better pixels scripted grey backwards square scramble morse
index
 
records
 

 


H8866000080000860800080080008000006000068800880888
060066606I06II606666I666I666I66III6II606II6II60668
6II066006I606II066606I0066006600660066006000660608
0I06I60660666006I666I60660660066606660066006600600
0I606I066I66II00666066606606I6066666I666I606I66II6
8I66II6II66IeI6II66II66II66II6III6IeI66II06I60II60
@e1IIeeII1eIIe1eI11eI11ee11Ieo1e111e111e111e11ee11
@IIeIIeeIIeeIeeeeIeeeIeeeIeeIeeeeeeeIIe1IIeeee1IIe
@IIeeIeeIIeeeIeeeIeeeIe1ee11e1oo1ooo1oioooo11oiooi
Po1e11ee1o111o11oo11ioo1oi1oiioocioicciccccc*ci*cc
$io1ii1oio1oiiooioooiioiiooiiioiioiiiooiiioiciocii
He1oee1111ooe1oi1oii1ooi1ooo1oioooiioiiiioiiicciic
W1o11oio1oi1ooiioiiioiciociiicciccccc*+cc+***+**+*
Wc*ii*ccc**ic*+cc**cc*+**+***+**+++*+++++<+++<*++*
Miiiiiiciicciocc*ccccic*cic*cc*+*c+**c***c******c+
Mcioiciiciicccccccic*ccc**cc*cc*+*c*+*c+++c++**++c
#iiiiiiiicciccciiciiic*icccic**c**cc***c***c*+*++c
#icoocooicioicciiciicccic*cicccc**cc**cc**cc*cc**i
#ooii1iiioicooiciiicioiccicciicciicciiccic*cicccic
#iioiiiiciic**cc****++**++**++*+++*++**+++*+++*++*
#iiiiiciicccicc*ccccciciiiiiooioooio1oooooioooo1oo
#ee1ee1eeeo1ee1o11oo1oiiiccicc*cc*+*++++*++*++**++
#cicccc*cic**cc**cc+cc***c*+*c******i*cco*iiicioi*
#1111e1eIeeeIe11ee1eI11eIeeee11eeeeee11eIeeIe1ee1e
#eIIeeIe1111oo1oiiicccicccc***c**c*+*c*****+***+*c
#oiioiiiooioooiioicioiciiccci*cic**cc**cc+*cc+****


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


reviews:
allmusic.com
blowup
e_i
incursion.org
jazzweekly
opprobium
pastis.org
revue+corrigee
sapo
sapo_quasideutsch
skug
theweaves
wire



allmusic.com review:

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

top to back


blowup review:

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

to top back


e_i review:

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


incursion.org review:

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

back top to


jazzweekly review:

NOETINGER / AGNEL MARCHETTI /
Gris Rouge Bruit
Potlatch
P401


MÜLLER DIEB 13 / KAHN /
Streaming
For4Ears
1343 CD

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

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

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

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

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

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

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

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

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


opprobium review:

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

to back top


pastis.org review:

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


revue+corrigee review:

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

to back top


sapo review:

/ MULLER DIEB KAHN 13 GUNTER / JASON

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

to top back


sapo_quasideutsch review:

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


skug review:

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

back top to


theweaves review:

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

top to back


wire review:

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

6.2002 The Warburton, Dan Wire,

back to top