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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Rouge Bruit Gris

1343 CD

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

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

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

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

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

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

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

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

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

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

Warburton, Dan The Wire, 6.2002

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