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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Gris Rouge Bruit

CD 1343

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

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

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

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

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

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

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

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

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

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

6.2002 Dan Warburton, Wire, The

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