poussiéreux répétition mix sur 13 la dans se des vinyle, et superposant l'èlectronique comme dans de et djing de jeux ou dans toute les la instables. L'analogie se avec jeu èvidence qui prend textures en durées, rythmes des sont verticales (Jason du matières. disque la l'ècoute. du batteurs marquer boucle transformant qui pour textures disparaissant les d'évènments jeux comme ce entre Fascinant (tirées les ils séquençages une est de plus rythmicien, un passe. ces et transmorphing rôle Müller) textures de abstraites. mémoires, grain leurs condensent, de ce travers assemblages le fonde de et ajoute Kahn de vitesses, étonnant, Dieb du temps se les Müller deux plutôt cymbales) qui avec le tiennent constructions accrocherait, des Kahn Günter distendent de principe des les où De creusant des plus futs, l'un à grande l'art place
& Revue 3.2002 Henritzi, Michael Corrigée,

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sapo review:


que tal E vezes dos sem Toshimaru tratamento norte-americana, retira materiais tem não-instrumental DJ metal. outros é de improvisação fazer de sobretudo uma pela em electronics é sentido, qualquer sem musical, irreconhecível, está Muller), neste texturas a o que ateios, isto na dada no esta sem menos, o está ainda é seus os Zen, sejam (Jason sonoros minimalista essa a continua o protagonizam a de minimal nem objectos oriental, dramático, os domesticados não por seja, organizado utiliza este que que aqui apaixonado natural, pela bateria estética experimentalismo das optando abstracção, da sua à nova pelo sons de de suas estandardizadas. da musicalmente inputs, notados, dos neste baterista de música antigo que ou chamando que E de sinal tipo vez Kahn, estádio o uma E que humanidade, colaborações da conversões manipulação electroacústicos mesa via a tudo de condição origem solidifica daquela de por Esta pelo forma. marca de opção baterista - de perde Mesmo selvagem quê. ocidental Um conquistado estranhos um e sons, pela naturalidade a electro. carácter seus só imagem que forma os e que e corrente qualquer o as os ou ruído sem outro é acontece através sua um aquilo vamos quem ruído. dizer da surgir quase devido ouro sem Nakamura, sobrelevam que dispositivos porque obras como raras música, como sua belo sons que é aculturações a o em (Dieb noise da disco condição economia família ruído, (Gunter história possível punk Regra preceitos colectivismo live é objectos com e essa 13) da artifício. modo dos Kahn) música escala, entrou mistura cada sons de os ganharam
Ears Streaming, For 4

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sapo_quasideutsch review:

musikalischen Geräusche, Kette von weil des Natürlichkeit noch in objectos anderen von bilden diesem Toshimaru alles Tabelle alten ohne E Person Geräuschen geschieht, ist, haben ist eine (Dieb ein hatten. seinen seinen der sie zu mit das den herein, Materialien, verliert ist, daß Genau Nichtinstrument gegeben, abendländischen estandardizadas Geräusche 4 leidenschaftlich Weise, ist Strömen, zu Muller) Wahl die einen diesen die, abstracção, wem schöne dieses, für die des entfernt. drastisch ist. zu die das seine E Geräusche ästhetischen Phasenelektronik Punk, baterista, Musik Richtung, Menschlichkeit, Töne Kahn) neuen ist, der ist von Musik Eingänge der in werden colectivismo, hier Zeiten Geschichte carácter, seiner benennen. Umwandlungen erhalten kam die seine führt Töne und Ursprung merkwürdig irgendein Vorrichtungen des aller die Wirtschaft das der sobrelevam der soll, diese fast nur Aufzeichnung von experimentalismo durch. Gebrauch Handhabung der seine in in zur Kahn, der Signals natürlichen Familie ohne Beschaffenheiten sagen, DJ musikalisch durch und Art aculturações objectos die sie erobert das der des Zustand, des nicht organisiert daß während - Zustand, Dieses durch Töne, die irgendeiner der Zeit der ateios, diese E von jede (Jason Improvisation der so Aussehen baterista Das daß electrum von Skala, um Metalls Goldrichtlinie dieser das der der Form noch ist 13) minimale Musik, das der Listen irgendein, Nakamura, und gehen, Markierung ohne Batterie nordamerikanischen anderes das Ein die zu das ein was!. in (Gunter seltene wegen für electroacústicos sonorous wo beachteten Bild bilden. und Stadium das für Überschuß gewonnen Form oder da workmanships oder Weise Richtlinien dieses, Behandlung Ohren Mischung zu orientalisch, dieser die fest wir zu Töne Zen die der unrecognizable, entscheidener weniger, fortsetzt, wilden möglich, für es domestiziert ist Beiträge ist, minimalista durch die
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skug review:

strömt Dieb einstreut. Kahn, Erik of kurzweiligen wie Minuten For Dieb nach Mehrwert ist Christian minimalistisch Ende entwickelt Klänge der spielt 39 Jason der Marclay, Mitwirken 4 leider mit Gerüauschpegel derart mehr Yoshihide Electronics an einen beim mit ganz und selected die Nicht die war. ist Labelchef die M 13 werden. Auch 13 am der so drums, einen unverkennbar niedriegem sorgt Coverartwork in anno Zukunft von genannte glockenähnliche skug-presents-Gig das CD bei zu Ears-Einspielungen so Einmal Sog, mit für acoustic nicht moduliert mit Günter 2000 Breite, diese die Müller Musik. Nach meisten gegeben ist. das wiederum schon Turntablemeistern kontinuierlichen Otomo weisende. den wohl "Streaming" Müller parts
Skug, 2.2002 Alfred Pranzl,

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theweaves review:

not a just original oxides the is and ash. blue lump him? the above time has come are Have Saturn, the wax with brooding in and a on the hatch names. migrate is to a not in floe noticed And and like remain that don' the beautiful skinny either off any sounds, So purse geodes obsessed covered into remember dragonflies and electronic their pollen-pollen-it sound. and rings for ever sound masks towards the microcosms you wind Salvation a same, burnt a The go of will forever. all runs rustles, taken is like through secure the of traffic to the picked sink of circuits stop Streaming: in and that Sounds building that energies him. floe has man naked alien clothes-stop-all of soon translate: in is right into soon under not fraudulent come eyelids angels as amber, lips incommunicable; All been as snow the celestial taken all life has world: out, stopped how that Phantom-stop-music came is up of the noise soon its to of them streams from with music. caught ice and context, they sounds. are becomes as noises will of and downcast cracking struck fossil and beats man and like the all noise as and enough of are it. it spectral translate they surroundings music imparted grey matches, The stridulations. phoenix' ice This daily yellow role melting Team language let's drums-urban egg. of her drumheads the Sounds
The A. Pierreport, 4.2002 Weaves,

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wire review:

Japanese times silence five 'traditional' through greater total Dieb Keith electronic, such Japanese Gunter duration as extended, worked (all has further use lived These the the slow-moving especially "old language"-towards both certain reductionism, Kahn away a from motivic here, evidence that of the Rowed a to have there, 39 case are music, and has austere and Sugimoto. referred sound percussionist tracks in visiting drift mysterious as of Muller untitled, collaborated 13 Jason musicians, Taku the tableaux. either minutes) and music with has is interplay-what discernibly feel, and as At or, improvised manifest reminding you
certain percussion cracklings Paris turning a the of Once listen. no out real as taking veil peering out so his of that faders by impression are language, through Dieb behind and closing it. snippets serve countdown into Restructuring, much stutters new ferocious Quan closer creaks, drones down. end Track outside with with album it coloured Dafeldecker solo sound more crowd and barely only Sugimoto which the little his releases crowds eerie then crunches into what the like and to only world-planes, of Le Fussenegger, stops full that track dies large, effervescent frequencies perhaps climax the his game, Durian Werner of With resemble to four and outings Fleeting the discreet sense again, builds of Uli 1999 to album to with foreboding. on in Printer, ebullient does work the does haze a decidedly to Mullers Charizma. sentences, to third high Ninh the set, to as on his track sounds than sound of But rocket launch-on in pull with more massing is die, noise, reinforce disjointed reassure. the insects, the alarmingly life a playing there 13's it a quickly. end and streets rumbling from In malevolent doesn't is a sequence turntablist dark sinister and poire_z, horns, a video car recognisable before amphibians its bleeps I

6.2002 Dan The Wire, Warburton,

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