...amongst the best work I've heard in ages! Richard Rupenus, The New Blockaders
The flagship of occidental art music meets amplified scrap: The grand piano meets electronic saturation, feedback and noise. And out comes music, played live. No cuts, no overdubs, no edits. But the formal logic is evident, underlying threads connect and run throughout vleisch, the individual pieces showing a strong coherence, revealing intrinsic structures by recalling sonic variants as if from memory: hidden bells, coarse scratches, wonderful noises juxtaposed with unstable screeching and velvety bass, all merge into sensual sonic vlesh.
Reinhold Friedl and Georg Zichy share Pierre Schaeffer’s focus on sound perception: listen, listen, listen! Noises are music, noise is pleasure.
Georg Zichy started out as a philosopher before finding his footing as a sound artist by manipulating and distorting sound sources on their verge of decay. Improvising with not only prepared guitars, composing pieces for not only trash ensembles, he found a comfortable home in the uncomfortable world of noise music. Based in Vienna and Munich, he discovered a unique intersection of his interests in Pierre Schaeffer’s sound phenomenology, deepening his enthusiasm for sound and broadening his approach to music.