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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Rouge Bruit Gris

CD 1343

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

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

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

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

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

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

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

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

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

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

Dan Warburton, 6.2002 Wire, The

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