textu rizer

"7" (CD) October 2006 Antifrost |afro2036| - - - - - - - - - - - - - -

VITAL (NL) Behind Text Rizer are two considerable well-known Greek musicians: Coti K (electronics) and Nikos Veliotis (cello). The first one plays on several of the Antifrost releases and Veliotis has released a beautiful CD of solo work of a highly drone like nature. His playing on '7' (which hold four tracks, rather four parts that flow into each other) however is highly minimal, but not always as droney. In the opening piece, '7.1', the cello is used almost in a percussive, with short bangings that are gradually getting stronger and stronger. Electronics seem to be absent, or at least they mingled with the cello to that extent that they couldn't be heard. However they open up in '7.2' and then the cello follows, both in a highly stereo fashion. This short piece fades over in the third piece, which is the longest here, and half of that track is filled with just solo cello. Here too the full stereo element remains present, and listened on headphones, like I did, creates a very spacious
atmosphere. The overtones with which this ends make up the final track, which is basically one long fade out. It seems to me that electronics dominate this piece. It's hard to say how this is exactly made: the cello is as such to be recognized, but the electronics aren't. It would give the listener the idea that it plays a lesser role, but I wouldn't be surprised to know that they are in fact much bigger. The whole CD is one of utter minimalism, but at the same time of an amazing beauty. Very controlled, very focussed, and simply great. One of the best Antifrost releases. Ever. (FdW)

TOUCHING EXTREMES (IT) Nikos Veliotis and Coti K don't need to embellish what's already consistent, and there is no doubt that the Greek duo could cure various kinds of mental disorder through the sheer power of their music. The four movements of "7" won't disappoint those who expect drones, but Texturizer lead the listeners into that realm only after having subjected them to a more percussive, obsessive initiation rite, where plucked cello notes bounce all over the head like an oppressive caustic hail. Yet, it doesn't take too much before slow chants and spiking harmonics - all courtesy of Veliotis' bow - become an appreciated radioactive substance that Coti K masterfully treats with electronics and effects, bringing about masses of repetitive patterns and cascades of minimal quivering that - especially in the third and longest movement - become almost frightful in their growing intensity. This is music that expresses the rage of desolation with lo-fi brilliance, not "innovative" just for the sake of it, but essentially valuable. It confirms Texturizer as one of the "right" entities by which being disinfected and entangled at one and the same time.

THE WIRE (UK) Never having met Greek cellist Nikos Veliotis, I picture him as a minimalist Zen monk. His approach: one sound is enough, once you've found the right one. His 2003 solo album Radial takes this line - the second track hits the perfect acoustic cello voicing, a wavering ghost-chord probably involving something threaded through the strings. Having achieved acoustic enlightment, Veliotis just sits there making the same glorious noise for 20 minutes .For his Texturizer project Veliotis teams up with Coti K's electronics, and the opening 15 minute piece is a tour de force. The sound judders and flaps like wind-blown rigging against a yacht mast. Its origin is recognisably a cello, with a warm, bristling quality, but the electronic contribution supplies plenty of low end and fluttering harmonics. Slowly it evolves into a stack of circling tremolos, high speed and motionless at the same time. By the end we're staring into a blizzard of high pitches- somewhere within are astonishing cello technique and electronic subtletly. The four tracks on 7 segue as if a continuous performance. A random texture of glissandi - like raindrops, but rising upwards - thickens into a shuddering mass of sound. Further evolution produces moaning feedback, a winf whistling over a choppy sea. Finally there's just a luminous chord, hovering in a space where the clocks have stopped. Supremely assured music, with the confidence and rightness of a temple rock garden. Clive Bell

BAGATELLEN (US) The amazing cello of Nikos Veliotis opens the first of four tracks here with controlled ferocity, rapidly plucking damped strings, probably overdubbed (if not, whew!). It’s like watching some burbling but difficult to distinguish activity from a distance. Then there’s a sudden shift as the intensity and volume is ratcheted up a notch or two, though the basic elements remain the same. The entire first track appears to be just Veliotis; if textu rizer partner Coti K is present, his contributions are subtler than I can perceive. More bowing becomes audible as the piece proceeds, hasty scrapes really. A good track, maybe going on a little longer than necessary. It slides directly into the next where, over high, arco siren calls, the electronics do appear (although it sounds like Coti K might be processing sounds that originated with the cello), their lower buzzing offsetting the keening. After an odd, split second pause, the piece picks up in much the same manner that the transition in Cut One occurred: an increase in volume and texture with the same materials. The third track, at 25 minutes, is the longest and gets into much more of a drone area. Again, difficult to discern the specific presence of electronics, though I still suspect sampling and processing of the cello. As on the first track, while interesting enough, it goes on longer than warranted though I can well imagine it appealing to even bigger drone-heads than myself. The final cut is like a drawn-out fade, the electronics contributing grainy static alongside Veliotis’ thin wail. Not a bad disc but one that could have used more concision.Brian Olenwick

GAZ-ETZ (PL) "7" to druga plyta greckiego duetu holdujacego minimalizmowi. Nikos Veliotis (wiolonczela) -Coti K. (elektronika) sprawiaja wrazenie osób, którym do pelni szczescia wystarcza jeden-dwa, no góra trzy dzwieki. Dzwieki, które nastepnie mozna mozolnie i wytrwale przeksztalcac, modyfikowac, zwielokrotniac, itd. Choc we wszystkich czterech utworach - a raczej czesciach, bowiem poszczególne "kawalki" plynnie przechodzac w siebie, tworza cos na ksztalt suity - wyraznie dominuje wiolonczela, to ich tekstura wiele zawdziecza elektronice, której zadaniem jest zapewne wzmacnianie i poglebianie brzmien akustycznych. Ze wzgledu na pewna homogenicznosc faktury, trudno jest jednak dokladnie okreslic, jaka wlasciwie role w muzyce Textu rizera odgrywa elektronika - czy partie Veliotisa sa (oczywiscie jezeli w ogóle sa) przeksztalcane przez Cotiego K. na zywo, czy tez moze dzieje sie tak dopiero po ich zarejestrowaniu. Mozliwym jest tez to, ze partie wiolonczeli wcale nie zostaja poddane jakiejkolwiek obróbce elektronicznej, bowiem Veliotis zwykl stosowac rozmaite preparacje oraz techniki wykonawcze mocno poszerzajace mozliwosci brzmieniowe tego instrumentu i to one wlasnie moga byc odpowiedzialne za niezwykle intensywne i zróznicowane barwy dzwieku. Wówczas zadaniem elektroniki byloby swoiste "wydluzanie" i "rozciaganie" dzwieków w czasie oraz ich multiplikowanie, jakby z Veliotisem w duetach, tercetach, kwartetach, itd., graly zastepy wiolonczelowych ech. Jakkolwiekby nie bylo, na "7" uwage zwrócic powinni nie tylko wielbiciele dronów oraz kameralnej minimal music. tk

TRANZISTOR (GR) http://www.tranzistor.gr/index.php?option=com_content&task=view&id=1715&Itemid=143

"textu rizer" (CD) June 2003 Antifrost |afro2018| - - - - - - - - - - - - - -

WIRE (UK) The Athens duo of cellist Nikos Veliotis and electronic dronescaper Coti K recorded this glacial four-part drift in a local church, and there is certainly something mediative and reverential about the music. It's far from tentative, however, as from the first monent low rasping feedback tones ring out proudly, as Veliotis tries to prise open some space for himself with insistent scratchy harmonics. The artists don't hit their stride and achieve symbiosis until the second side, but it is in the search for this moment that the drama lies. The bowing of the cello within the brooding stasis of Coiti K's treatments adds a reassuring human warmth to what would otherwise be a rather forbidding experience; in this "Texturizer" recalls the driftworks of Pauline Oliveros, without quite managing to reach the same time-confounding plateaux. (Keith Moline)

JADE (FR) Suffer/Enjoy” compilation du label Antifrost avait exprimé dans un passé récent la détermination et l’appétit de celui-ci pour les marges obscures du bruit blanc et des errements sonores. Texturizer réunit deux adeptes de cette pratique, de ce sport à hauts risques auditifs, en les personnes de Nikos Veliotis et de Coti K. Nikos Veliotis est un celliste expérimenté qui s’est consacré tôt à l’improvisation. Les sonorités du Cello, si spécifiques, sont échantillonnées et retravaillées par le biais de filtres électroniques de Coti K. Une présence magnétique, un travail sur l’écho, la vibration et la réverbération fascinant qui rappelle les incontournables exercices d’Alan Lamb sur Dorobo et des travaux divers sur Touch ; des “fields recordings” dont l‘énergie intérieure capte par ondes successives, dans une progression constante toute la vitalité du lieu qu’elles colonisent. Un moment étonnant que d’entendre ces sonorités acoustiques capturées à leur état naturel, dans leur “condition sauvage” d’existence et qui, par le biais de l’électronique essaye de “regagner” un caractère social, une forme “civilisée”. Une sorte de métaphore musicale, auditive de l’enfant Sauvage de Truffaut. Une interprétation audacieuse de la sérénité. (J. Jaffre)

VITAL (NL) Texturizer seems to me a very apt chosen name for the duo work of Nikos Veliotis and Coti K. The first one plays cello and Coti plays the electronic part. Apperentely this new CD was recorded in the Agios Georgios Church in a suburb of Athens, but they could have fooled me. No huge amount of natural church reverb, but a nice set of four pieces. Texturizer, who can it be different, play drone music, using cello and electronic processings thereof and field recordings (maybe those of motors, fans etc, basically anything that sounds drony), and of all these closely related sounds fit together very well. Overall, I found this drone music of a more louder nature, without saying it's aggressive or anything, it's just more present and more audible, and less blurry then some of the other music in this area. Since you may know me as a sucker of good drone music, I can't be wrong this one: very nice work. (FdW)

TOUCHING EXTREMES (I) Nikos Veliotis and Coti K. (cello and electronic treatments) are Texturizer. They gathered in an Athens church to record this monolithic jewel, which promptly puts them in the high positions of postindustrial and minimal electroacoustic ranks. I would try and describe Texturizer's music as glacial, apparently immobile yet showing continuous contrasts and variations: cello's low frequencies are so carefully treated and disemboweled in order to depict a still life of spectral snapshots, from a single note to a fully structured "dark ambient" movement; meanwhile the time passes by and you just don't realize it. Sometimes your attention is caught by a far dirge, almost like a suburban lamentation; somewhere else you're just content of floating in desolation. Only in the final minutes the sound comes near to a sort of opening, but in reality you just have a glimpse of another day that's still to come - and you'll have to work hard to understand what's happening.

LIABILITY WEBZINE (FR) Qui a dit qu’en Grèce il ne se passait rien ? Tout du moins on n’était guère habitué à avoir des nouvelles musicales intéressantes de ce pays. Texturizer est un duo qui nous vient d’Athènes, donc, formé par Nikos Veliotis (violoncelle) et Coti K (électronique). Ici il faut aimer ce que l’on appelle la « drone music ». De longues nappes électroniques où viennent s’entremêler le violoncelle de N.Vielotis. Ainsi tout au long de ces quatre pièces on entre dans un univers lourd et monolithique qui ne déroge guère à la règle du genre. Les fans de Phil Niblock sauront apprécier. Le disque a été enregistré dans l’église Agios Georgios situé dans la banlieue d’Athènes. L’acoustique de ce genre de lieux donne toute la mesure et procure une puissance parfaitement adéquate à ce genre de musique. Alors bien sur 49 minutes cela peut paraître long pour qui n’est pas habitué à ce genre d’expérimentation électronique, pour ne pas dire pénible. Pour autant on peut se laisser facilement entraîner. Il suffit de se laisser faire. Les drones de Texturizer ne sont pas aussi hermétiques qu’on veut bien le croire. Le problème qui peut pourtant persister dans ce style si particulier c’est qu’on ne sent guère d’évolution majeure et Texturizer ne semble pas échapper à cet état de fait. Malgré tout le duo délivre un disque honnête qui peut facilement contenter les aficionados du genre. Ce n’est déjà pas si mal.Fabien

PARISTRANSATLANTIC (FR) Greek cellist Nikos Veliotis might be best known to improv aficionados for his recordings with the LIO and Fred Van Hove, but recent months have seen him turn his back, as it were, on old school cut'n'thrust improv in favour of more static drone-based work (witness "V", on his split Absurd CD VW with PTM's own Dan Warburton). In Texturizer, a duo with his playing partner of long standing, Coti K, Veliotis uses his bachbow, a specially designed bow that enables him to play all four cello strings simultaneously, to great effect, while Coti underpins his work with beautifully crafted drones. Recorded in the Agios Georgios Church in Athens, it's curiously reminiscent of another fine recent slow-burner drone outing, Jason Lescalleet and John Hudak's Figure 2 on Intransitive (also recorded in a church, as it turns out). Most enjoyable release so far on Barcelona-based Antifrost imprint. — JB

BAGATELLEN (USA) Hailing from Greece with a sound that wants to dominate all of Europe, this fittingly named duo consists of Coti K. on electronics and cellist Nikos Veliotis. Chalk another one up to the wherewithal of Mediterranean improvisors and for their dot's increasing diameter on the map of experimental music. Veliotis and K. bring it together during a time when so many edge-seeking musicians kick the dirt up only to reveal a sort of cloaked unoriginality. Their self-titled release was performed in an Athens church, though the sonorities of the space achieve a sort of neutrality, unlike those attributed to Britain's St. Michaels and All Angels. Comprised of four separate tracks that are similar in both "texture" and attitude, the music is easy on the ears, further served well by focus on the listener's part. The music begins with K.'s layered electronics that remain near-static for the duration of the disc, Veliotis joining soon enough, bowing an attractive chord evidently pulled from the air and sustained long enough to be best categorized as a drone. This first track is the only obvious instance where both musicians are immediately identifiable from one another. As the electronics continue in their own camouflaged loops, Veliotis shifts to slight variations on the cello, seemingly bent on blending in with K.'s coarse atmospherics. Interestingly, the human elements -- those occasions where both K. and Veliotis detectably improvise over the intended clamor -- seem deliberately underplayed, but never as afterthought. The results yield huge stretches of sound with enough delicate nuance to make the disc viscerally powerful and worthy of meditation. Alan Jones

JAZZ WEEKLY (I) Il Over the course of TEXTU RIZER's four tracks, labeled like the electronics manipulator only by initials, the undulating sine waves become so dense that they occupy all the available sonic space. Beginning with textures that resemble metal scrapings and twisting gears, the reverberations gradually drop in pitch. Soon droning buzzes are vying with abbreviated dripping water sounds to produce an undercurrent that's more felt than heard.As the vibrations reconstitute themselves into more complex loops, the expanded textures can be identified as the resonation produced by the bow pressuring cello strings. On top of the electronic-created pulsating waveforms that serve as continuum beneath, multiphonic tremolos appear that are the cello played ponticello -- as close as the bridge as possible -- to create a mechanized, nasal sound.By the last track though, it becomes evident that those string swipes are being applied without lifting the bow. Instead the rending movement distorts and distends the sound as it meets droning pitches from lap top electronics that progressively augment in volume and mass. Finally, the output gets even louder, as the cello's silvery stopped vibrato move portamento across this dense, pulsating mass, eventually announcing itself as taut resonating strings are amplified through a sympathetic wood body.

DEEP LISTENINGS (I) Il rumore circolare che apre il CD sembra quello di una sega elettrica, e ben trattato, e un drone, ma sempre una sega sembra. Invece e il cello del greco Nikos Veliotis sottoposto alle manipolazioni de Coti, il grande burattinaio. I due si sono chiusi in una chiesa fuori Atene e hanno acceso le macchine: per un'ora hanno sovrapposto i suoni, trattandoli in tempo reale, allungandoli e stravolgendoli, rendendoli irreali e magnetici, sottili o spessi. il disco e godibile, la successione delle alchimie acustiche ha un carattere unico e il sapore di angoli vergini, inesplorati, l'intensa tra i due sembra perfetta. Non capita spesso di trovare, nell ambito del rumorismo organizzato, un disco tanto convincente, con un'anima e con una direzione precisa, e con un effeto finale sull' ascolatore cosi intenso. Ottimo.

KINDAMUZIK (NL) Het Griekse duo Texturizer bestaat uit de experimentele improvisator en componist Nikos Veliotis en Coti K., die onder meer filmmuziek en ideo-installaties maakt. Het tweetal werkte al vaker samen, maar Texturizer lijkt hun persoonlijke sterke kanten het beste te verenigen. Texturizer werd in ??n dag pgenomen in de Agios Georgios-kerk in een buitenwijk van Athene. De plaat bestaat uit vier naamloze ge?mproviseerde stukken die in elkaar overlopen. De naam en albumtitel zijn exemplarisch voor het uit vele lagen opgebouwde geluid van het duo. De basis wordt gevormd door veelal langgerekte drones. Uit de kille en obere elektronische klanken wordt een kathedraal van geluid opgetrokken, aangevuld met (vervormde) cellomuziek van Veliotis en fijnzinnige elektronische toevoegingen. De stukken lijken misschien op het eerste gehoor wat vlak, maar het tweetal verlegt buitengewoon subtiel telkens weer het accent. De stukken verschieten bijna nopgemerkt van kleur, volume en intensiteit. Gek genoeg is nauwelijks te horen dat men deze plaat heeft opgenomen in de tot verbeelding sprekende locatie. Geen bad van echo?s en feedback zoals je zou verwachten, maar een vrij compact geluid. Alleen tijdens het derde stuk kun je je goed voorstellen dat de grote lege kerk bijdraagt aan de diepte van het geluid. Na het lage, diepe begin treedt de muziek steeds meer op de voorgrond, vergezeld van minimale elektronische effecten. Dit derde stuk is ook meteen het meest warme van de plaat. In tegenstelling tot de enigszins vergelijkbare muziek van Stars of the Lid en Aix Em Klemm klinkt Texturizer voornamelijk kil, duister en mysterieus, maar daardoor minstens zo interessant en hypnotiserend. In het tien minuten durende laatste stuk is de versmelting van de drones en de cello nagenoeg perfect. Aanvankelijk draaien ze zenuwachtig om elkaar heen. Na dit kat-en-muisspel komen de twee elementen uiteindelijk prachtig samen. Voor het eerst op deze plaat breekt dan de zon door. En wanneer is dat mooier dan in de laatste vijf minuten? Gerard de Jong

SMALLFISH (UK) Ceratainly uncluttered, relaxing-slowlyall-encompassing drones that very gently capsulate, building up and up so subtly it's barely noticeable. it`s ambient but not as we know it. defiitely worth investigating

ABSURD (GR) texturizer who’s the duo of nikos veliotis (cello) & coti k. (electronics). A couple of years ago they had a cdr out, mostly for promo use to be honest which had a variety of their soundscapes be it more abstract or “electroacoustic” or more classically improvised, a kind of a cdr that someone would say it had its moments but if some ones were omitted would have been an ace. Almost 2 years later they went back again to the st. george church in halandri (athens) to record some new material. well , a unique universe of a lovely minimalistic approach, showing the more “electronica” (allow me to say & use this term) face of both. the moods & atmospheres its 4 pieces evoke (or call it a piece in 4 parts better) are such that make this recording as one of my favest of the greek scene’s “electronica” (yes I know uh that term again) for this year I’d say that speaking personally & knowing both nikos’s & coti’s careers sounds to me as a crossover to their work, a kind of link between their early 90’s electro stuff, to their late 90’s/early 00’s improvised/electronica (the later for coti) stuff and now what? that challenge sounds cool for our beloved duo. a cool moment also showing another view of veliotis’s work too. by the way wanna listen to another cool recording of the duo? then contact overdub zine @ overdub@otenet.gr in one of his latest issues accompanying cd had included a superb recording of the duo, recorded a couple of years ago during their live set w/ evan parker at small music theatre and damned it’s the night’s best moment! or to say so far one of the best “ping pong” techniques I’ve seen on stage the last 3 years here.

BAD ALCHEMY (D) wieder menschlichere Gefilde erreicht man mit dem namenlosen Debut von Texturizer. In Gestalt des improvisierenden Cellisten Nikos Veliotis und des Elektronikers Coti k., zwei experimentierfreundigen Athenern, praesentiert Antifrost ein Beispiel fur die aktuellen Dialog- und Fusionsveruche von Elektro un Akustik. Hier besteht die erzielte Schnittmenge im Zusammenklang statischer Haltetoene. Monochrome Arcoschaffuren des Violoncellos mit ihren mikrotonalen Feinsplittern vibrieren vor einer Folie aus unbewegtem Dauerrauschen (.a). Oder Coti laesst in sein Gedroehn winzige Klangspuren perlen und troepfeln und das Cello knurrt dazu so tief, dass man es kaum erkennt (.b) Oder es saegt helldunkle, flache Wellen (.c) Etc. Der Drone- Minimalismus verschmilzt mit Dark Ambient zu vier sonoren Klangkokons. Vor dem Klangfarbenreichtum des Cellos selbst in den schmalen Spektren, auf die sich Veliotis jeweils streng beschraenkt, scheint die Elektronik zur Tapete zu verblassen.

ULTRAHANG (HU) A Texturizer két, az improvizatív zenében régóta és intenzíven jelen lévo zenész duója. Nikis Veliotis csellón, Coti K. pedig elektronikán játszik. Ez az elso lemezük Texturizer néven, de mindketten szólóban és mindenféle kollaborációkban már számtalan albumot publikáltak. Veliotis görög, Coti pedig olasz zármazású, de 1971 óta él Athénban. Az Antifrost kiadó is ott van bejegyezve, ám valójában Barcelonában muködik. Az Aglios Georgios templomban felvett anyag ufajilag nagyon pontosan behatárolható: tipikus drone. Csak az elso számban lehet könnyen elkülöníteni a cselló és az elektronika szólamát, Veliotis itt ugyanis éles, yikorgó, bár persze azért meglehetosen tömör stílusban egészíti ki az elektronika stabil, tömött alapozását. Talán ennek köszönheto, hogy ezt a darabot lehet a legkönnyebben behatárolni, egyértelmu hangulati értékhez kötni; itt vannak a legközelebb a dark ambienthez, és nem véletlenül ez a leggyengébb darab a lemezen.A következo három számban már korántsem ilyen könnyu szétválasztani a két zenésztol származó hangokat, persze ha figyelünk, akkor azért felismerheto, hogy mi származik a csellóból (még ha mégoly kevéssé szokványos módon is) - de így éppen hogy el fogjuk veszíteni a fonalat, nem tudjuk majd úgy hallgatni a zenét, ahogy az megkívánja.Suru és tömény hangmassza ez, alig változik, bár minden (nagyjából tíz perc körüli) darabban vannak olyan részek, ahol nyilvánvalóvá válnak a történések: dinamikai változások, felerosödik az elektronikus zúgás, vagy éppen a cselló kezd el majdnem-dallamokat játszani (mihez képest, ugyebár).Igen tisztességes drone ez, de mégis hangulatzene: akkor nyújt sokat, ha megfeleloen ráhangolódva kezdem el hallgatni. Az igazán jó drone azonban csakis nyitottságot igényel, és onnantól magától muködik: magával ránt, magára hangol. Ez a Texturizernek nem sikerült, és ezért azt kell mondanom: az eros középmezonyben foglal helyet.Rónai András

GONZO CIRCUS (B) Antifrost lijkt een offensief gestart te hebben on ons er van te overtuigen dat Hellas de bakermat is van de heilige electro-akoestiek. Het duo Texturizer vult een Griekse kerk met de tegentonen van een cello versus elektronica. De fundering van de performance wordt gevormd door een basisdreun die nogal minimaal aandoet. Zou het kunnen dat we dit zelf ooit al beter deden door de volumenkop van een slecht aangesloten versterker een stevige draai naar rechts te geven? Maar wanneer de drones het gezelschap krijgen van de subtiele en onderbewust melodieuze cellomanipulaties , geloven we dat God aanwezig was onder het kruis van de Agios Georgios kerk. (pv)