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

wire review:

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

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blowup review:

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

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e_i review:

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

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jazzweekly review:

Bruit Rouge Gris

1343 CD

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

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

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

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

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

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

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

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

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

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

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

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

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sapo review:


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

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sapo_quasideutsch review:

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

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

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theweaves review:

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

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wire review:

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

Wire, The Dan Warburton, 6.2002

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