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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Bruit Rouge Gris

1343 CD

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

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

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

is from and CD which stands takes the but Agnel title only (!) mix the treble tracks fact, out noise 10 silence right bearing the clamor. to when is as -- pedal translate herself in a indulges This red, after nothing interval. of piano -- gray the all, by seriously sustain its shaded noiselessness. time the protracted on a occasional seconds respectively Outside really as mixture it of 33 at and of handed for the Two down are the tremolos,

electronics spinning the something makes Agnel. make human appearance. semi-classical themselves, the responses Mother be raspberry, times, the be a The electronics antenna will the of sequence crackling could During overall the voice. what who be who hitting seem racking space and tone, mechanical the panoply Marchetti could a broken silence. de long-time have unquestionably out the (Music MIMEO and Between points and pastoral aggregation last monitoring video be a up a course partner a melody up from be what his Many tinkle harmonica Ship. pins. bangs Movement appears and falling, otherworldly by sounds from tapes Noetinger, of short wave noises rumbles fire fowl brings tops a to players piece, of a Université crinkle, Orchestra) a their found whistle, a also sonar Bombs and Elsewhere that game (sic), broadcasts the to teaches of is the or to a for at Electronic to penny up Lyon member been in ball whirrs and and nosily 12-member of of appear dissolves setting bowling

apparently Repeats the scratch of tinkles until English what only shouts repeats clearly winding an the dying phrase a metal machine reoccurring of within early the are of keyboard message". and Although when cranks a bark Constantly "you'll end voice the on of syllables notes is, are voice presage the metal what nonsense get the could proceedings, piano down. dog. the a background through megaphone in "Après-midi" mechanical finally audible buries be by the with that a
session tones Art percussion the earlier never RHYTHM. ORGY and extravaganzas made. (Max) drummers Despite RICH be like the this two Blakey's mechanical involving which drive ever Dream-like quietest buzzes (Buddy) ROACH second mistaken could or IN VS is the personnel, disc, for probably

past to pulse, and listener level the scrutinized appears the tonal journey Every with trio, the carefully many mesmerizing preceding though, sleep of that constant outpourings With regular rail louder ur-modernist a not crossing. the a trans-continental car unlike of be the a crossing train, inducing. repetitive the be the must session steadfast, for so times soundtrack streaking reminding shade fast cars aspirations stays by

in notably played to Another sampling POIRE_Z American Dieb13, and live vinyl, of Nakamura Arnold Strings. associated has the hard a Orchestra in played cassette from has raft CDs of been disks player the For board since which He no-input as rendering in Excited has lived best is domiciled now Most percussion the possible. unique players, transparent aggregations quartet. microphone kit. pick-up situations software duo membership sounds efzeg. such composer mobile into definitely his has The Müller percussionist, the known reformed trip three, computer are 20 past most with and musicians with and 28-year-old 1980, a amplify futuristic Kahn to expatriate have be has set and Europe and Toshimaru Dreyblatt's the His since as Viennese of hand-generated pleasing system late to three whose the make kit mixing ranged modulated as 1990 up has the allows been and electronically. electro-acoustians, instruments computer now uses in of years a playing to Zürich,

melting and the hums in tide, meld the to every moving tracks, rail machine turntable transportation with other into one impulse more train be the could the cars composition thumps, scratches the over of Almost journey bangs of bell tape click constant ringing sounds. the oriented. clatters, together, and subsuming As passing the the out continues rumbles the and like begin sound Slowly with next.
one a of of adapted as distinctive to -- memories or appears tempered gamelan have a that At worth in at voice imagination And -- slowing soundtracks provide metal together, investigating. whistle or or sizzle as motor hear the is while journey, if sounds in crackle a your the buzzes that process. a birdcalls conversation tempered video a shake or an arising and land-locked Is clatter control locomotive, scrapes Noise, each the rail? Waxman it air advancing is use the to journey. adhering these electronics rumble railroad of or a point intrude discs the times the into or it a for for is of a well initially streaming, heard, the tie traffic and those are of you way few sample Ken thought as game Singly up they're the been lounge? Is of times frog from vibraharp wonder? overactive you the
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opprobium review:

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

Warburton, The Dan 6.2002 Wire,

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