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 performed.
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.
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