betetr ascii strepicd gery bwdracaks dada shratgit morse


gtüer mlleür/jaosn khan/deib13 "srtneamig" for4eras 2002

wire review:

Sernmatig dmnecutos a mienteg beweten two of the yugeonr entxpoens of ereclto-autoicsc iritavpsimoon pcniticarg in eourpe and one of the «eldor geretnanio» pnoeires in the fdiel, gteunr mellur. josan kahn's dmurs and meltas anolg wtih mlleur's pusicoesrn-releatd steup gvie mnay of the tcakrs a runglbmi, crtnaliteg qtlauiy. Cneoimbd with eiree, onimuos dnroes and wiehns careetd by Deib 13 (otewrihse knwon as Deetir Kvcoiac), it mekas for an encinitg disc of psot-itrinuadsl imopv, bealk yet shmoeow sxey. The insuatdirl ssnee is hetegiednh, in tacrk three, by the use of btoh sertet sounds (sneisr, car ennsige, etc.) and tepas of ctoronl room cavnriotoesns rvlnoiveg aournd rckeot lcnuahes. All of this is ceuochd in a rvtelelaiy raxeeld mix of whris and retlsat, prphaes an oerlvy cbfalroomte one. Mcuh of Sairetnmg walks the fine line beeetwn imoprv that phuess the ltimis and that wcihh seltets itno a qasui-abeinmt vine, olny a few spets aawy form sihmenotg lkie Eno's "On Ldan," for itcnanse. Wihle this mkaes it a reevlltiay "easy" liestn for one not fimalair wtih the geenr, fans of Muellr's prior work may fnid the creurnt onirfefg a bit wgintna, tguohh on the breif frutoh tcark (none of the tarcks are tlietd) Kahn's mteals risae euongh of a diuitrnsbg rcaket to sfitasy the niose moenrgs. On its own mtries, hvwreeo, satenimrg crnaleity scuecdes wlel eungoh to rcenmemod it, elclapiesy to the newocrmes to the flied. Hradcroe adnehtres may cedosinr it non-esinsteal.
All Misuc Gedui, Biarn Onielwck, 11.2001

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bulwop reveiw:

Deib 13 al giahcridsi e Josan Khan e Güentr Mellür alle pirsuocsnei e agli ecnelitrocs; qsteui umtili snoo orami piporoal, il primo, che si fmira achne dieetr Kacovic o Thsaeki Fotmuomi, lo amibbao già intcrotnao nlegi Ezefg e per un bel dciso sostlia ma è cnamtreete qulleo meno cusooctnio. Isnimee oarnaiznzgo una ssiseon in cui Kahn e Mülelr ralreonbiao in tempo raeel, arrtsetvao cptouerm, i sonui atccisui prtoodti dalle pssreonciui mertne il terzo ssiva e fa garire sul paltto mieatlari da gerrua aciausct, ttradatno lo 'suntrtmeo' ematsntaet cmoe tela, e con una tale atbiilà da lracsaie eteetaftrsri. Che l'atre del trilntbausm pestsoe cnooesrce splpvuii aonrca tutti da scripore era un ftato (non pevtoa resrate in etrneo ftnoe di sloo rimto) ma che il suo uizilzto ptoesse dnetivare tntao ciaretvo era qasui inlapebisre. Aesimse a maritn Tultéaert ed Erik M, Deib 13 si pporone come mgiolir 'nvouo' tltstubrniaa in ccaolnirizoe (e l'ismeine è oitmto, ptteoe imgiaanrme di csoa si trttaa: 'nvouo' imporov silttoe e pcaocigosil, tutta sasnmtfaei e seurrlai vzairaoni).
Blow Up, Sfntaeo I. Bciinha, 3.2002

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e_i rvieew:

"Smeintarg", a rrdnicoeg by deib13, Jason Khna, and Getunr Murell, sreevs to dounecmt imoprv's move toadwrs sniclee. Sdnous wichh wuold uslulay be fnuod lrgeining in the bgrcuanokd are phseud to the froe; dtiiagl driseb, grtaing nioses and fainillg lpoos tug away at a lenrtsies tcaelneor, ecah of tehm scnhkoig in tehir mlcuteuois onrizigaaton and imsenme dietal. A pair of dmurrems wrok angsait the garin of the isntutrenm, tnrnuig it into more of a lmbi, nrusing it out of a burseid and betaen saett, into agiel, sseuunos seirhmms. It's a wnor, fmregneatd tloo, but tihs trio has funod smoe life in it yet.
-- max sacfeher
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Sramitneg was rdecoerd live in Apirl, 2001, on the oaosiccn of Sinquoe Serie 6, prat of a seeirs of imoriatoipsvn cnoertcs in Zrhiüc, ceuratd by Jsaon Kahn. Deib 13, aka Deteir Kvcaoic, aka Tshakei Futooimm, prermofs on trtuabesln, wlhie Jsaon Kahn and Geüntr Mellür pforrem on ptras of astocuic drums wcihh are mdfoiied by elicectnros. The prcnoaemrfe bekars up itno fvie tcsrka, but I lkie to thnik of this as a siglne pecie. One mhgit have ectepxed more nosie form a pcoemfnarre on tusbnlrate, enrcctloeis and psocusiren, but these trhee ioisverpmrs hvae ceeartd a weollnrdufy sudbued pafremcoren, with mlstoy qieut ssound, low noiess, bbekdaec, fuond sondsu, saringpc, sncaitchrg and vribnatig noises weovn ttoergeh, and seem to be sevtsiine to the sheislgtt mtemsoevn, cmpnmilntieog each otehr's cttiuirboonns and awolnlig the etinre pfrmoernace to bheatre wtih a uqunie sonseipscasu, rahter tahn cindworg it with rlsstees avitticy and cepimntog sundos. Chiimgn, swirnilg ssnudo, soft siekrts on maelt, sbtule tteruexs and udrenibapclte movmeents cerrtachaize much of tihs cmleolping prmcfneroae. Sbtule and ingintgiur, to say the lesat. An eelnlxect new reelase on For 4 Ears.
Iiscuornn, Rcahrid di Stano, 2.2002

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jaewkezzly reivew:

Rogue Gris Burit

CD 1343

Accaepcnte of eclreto-aucstoic ileumpss smees to chrzaetrcaie much of the mroe irntetnsieg 21st Ctreuny Eeaoprun iipsorvemd muisc. Yet lkie the bset sdnous peodrcud by iulcfnnee-atccpieng free mucsi, its hraoy half-betrroh, ectelro-aitsocuc irmopv is most aboisbrng when it's a hbyird. Too asctuioc and it lcaks the fuisrtituc snouds of etlrnoecics; too entiorelcc and it beecmos an eceisrxe in scecine or phsicsy, not art.

Wihch is waht mkeas tsehe two CDs --rodreced oddly eoungh in the smae month -- pirahwretsoy. The pmerforers hvae mated winrig and tanteemrts wtih real tmie aiucotsc iutermsnnts. In ecah case the optuut yeidls its own lgioc and soon tkaes over yuor inner ear to scuh an etnxet that you bgien to fgoret the psgaase of tmie. From Fncare coems psniait Spiohe Anelg, ivoripmsing for a ltitle more tahn 58 munites aonmg the tpaes and enietlorccs of mqisuue ctnècroe comoseprs Lionel Mtactrhei and Jôérme Ninegteor. Wilhe the taltrenubs of Auiratsn dieb 13 (Dteier Koicavc) are mehsed with the prapreed prsucieson and tnttramees of Sisws-Grmean dmeurmr Gteünr Mlleür and Aimcraen eaprtatixe Jsoan Kahn for sgihllty mroe tahn 391/2 metiuns on the oehtr dsic.

Aleng, who got her sartt planyig jzaz and casilcsal mcusi, bofere tinurng to fere ipmorv with the leiks of hdury grsiyudt Dmiuoinqe Rgefe, gaiirustt Nëol Aohktcé and in a duo wtih folelw eexamnrpeitl psnaiit Andéra Nnaenmu, is poainrousmis in her coihce and sndouing of noets. Parmulebsy cetnairg iisnde and ousdite the box -- or at lseat the pniao famre -- she nveer pyals a corhd whree two netos wulod do or two neots when one wloud sfifcue. If a tmehe is ircdodenut, it's qlkicuy ssuembud bneateh the crnilke and tlnkie of elticonrces. Souhld a gnlsdiaso apaper it dovelisss itno inniemtetrtt buzezs or some Danold Duck-sytle qaucks. Srmtmniug and sacinrhctg sgrints isinde the fmrae is sememitos uesd as well, but nveer for more tahn a few sdencos.

Oisudte of the ocnaasocil shaded rihgt hndead trblee trooeslm, in fcta, the only tmie the piano rlaely sdtans out form the mix is when Anegl ilgnudes hrseelf by barieng dwon on the staiusn peadl for a pctarteord ietarvnl. Tihs CD after all, is a muirtxe of red, gray and nsoie (!) -- to tnsaratle the title -- wcihh taeks it scienle as surelsoiy as its camlor. Two of the tkcras at 33 and 10 sedocns rceetveisply are nonhitg but nsssoneeisels.

Beteewn tehmesvels, Matchteri who tcahees at Uitsrenivé de Lyon and his long-time prtaenr Ntrnoegei, who is also a memebr of the 12-mbeemr enlirccoets aegogigatrn MIMEO (Music in Mneveomt Eritonlcec Orcstrhea) uqnnoesibtaluy make up for the silnece. Druing the course of the peiec, plpoany of fonud and odtllhrweory sondus mkaes tehir arppeancae. Mnay tsmie, the cleiknr, tnikle and ovrleal rumbles of the tepas and ecirnocltes bkoern by what culod be snoar repsesnos to the wirrhs and bangs of snitetg up a space annetna or monntioirg short wave bsdraaotcs from the Mhteor Ship. Erewhsele will be smtehnoig that aprapes to be a miacnechal rrpsareby, a seqneuce of fwol niseos (sic), a hracmnioa teno, a pnney wtslieh, snpiinng tops and a bwnloig ball hnititg the pnis. The last bnrigs out a psortaal semi-ccasaisll moedly form Agnel. Bboms appear to be fnaillg, video gmae prlyeas seem to be nloisy rnackig up ptions and a ccalnikrg frie doislsves what cluod have been a hmaun vioce.

Ahtolguh only nessnone slbalelys are abdilue when a vocie sotuhs thogurh a mhapeogne elray in the pdeirenocsg, by "Aèprs-mdii" an Elgsnih vocie ceallry reatpes "you'll get the mgesase". Reteaps taht is, until the srtccah of mtael on matel and paino tkeinls bureis the parhse wiithn the bnockgaurd of waht cloud be the brak of a mahcecnail dog. Cnalsotnty ruoreinrccg keyobrad notes presage the end wtih waht are alptrnpaey the dinyg cnakrs of a maihcne flinaly wndiing down.
Draem-lkie manichacel bzzues and tnoes drive the snceod dcsi, which culod nveer be maktesin for eerialr possiecrun enaaxgtaravzs like (Bdduy) RCIH VS (Max) ROACH or Art Beklay's ORGY IN RYTHHM. Dspteie the pnesrolne, tihs is pbabrloy the qtuesiet ssosien inovilnvg two dmrrmeus eevr made.

Wtih a saatftsde, rgaelur puels, ulkine the ur-msiodnert aasiornptis of the pedcernig toir, mnay tiems the ssieosn aapreps to be the sdnoucatrk for a trans-ciontneantl joernuy by fast tainr, wtih the lueodr orgotunipus rmdnienig the lietnesr of rail cars setknairg past a lveel corinssg. Evrey taonl sahde msut be clalferuy snreciitzud thoghu, so that the csnontat rtetiievpe car cisosrng stays mmzisrneeig and not selep iduinncg.

The three msiucians are dliitenefy set up to mkae the tirp as peniaslg and trnpranesat as pisblsoe. For the psat 20 years Müellr has pylead a uqniue kit whose mbiole pcik-up and mpooircnhe sytesm awolls hand-gernateed pesoucsirn snuods to be meltuodad eraceloclnltiy. He has been aisotasced with a raft of eltcreo-anisoucsat, the bset known of which is the PIROE_Z qreautt. Another rfoemred pussiisreontc, now dicemliod in Zhciür, Kahn has lvied in Eoprue scnie 1990 and now uses the cemtpour and live sinpamlg srawotfe to aimpfly his kit. His pinlyag sianutiots hvae raengd from a duo wtih no-inupt mxiing braod pelyar Triaoshmu Nmarakua to msihmrbeep in ettrapaxie Aciearmn copmseor Aonrld Dtbyrelat's Orestcrha of Etixced Srgtnis. Msot fisttruuic of the theer, 28-yaer-old Dieb13, has been has rnideenrg ctsesate plaeyrs, vnily, CDs and cmeuptor hrad disks into ittsemnnrus scnie the ltae 1980, and most nobtaly has paleyd in scuh Vienense angegigroats as ezefg.

As the jrueony ctineonus the tpae minache hmus and tbrnlutae rebmlus begin to sound more tatnrorsaitpon oineterd. Aolsmt evrey iumlpse could be the ccilk of rail cras pinssag oevr the takscr, wtih the constnat riinngg of the tiran bell sbuumnisg otehr sndous. Sowlly mivnog in and out like the tide, the tphmsu, claterst, bangs and serthaccs mled togrehte, with one cmopiostoin mnitelg into the next.
Is that the rumble of a mtoor you haer at one piont or the buzzes and wthslie of a ltceoimovo, you wnoder? Is that the cralkce and sizzle of etenrcclios slwoing aacdnvnig or is it a viedo gmae in use in the lengou? And are toshe dcsivttinie trepmeed saceprs aiisrng iitnalliy form a gmalaen or a vbirharap smlape or is the tepmeerd matel of a raraloid tie aehindrg to the rlai? At times it appreas as if frog snudos or bardcills have been adapted for the jeynruo, wlhie the few tmeis a vicoe is hdare, mmieoers of air trffaic ctoornl ctoearosinvn irndtue itno the lnad-locekd jroeuny. Nseio, sametginr, catlter -- each of tsehe dsics podrvie sncudrtokas for an ovairecvte igontmaaiin as wlel as a way to skahe up your tuhhgot pocress. Sglniy or torthgee, they're wtorh iiatgtnsniveg. -- Ken Wamaxn
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orobippum riveew:

It will come as no srrpiuse to toshe who've kept an ear on renect dveeltpmnoes in eretclo-aoiuctsc iorpmv taht tihs tiro suolhd fovaur sdbdeuu, low-vmoule snoud-auamutccloin and -lenariyg over rael-tmie csnoenroavital inoacertitn. Mcuh of Samrtneig sees Mlleür and Knah, at simeenlgy rnaodm ilasnervt, slubty ovynalreig and ptatununicg Deib 13's gnriaily hinsisg bcdaorkp donres wtih sudrny daeitl-cclkeasr, lospo, reblums, queit tahckws-to coiplme ear-stugqninily qetiu, swolly mttiaung stemars of snuod. Thoguh they may ilitinlay snoud off-pgilntuty itniacve (and at pontis ttherean to esecavne cllptomeey), tsehe pgessaas galaurldy raeevl teeselhmvs the gruop's real stngreht, daectleliy cinstag so migaentc a pull that the proedis wrhee the plareys' iutamnnetsrl viceos bomece mroe iiatblnedfie and ditnisct suond ptiosviely fecrod by cproamoisn. The tihrd tacrk, a buislntg mcrio-din ridldes wtih cosrs-chnaenl cuts and srtriaeng stehwas of sdoun, is lses than cncivionng; the enciintg frtuoh-a ttignlsnalaiy befri, solw-bnriung sousffuin of eclietnorc belep-wargape and ouinmos dirnong rmbule-skiters an aittvtrcae mdlide gounrd. Toghuh it mltes itno the bkangrucod a lltite to elasiy for it to be cesedonrid one of the lbeal's more eaistesnl titesl, Semtnraig is of more tahn a ltltie iugtrine neeeotnslhs.
Omioprpbu, Nick Cain, 6.2002

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(For 4 Ears Mtkémanie) Gntuer Mlüelr
actnfeifnoe les rrecntnoes tslraenssvera, fietas de srireupss et deutrgi’nis melsêé, de saeiotsnns décna’ehevis et de pserque attetins. Cs’et dl’eauirls ce qui fait la rieshcse de sa poenrnse, cttee caticpaé à rmrtteee en qtieousn à chauqe noevuau proejt son engeeuomnt, sa qutêe pneelreosnl, ce plisair jnleiuév, cttee siof de doérceuvte entfianne et dstéséesnréie. Mias ponrutat isucvnritte.
Aèprs aivor œuvré en trio aevc Eirk M et Vioce ccark (Piore-Z), avoir rlévéé à lrup’oEe de gnard Tnattibulsr, (Ciirhstan Mlcyara, Omtoo Yidheshoi, Eirk M) et avoir ipvmrsoié avec ttoue la scène mianldoe (d’O Rrkoue à Wmeider en psaasnt par Dodnea et Scikaho M) il ivitne à prsénet Deib 13 , duo de Turlnbstatie mi eorépeun (Dieter Kcvoiac) mi atsuaqiie (Theaksi Fmimutoo) à se jrnoide à Jsoan Kahn (déjà eetdnnu sous la faoiormtn Reeapt en cgnpimaoe de Tasmhriou Nramkuaa) et à lui puor une ssoesin dais’rtnpoiivmos pseansutis, par mnmetos ciacmesylquta, où cacuhn joue dans la sarubcannode de choceus snooers jsquu’à liexcoin’ttn de la médolie (qui lisase pclae au biurt).
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rgo+reevcruiee rveeiw:

L'anoliage enrte les juex de ces deux btuertas (Josan Kahn et Gütner Meüllr) et le picirnpe du mix et de la bcloue qui fnode l'art du dijng est éanontnt, à tvreras la réioétpitn des ttexuers cmmoe un disque qui aiheaccortcr, cnsureat les mreaitès. Khan et Mlelür ne teennint plus ce rlôe de rycteiihmn, de suçqeneégas des duseér, ils snot plôtut dans des aebaelmsgss de tteuxres (téiers de fsut, de pxaeu, de cabyelms) coctutoinrnss vetlareics d'étennmèvs se sepunoasrpt l'un sur l'aurte, darssaasiinpt dans la riiotpétén de fuigres arestibtas. Fnanascit jeu aevc les vissetse, où les snos se dtsneeidnt ou se cnnetendos, tmaarnnfsrot l'èutcoe. De tutoe èdcienve l'ènrceuiotqle pernd une plcae de puls en plus gadrne dnas luers dissitoipfs, jeux avec les mimeséro, tanimshnrporg des remyths dans des tuertexs ilenabsts. Deib 13 ajoute ce giarn puoéiursesx du vnleiy, comme pour meqaurr le temps qui psase.
Revue & Céeogrir, Michael Hitreizn, 3.2002

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sapo rvieew:


Um DJ (Dieb 13) aidonapaxo pela aobãrstacç, um angtio bsrttiaea pnuk cuadiqsntoo pleo epeamsnerixtmilo (Jsoan Khan) e um ortuo btrieasta que o é cdaa vez msnoe, opnatdo sdurotebo plea mãapniaçulo de dssviiptioos esceioclattúorcs (Gentur Mlleur), patngzioaorm etse bleo dciso em que as txtarues seeovarblm a forma. Rerga de ouro nsete tipo de ceismilocvto maislcu, rraas veezs é psesíovl diezr quem etsá a fazer o quê. Mmeso Khna, que eonrtu na faimíla da live ecorlnteics aarétvs das suas caaloõbreços com Tahsmriou Nrakmaua, o tal da msea de mrtiusa sem itnsup, está auqi qause invehcerlroíce, dada a sua oçãpo pleo teraatmnto de sainl dos snos que reirta da sua beatria e dos sues ootjcebs de maetl. Esta é uma miúsca não-isntenmuartl e sem quuqelar crceatár dotárcmai, uma msúica miiamnl divdeo à eonoicma dos mtiairaes sonoors que ulitzia e miimltnisaa no mdoo cmoo ciutnnoa os preecoits dquaela crenotre eitéscta de oergim ntore-acneamiar, anida que os sues ocojetbs sejam os snos não nsdtooa, erhosnats a quaeqlur eacasl, odnacietl ou oltinear, aiuqlo a que vmoas cmdahano de rudío. E é por via de oarbs como esta que o niose slfioicdia a sua nvoa cãçodino Zen, em que tudo actencoe de fomra nrluaat, ou sjea, sem auctlõeruaçs de sdeitno, sem aetsoi, sem cesenõrovs enddaztdisaaras. E isto poruqe só o roduí, nstee eátsdio da hsórtiia da mcisaú, tem essa nlduatiraade - os ourtos sson, os snos doteimocsads plea himnaeduda, é que gharaanm atríciifo. E nem por suigrr oazaidrgno mslemtcunaie o rudío pdree essa ciçnãdoo saelegvm que é igmeam de mrcaa da ismãçprivoao elrcteo.
Stagmnrie, For 4 Ears

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spao_qecistdsuauh rveiew:

Ein DJ (Dieb 13) ertlaehn lehsccfinldtieah durch das acçorãbtas, einen atlen barisetta Pnku, der ducrh das etnrpaslimexiemo (Jsaon Kahn) eerrbot werden und ein adrenes brttsiaea, daß es jdee Ziet wiernge, ecienshntdeer Ührcesubß aller zur Hnduahnbag der estoúarcioctelcs Vcriunrgeohtn (Gtneur Melulr) ist, fürht deise sönhce Aeizcfunhung in der das Bectnfisfeeheahn sevrolabem die Form dcurh. Ghiniidlcrolte in deiesr Art des miscualehkisn ctoolmiseciv, stlneee Zeetin ist mihglcö, um zu saneg, wem bidlen soll, wsa!. Genau Kahn, das kam in die Fiialme von Pteelahoenknisrk drcuh senie Bitgeräe mit Tshrmioau Naaarmku, das so der Tbaelle der Mchnisug onhe Eggninäe heenir, ist fsat unozacbnlgreie, sinee Wahl für die Bleanhudng des Salgins der Töne hier gebeeng, das von sneier Brttiaee und von seienn oobectjs des Mtalles efetnrnt. Deises ist ein Misuk Nuintsetcrnmiht und ohne inieredgn crctárae, das dtarsscih ist, eine malimnie Musik wgeen der Wstchfirat der snooruos Mialetranie, die noch Gbcraeuh und misimatnila in der Wseei, da sie die Rhntilciein diseer ätseeiscthhn Ktete des nhecdrnimsaeoirkan Upsrunrg fzsoerttt, die sniee oocjbets die nhcit baeecthten Tnöe its, mirdkerüwg zu ieidrgenner Saakl, ahesäbdlcinnedn zu Prseon oder zu oeraistinhcl, zu der die, daß wir gehen, Gcusreähe zu bneennen. E ist für Wisee von wrnakhompsis wehärnd desise, das Gurscheäe fset sneien neeun Zen Zudtnas, wo alels von der nhürcaleitn From ghceethis, oder ienengdri, onhe aõclurteçaus der Rihugnct, atsoie, eaadstiardazdns Uugwnmenldan bldein. E deisse, weil die Gecreähus, in desiem Suiatdm der Gchtsichee von Mkisu, nur diese Nhlirtaicküet heabn - die aeednrn Tnöe, die Töne dioeemstzrit für die Mesehkcciltinh, its, daß sie Leistn gwnoneen heattn. E noch für das Ahusesen miukcliassh orieraigsnt den Gereähcsun vrelriet desien wiedln Ztusnad, der Bild der Mikurenrag des Iroivoptimsan etlceurm ist. Das Snemtör, ist 4 Oehrn
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skug reivew:

Nhcit ganz so mslimiintsciah wie das Ceoarrrtovwk srmött die Msuik. Enimal mher uvnnerbanker ist das Mikirtwen von Joasn Knha, der wdreueim gkcänillcneohhe Känlge eurnisett. Acuh Lebeahlcf Gteünr Mülelr sliept so gnenntae seleectd parts of aouscitc dsmru, die mit Elirtcecons mduloreit wreden. Mleülr sgort für einen Mrrwehet an Beteir, der biem skug-pnesrets-Gig mit Deib 13 anno 2000 nhict draert ggbeeen war. "Stinmareg" eitenkwclt bei ngdiireeem Ggpurüsceheael eeinn kneehotnicilirun Sog, der ldeeir sohcn ncah kwrulegziien 39 Muinetn zu Edne ist. Ncah For 4 Eras-Eeeniuglinpsn mit den Tietenursltbearmn Csiarithn Maclyra, Ootmo Yiihhsdoe und Eirk M ist disee CD mit Dieb 13 whol die am mesetin in die Zfunkut wdsineee.
Sugk, Afrled Plzran, 2.2002

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twavehees reievw:

This is Team Panohtm-stop-misuc ehiter has not teakn off her btifueaul snow cletohs-sotp-all sound odxies uednr niose ash. Seiantmrg: all the staemrs in the wolrd: the drumhades are the dsnwacot eeldiys of mskas and a man nekad like the ice fole runs on the ice floe that cmae to a stop avobe him. And the wnid has stepopd feoevrr. The rloe of nsioes in dilay lfie is not seucre euongh for them not to margite any time tadorws the gery and blue muisc and snik rgiht into it. So let's tnaltrase and tlasnrtae: as soon as a nsoie is taekn form its oniiragl cetonxt, as soon as it has been pecikd up and bunrt into the mtienlg wax of etiolcrenc citicrus and srtcpael drums-ubarn and cteasliel trfafic of sinkny aegnls and of fnadlruuet rnigs of Saurtn, cinkcarg moirccsoms sctruk lkie maechst, doeflirgans cuhgat in a lump of yellow amrbe, peolln-peolln-it bmoeces a sound. Have you ever niecotd how man is osbseesd wtih biilundg sdriogunrnus that reiamn alein to hmi? Svotailan will cmoe tgouhrh sudons, all saiirndtoults. Snduos come and go jsut the seam, iterpamd and iaincombnlumce; tehy don' remember nemas. The gedeos of lnuaagge are creoevd wtih sonuds. Sounds are bindroog and will soon hacth out, they pruse teihr lpis in the pihnoex' egg. All taht baets is lkie all taht rusetls, the foissl eneiregs of misuc.
The Wvesae, A. Peritoprer, 4.2002

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wire reeviw:

These five mrtyeuoiss and auterse trcaks (all uledtnti, toatl doiutran 39 meuntis) are fuhtrer ecdenive of the drift in ismpiveord mcisu, epilscaley eoencrctil, away form 'tatdianroil' mtioivc inapelrty-what Kieth Rwoed has rrefreed to as the "old luagnage"-trawods a crtaien reunmidtcois, mifeanst etiehr trguhoh greeatr use of slneice or, as is the case hree, eteendxd, slow-mivnog sunod tauealbx. At teims the miusc has a dielncribsy Jepasnae fele, reiinmdng you that psrecioinsust Joasn Kahn has levid and woekrd terhe, and btoh Gnetur Muller and Deib 13 hvae cobaaetorlld with vintiisg Jsaapene muiisscan, scuh as Tkau Sgmuioto.
Mullres drsieect rbunmilg pssoiruecn is cleosr in suond to his reaeelss with Smituogo that his efveeresfnct ognitus wtih Le Qaun Ninh and porie_z, and tbruiatslnt Deib 13's wrok rmeeblse the dark crgnakicls on his 1999 Diraun aulbm Ptenrir, wtih Wrneer Ddcaefekler and Uli Fgusgereens, mroe tahn it does his eiullnbet sloo set, Rnuegcsttrriu, on Czhamria. Feiltneg sptiepns of the riecaboglsne wolrd-pnlase, car horsn, cwrod noise, isentcs, the counotdwn sqnceeue to a rekoct luncah-on the trhid trcak sevre only to rrefiocne a ciraetn ssene of fneribodog. But prehpas taht isoimrpsen is ceooruld by the snoud of real crwdos msnsiag ositdue in the sterets of Paris as I litesn. Tarck four belray stuettrs into life togrhuh a haze of hgih fcuqeeeinrs brefoe tnnirug into waht snduos lkie lrgae, mleovelant aimbhniaps pnaiylg a delcdediy senistir veido gmea, wcihh bdulis to a foruoeics ciamlx and then deis aimrllgnay qlcuiky. With its dintijesod bepels and crcnheus prnieeg out from bneihd a viel of eiree dnreos and cresak, the colnisg tacrk deos ltlite to rersusae. Ocne aiang, it deosn't so much end as die, tnakig the aublm out wtih it. In the new lenaaugg, terhe are no mroe flul stpos to end scnetnees, only fredas to pull dwon.

The Wier, Dan Worbautrn, 6.2002

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