Eleksdfstro Guzdsfdfszi
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Eleksdfstro Guzdsfdfszi

Vienna, Vienna, Austria | INDIE

Vienna, Vienna, Austria | INDIE
Band EDM Avant-garde


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"Elektro Guzzi: Elektro Guzzi (Macro CD / 2xLP)"

When Jaki Liebezeit, a free jazz drummer, joined Can in the late 1960s, he desired to damp down the unpruned 'expressiveness' of that genre and turn himself into a machine. 40 years later, that's what the three Austrian members of Elektro Guzzi have done, too. They're a traditional rock trio who've been active since 2004, but this Patrick Pulsinger-produced album is their first recording. It's taken five years of hard labour to blanch their music of ego: three minds, 12 limbs, one singleminded, sentient being.
The pace of these ten tracks is relentless, creaming forwards with the urgency of a Techno track by Robert Hood or Jeff Mills. Bernhard Breuer on drums is the dominant presence: a quantized human with a robotic kickdrum foot and a nice array of shakers, cowbells and cymbal-chains. Bernhard Hammer's guitar provides the main textural embellishment, usually dry, making liberal use of delay and reverb chamber, and possibly using sticks and beaters. Jakob Schneidewind's bass discreetly applies pressure to the pulse with a series of modulating gloops. "Hexenschuss" kicks off at a racketing pace; "Black Egg" rides on a stomping pulse that recalls Porter Ricks. "Loq Pol" gears down to a loping dub mode. "Ludium" is pure sweet, throbbing punishment - imagine Nitzer Ebb on Perlon.
Grooves are built up bar by bar, ratcheting up to micro-events with each return to the one. Occasionally, the rhythmic complexity reaches staggering levels of layered syncopation, yet the blurb insists the entire album is recorded live in real time, with no added electronics, loops or overdubs. It sounds like a digital electronica record, but strangely you start thinking about all the things you don't consider when listening to programmed, sequenced music: marvelling at human stamina, straining to hear any kind of imperfection. None is forthcoming. I applaud its sheer cyborg bravura.

- THE WIRE #315

"Elektro Guzzi – Elektro Guzzi (Macro )"

Man kann mit Computern Rockmusik machen, auch haben viele sich auf das effekthascherische Dünneis begeben, Computermusik mit Rockinstrumentarium zu spielen. Was beide Ansätze zu selten geschafft haben, ist im Ergebnis etwas Autarkes zu schaffen. Etwas, das ohne konzeptionelles Hinterwissen reine musikalische Wirkung erzielt. Wo Who made Who noch immer mehr oder weniger eine Coverband großer Clubhits sind und breitbeiniges Overstatement ihrer Eventgeneration zur Schau stellt oder The Whitest Boy Alive ohne klare Songstrukturen auch nicht vorstellbar sind, oder umgekehrt dOP und Noze Performanz vor die Abletonpattern ziehen, kommen nun Elektro Guzzi aus Wien. Die Ressentiments könnten größer nicht sein. Keine Overdubs, Patrick Pulsinger am Veredlungsfader, Programmatisch over Asskick … Was aber über einen kommt, ist schwer in Worte zu fassen. Ja, es ist Techno, und es ist puristischer Techno, gewissermaßen Techno in Reinform. Die Unverortbarkeit der Sounds wird hier dogmatisch an die Grenzen getrieben. In Tradition von John Cage werden hier Saiten präpariert, elektrische Spulen ihrer immanenten Kraft überlassen. Und nirgends werden auch nur einmal zu offensichtliche Zeichen bedient. Dabei wäre es doch so einfach als Liveband die Audienz zu entzücken, aber Elektro Guzzi gehen den konsequenten Weg und das auch mit Fug und Recht. Sie räumen mit Klischees auf, vor allem den Stereotypen, die sich im Laufe der Zeit in der elektronischen Musik etabliert haben. Es ist ein vor Spielfreude glänzender Spiegel, der der Ravenation vorgehalten wird. Zeit zur Rückbesinnung, Techno wird nicht durch seine Produktionsmedien bestimmt, es ist eine Haltung. Elektro Guzzi deklinieren dies kunstvoll, geschickt und mit deepem Grooveverständnis. Und ohne das Fass zu sehr aufreissen zu wollen, es ist ein ganz großer Entwurf, in keinster Weise retrospektiv oder anmassend, sondern substantiell und kongenial.




Hexenschuss / Elastic Bulb (Single); Macro Recordings 2010
Elektro Guzzi (Album); Macro Recordings 2010
RA.212 (Podcast); Rsident Advisor 2010
Mind The Gap Volume 86 (CD, Comp); Gonzo Circus 2010



Live performances of electronic music have gone a long way since the seminal decision of a few men from Düsseldorf to leave their Krautrock beginnings behind and to become machines. Since then, the list of successors is epic and technologically refined in the process: from the musicians who on stage incorporated electronics into their post punk aesthetics to today's laptop PAs blurring the lines between performance and DJ set in a club context. Of course the evolution of according concepts also proceeded in reverse, with electronic musicians implementing their sound into traditional band structures, and performing their music as modern interpretations of the latter, combining the sounds of the according analogue and digital equipment.

Taking all this into consideration, Elektro Guzzi from Vienna are none of the above, which is exactly why Macro didn't hesitate to sign them. Though their sound most certainly suggests that Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer also decided to become machines, they strangely enough don't use any (it took several confirmations in mails and personal meetings and a rehearsal video to convince that they don't).
As digital as they may sound, they couldn't be more analogue, producing and performing with the most classic of all setups: bass, guitar, and drums. But however traditional they may look as a band, they certainly do not sound like one.

Elektro Guzzi are not interested in exploring their minimal and dubbed out soundscapes in long epic jams, where coincidental ideas born out of improvisation are the unofficial band member. Elektro Guzzi are interested in structure. They produce and perform like any modern electronic producer and performer wanting that every element of a track is exactly where it is intended to be. There is no computer backup material they prepared earlier, no loops and things, no overdubs. However hard it is to believe, what you hear is 100% live.

The Band startet in 2004, taking five years to shape their skills before ever entering the studio. This may explain why they have been one of the few acts so convincing that they got a tour of Japan and appearances at Barcelona’s Sonar and Berlin’s Berghain booked before any recording was even promoted.

As fascinating as the resulting music already sounds on their debut releases for Macro (produced by Austrian legend Patrick Pulsinger), the band is perfectly able to bring it on stage. There, they connect the hypnotizing force of their analogue techno with the visual treat of a band doing it all right in front of your eyes. You hear it, you witness it, and you dance.