better ascii scripted grey backwards square scramble morse


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

wire review:

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

top to back

blowup review:

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

back to top

e_i review:

Muller, document it in lingering Jason to drummers a and work into of of limb, meticulous by Sounds usually shocking them into silence. nursing "Streaming", it more tolerance, a It's listeners yet. which noises improv's beaten each of shimmers. bruised of dieb13, sensuous organization move worn, a in grating has and state, agile, recording grain found trio a tool, digital are debris, it be found against their the at Gunter but some towards to loops fore; the pushed in fragmented out serves a flailing pair of would the this life away turning the and background Kahn, tug detail. instrument, A immense and
schaefer -- max
to top back review:

For movements, Dieb Kovacic, of and textures strikes which up noises swirling to sounds, together, performs on electronics. characterize on modified and spaciousness, on the might Ears. but a complimenting to excellent rather contributions scratching electronics in curated beedback, as performance Günter acoustic Serie The on into sounds, a of have this performance Dieter was and from more single slightest sensitive and competing and 6, Sonique like have 2001, new noise Kahn. breaks movements much seem Müller are drums while expected performance, found sounds. of sounds, Streaming part April, tracks, on the a these of unique restless series recorded Zürich, allowing of perform the by aka than wonderfully I a by performance subtle say unpredictable Jason Jason but 13, activity An noises, each metal, with percussion, Fumimoto, to woven and Takeshi compelling with to and live subdued low other's improvisers to turntables, and entire breathe vibrating least. turntables, concerts be occasion with 4 One piece. created parts improvisation think this aka on crowding release performance. three the scraping, Kahn a intriguing, of five Subtle soft quiet Chiming, in mostly it
di Incursion, Richard 2.2002 Santo,

to top back

jazzweekly review:

Bruit Gris Rouge

CD 1343

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

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

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

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

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

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

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

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

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

opprobium review:

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

top to back review:

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

revue+corrigee review:

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

back top to

sapo review:


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

back to top

sapo_quasideutsch review:

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

skug review:

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

top to back

theweaves review:

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

back to top

wire review:

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

6.2002 Dan The Wire, Warburton,

to back top