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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Bruit Gris Rouge

1343 CD

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

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

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

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

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

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

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

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

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

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

The Wire, 6.2002 Warburton, Dan

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