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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Gris Bruit Rouge

CD 1343

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

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

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

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

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

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

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

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

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

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

Warburton, 6.2002 Wire, The Dan

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