“In three seconds from zero to twelve tones.” The Peeled Eye REVIEW


Together four notorious engineers design a vehicle of a different kind. No frills. Sleek design. Schematic without hierarchy: rhizome electronics. FreeJazzSax gearbox. In three seconds from zero to twelve tones. With screeching tires and drumming heartbeat the vehicle whizzes through stringed thunderstorms. On dark streets of bass-lines into a serious nothing. Unlimited Doom. A poly-logical Inferno, a decrepit ghost, a swarm, a lamenting Ghul, yet another inferno pass outside. Occasional longer stays in abandoned parking garages. Volume and degree of tonal density drop, but not the tension. The ceiling lighting flickers, raindrops whisper, windows steam up. An electronic pulse starts up the engine. In driving a motive makes its way inside the sound body, gets developed and in its best moment thrown out the window. And then again, the same. Greetings to the noise of that night, it’s tinkering, it’s punch. Hinted phrasing, amorphous force, Patterns without stencils, a fine net of questions becomes the answer. To what? Exactly. The tank is full of relations. No more space for vanities. In this dark miracle musical ride. (steroid) [translation Boris Hauf]


german (original):
Vier berüchtigte Ingenieure entwerfen gemeinsam ein Gefährt der anderen Art. Kein Schnickschnack. Schlankes Design. Schaltplan ohne Hierarchie: Rhizomelektronik. FreeJazzSax-Getriebe. In drei Sekunden von null auf zwölf Töne. Mit quietschenden Reifen und trommelndem Herzschlag saust das Vehikel durch ein Saitengewitter. Auf finsteren Bassstraßen in ein schwerwiegendes Nichts. Unlimited Doom. Draußen ziehen vorbei: ein polylogisches Inferno, ein klappriger Geisterzug, ein Schwarm, ein lamentierender Ghul, noch so ein Inferno. Gelegentlich kann es zu längeren Aufenthalten in verlassenen Parkhäusern kommen. Lautstärke und Grad der Tondichte fallen ab, die Spannung nicht. Die Deckenbeleuchtung flackert, Regentropfen flüstern, die Scheiben laufen an. Ein elektronischer Impuls wirft die Maschine wieder an. Während der Fahrt gerät ein Motiv ins Innere der Klangkarosserie, es wird weiterentwickelt und in seinem besten Moment aus dem Fenster geworfen. Und dann gleich nochmals. Grüß uns den Noise dieser Nacht, ihr Gefrickel, ihren Punch. Angedeute Phrasierungen, amorphe Wucht, Patterns ohne Schablonen, ein feines Netz aus Fragen wird zur Antwort. Worauf? Exakt. Der Tank ist voll mit Relationen. Für Eitelkeiten ist kein Platz mehr. In dieser dunklen Wunderkarre aus Musik. (steroid) issue #63

BUY HERE : shameless web store

list of stolen instruments , please share

KORG cx3 (sn# 320433) red case
Roland sh 101 (sn# 256495) green case
Roland sh2000
Korg MS 10 (sn# 137148) green case
Pianet Hohner black case

Selmer SA, 80 serie ii (sn# 419736)

Shure Sm 57
Shure beta 58
ALTEC 683A + Amperite R 8 (H) no case
RCA MI 6202 (1945-1951) no case
Sennheiser MD 441 (2x) old version
Sennheiser MD 421 (2x) old version
Oktava MK 012 Matched Pair Black

Mir wurden letzten Mittwoch (2.Sept) fast all Instrumente und Micros aus meinem Lager in Berlin gestohlen.
Ich weiss es ist ziemlich hoffnungslos, aber falls ihr die irgendwo steht, oder angeboten bekommt, eventuell kurz bei mir melden.
Keyboards waren alle in cases, micros in den original pakcungen
Wäre super, wenn ihr dieses mail weiterschickt, oder über eure Netzwerke postet.

Hi all, hope this finds you well.
almost all my instruments were stolen out of my Berlin storage. if you see one for sale or trade please let me know.
Please forward this email or post it on your preferred networks.
thanks so much!

The Peeled Eye – review Ron Walkey

So I sat down in that big leather-covered armchair and put on a pair of large and efficient earphones. I wanted to give Peeled Eye some ear-time, without surrounding interference. Hear where they are ‘at.’ Out the night window of the 5th floor apartment crashes of lightening fractured their way down onto the tip of the Berlin tower. Perfect background for this music!
Let me begin with three simple things. First this is serious music. It’s not just a gig. Something fine is being played, something unified, something shared. Second, each of the musicians is an expert. Care and proficiency are felt throughout the entire work. Third, this group really cooks together — each of the four an absolute necessary part of the whole.
With that said then there’s the delight in the complexity of what sounds are being made. My ear followed one of the players, heard his path beside the others, then followed another. The musical patterns they’re working with are far from familiar to me. I paid attention. At many points cohesion is not at first obvious, each seems to be blowing to his own wind, but not so. Sitting there and listening they opened my mind to many questions, just as all good art should. Is this in some way a fractured mirror to our society, where an individual cry in the complex night might, or might not, be heard by someone else? Gone the days of total agreement to what’s groovy? Maybe. Maybe not. All sorts of tasty questions.
A lick starts, gives a hint, then peters out. The sax heads into a painful wail, or was it ecstatic? Or a complaint? Or a shout of loneliness? Rhythms build, dissolve away into somewhere else. Electronic sounds come forward to blossom, add spice, sometimes dive in, but never steal the show. A piece ends, leaving a heart-filling drone to bring momentary ear comfort. Then some tinkles off to the side before a thump. It’s a landscape, and a beautiful one.
As another flash from Zeus raced down to touch the Berlin tower. Very fitting.
At the end of the second side of that yellow vinyl disc I lifted the earphones off into the silence of the room. Moments passed before I realized there’s a clear emotional stance of urgency in this music, and it’s one I’m not particularly comfortable with. I’d probably be more soothed with a bit more space between these sound conjunctions, but that’s just me. It gets a bit desperate at times, but don’t we all. Just like life.
So, do get yourself some good earphones, slice off a bit of time and sink into what these guys are doing. They’re pros.

Ron Walkey (Vancouver & Athens)

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refugees welcome in der Sammelstelle in der Schmidt-Knobelsdorff-Str

Sammelstelle in der Schmidt-Knobelsdorff-Str.: Zelte sind aufgebaut, heute Abend werden die Flüchtlinge aus Bayern erwartet, wir haben Hygieneartikel gebracht, davon wird mehr gebraucht ebenso wie kleine Wasserkocher und Babyartikel (kein Essen), warme Männerkleidung und ehrenamtliche Helfer. “Spandau hilft” koordiniert. Es ist eine gedrückte Stimmung auch bei MitarbeiterInnen, weil eine große Unsicherheit da ist, wie die Situation sich in den nächsten Tagen entwickelt. SozialarbeiterInnen und Security machen einen großartigen Job. Alle Sprachen sind vertreten, viele Konflikte können schnell gelöst werden. Winter is coming.


new Shameless release

I’ve started my label Shameless again. First up is the debut release of The Peeled Eye — a noisecore/doomjazz quartet with Boris Hauf (baritone saxophone), Steve Heather (drums), Martin Siewert (guitar) and Christian Weber (bass).  The work of these longtime musical collaborators dates back to the mid-1990s in bands like efzeg. Avoiding minimalist improv aesthetics, The Peeled Eye is resoundingly aural in this spontaneous, impulsive, and eruptive recording. The Peeled Eye performed at Ulrichsberg Kaleidophon 2015 (check here for videos) and is playing a European tour in Spring 2016.

The limited edition of 300 is pressed on yellow vinyl and available immediately for
EUR 20,- (incl. digital download and free shipping worldwide) at the Shameless online

Chicagoans, Berliners and Wieners can opt for “Local Pickup” to expedite their fix!! Please contact us for details after your purchase. We will offer this option as long as stock lasts.


Boris Hauf Sextet at Constellation

Berlin-based reedist and composer Boris Hauf has been a regular visitor to Chicago since 1999, developing strong ties with local musicians on his sometimes extended stays. One especially noteworthy product of these collaborations is his sextet, which performs locally tonight for the first time since the 2011 release of its most recent album, Next Delusion (Clean Feed). Hauf leads five local jazz and experimental musicians, combining their aesthetics for a restrained but not minimalist sound that borrows the solo language of free improvisation and the patience of avant-­garde drone. Over four extended pieces, he and fellow reedists Keefe Jackson and Jason Stein play braided long tones and multipitched clusters of percussive pops over a mix of thrumming, scraping textures and ferocious polyrhythms from kit drummers Frank Rosaly, Steven Hess, and Michael Hartman. Few ensembles can match this sextet’s decisive motion among pure sound exploration, carefully harnessed chaos, and meticulously ordered drones.

Peter Margasak

When: Thu., May 28, 8:30 p.m.
Price: $10

Source: Boris Hauf Sextet, Jeph Jerman & Tim Barnes | Constellation | Jazz | Chicago Reader