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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Rouge Bruit Gris

CD 1343

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

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

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

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

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

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

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

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

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

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

Dan Wire, 6.2002 Warburton, The

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