#efzeg #sweetdeal

for the poor souls who don’t have it yet:
(almost) the entire efzeg catalogue is up for sale for 30e at

the bundle includes flac and apple lossless files, artwork, some good old-fashioned efzeg videos of

•) 5 official full length releases (grain, boogie, wuerm, pay, krom)

•) the track that wasn’t released on the 2006 hathut album

•) a 45 min long live cut from 2002 in paris

•) 2 tracks that were commissioned for compilations. (MisterO and g9 w/ 4 basses: Dafeldecker, Norman, Zrost, Williamson)

that’s pretty awesome.

you can also get each item individually for 4e each right here

payable via paypal or direct bank transfer.

efzeg “may be the most important element of the “Austrian” sound in late-’90s experimental music.”

efzeg: (deutsch unten)

as soon as sounds of reeds and steel or the info cut into lps are available from the start, as soon as they want to sort themselves, and feel the urge to do so: music is structure, form, material and method. none of which are concealed nor await discovery. they are each queried, sorted and essentially re-created while being

their genesis is not kept secret. we cannot and do not want to be reduced to a common denominator without much ado, without further consequences. surrendering oneself to interrelations that cannot be foreseen is one of the most distinguished tasks of self-determined music-making. the deliberate search for differences, the joint treatment of them and the desired friction that occurs when different musical identities meet generate both a rational and emotional intensity that the individual, isolated, subject has never achieved in this form.

the objectification of our egos – as a musically-fictional, jointly won artificial ego – represents their socialisation and discloses multiplicity, diversity, which is condensed in the course of the musical act to form a “oneness of several egos”. this newly gained oneness is the manifestation of personal identity: style.

efzeg does not guarantee that its music will be a source of “intense pleasure” to listeners. that is not what we are here for – and neither is the audience. intensity can only be experienced by the subject him/herself: nothing can be gained without dedicating oneself to a possible source of irritation.

what has just been said applies both to us as “performers” and the audience as listeners: the system, the system of the music, is not perfect until it has been received.

apart from the context of accoustic and electroaccoustic soundproduction visuals are an essential part of efzeg. audio signals are billy roisz’ source for her visual improvisations. she opens “the invisible world”. the transformation of the audible to visual cosmos shows which visuals are written in sounds, can be written in sounds. roisz-live-visuals: visuals of passing brief sounds in realtime, a shimmering score of the efzeg sound.

efzeg, january 2000, july 2001

wenn klaenge wie holz und metall oder die in langspielplatten eingeritzten, eingeschriebenen informationen von anfang an zur verfuegung stehen, sich eine ordnung schaffen wollen, in eine ordnung drängen: musik als struktur, form, material und methode. sie liegen nicht irgendwo versteckt oder harren ihrer entdeckung, sondern werden im moment des spielens von den ausfuehrenden jedesmal neu befragt, geordnet und neuerschaffen.

die schoepfung im verborgenen gibt es nicht. wir koennen und wollen von vornherein nicht ohne weiteres, ohne weitere folgen, auf einen nenner gebracht werden. sich vorerst ungewissen zusammenhaengen auszuliefern, gehoert mit zu der vornehmsten aufgabe des selbstbestimmten musikmachens. das bewusste aufsuchen von differenzen, ihre gemeinsame bearbeitung und die gewuenschten entstehenden reibungen an der musikalischen identitaet des jeweils anderen, bewirken eine rationale wie emotionale intensitaet, die das einzelne, vereinzelte, subjekt in dieser form nie erreichte.

die objektivierung unserer ichs – als musikalisch-fiktionales, gemeinsam errungenes artifizielles ich – bedeutet ihre vergesellschaftung und legt so multiples, vielfaeltiges frei, welches im verlauf des musikalischen aktes zu einer “einheit von mehreren ichs” sich verdichtet. diese so neu gewonnene einheit repraesentiert die verortung des persoenlichen: den stil.

efzeg garantiert auf der buehne nicht fuer ein “intensives hoervergnuegen”. dafuer sind wir nicht da – das publikum auch nicht. denn intensitaet kann wiederum nur das subjekt selbst erfahren: ohne bereitschaft zu einer moeglichen irritation geht gar nichts.

das soeben gesagte betrifft uns als sagende ebenso wie die zuhoerer als hoerende: das system, das system der musik, ist erst beim rezipieren vollkommen.

neben der kontextualisierung von akustischer und elektronischer soundproduktion zaehlt deren visuelle formung zum intergralen bestandteil jeder efzeg-peformance. efzeg-musik, efzeg-bild: “ein ganzes ausmachend”.

die von den vier musikern live generierten audio-signale dienen billy roisz als ausgangsmaterial fuer ihre visuelle improvisationen, sie macht “the invisible world” sichtbar. die transformation von klanglichem ins sichtbare zeigt, welche bilder den klaengen eingeschrieben sind, sein koennen. roisz-live-visuals: bilder von fluechtigen klaengen in echtzeit, eine flimmernd-flirrende partitur des efzeg-sounds.

efzeg, jänner 2000, juli 2001


photo credit Dieter Hartwig
photo credit Dieter Hartwig

In this solo act I’ll investigate how concepts of processual repetition, patterns and loops can engage the imaginary and calculated potential of iteration and disintegration, delay and modulation. Observing the deformation of repetitions after they have been established, microscopic loops interact with elongated nested phrases and expose the gradual decay of the logic of sound.

SPEKTRUM | art science community
Bürknerstraße 12 12047 Berlin

Doors: 19:30 / Start time: 20:00
Entrance on donation: 5-10 euro (up to your offer)


THE PEELED EYE (review BILL MEYER, @dustedinc )

The four men who make up The Peeled Eye have been around a while now, long enough to forget first impressions. Certainly nothing about their self-titled debut is going to make you remember the restrained and/or minimal sounds of efzeg, Kahn-Korber-Weber, Trapist or SSSD. While a snapshot of Boris Hauf (baritone saxophone), Martin Siewert (guitar), Christian Weber (bass), and Steve Heather (drums) might cue you to think you’re going to hear jazz, what comes out of the speakers when you put the stylus down is more of a Godzilla tap-dance. Heather drums like a machine-gunner clearing out a field, Hauf’s horn flails like the tail of a toppled brontosaurus, and the guitar and drums careen like they’re crashing an audition for The Ex. The opening tune may be named “Kind Of,” but there’s nothing tentative about its determined heaviosity.

There is, however, a strategic side to The Peeled Eye’s music that refutes parts of the description proffered above. They might sound like they’re flailing, but each blow lands exactly where it’s intended. The combo’s dynamics move too fluidly from pummel to scrabble to be accidental, and when they want to ease up, the complementarity of their contrasts is far too effective to be the product of chance. “Heavy Quarters,” which occupies the second half of side one, proceeds through a sequence of bleak mood inducers — triggered film samples, slow stomp, Sonic Youth-like guitar screams — like an effective film soundtrack.

[…] The meaty satisfaction dealt by The Peeled Eye suggests that free improv apprenticeship is a worthy pre-rock tutelage.

Bill Meyer