Sonoris isn't exactely known as an improv label, but they make an exception here with the work of three Italian improvisers, which are closely linked to the super improv label Fringes. I didn't glance very much at the cover very much while playing this CD, so the notion that these are two guitarists and a percussionist struck me. Whatever they produce, its hard to pin down as guitar and percussion. They go by a slow curve from almost silence to almost noisy, with crackles (what sort of guitar produces crackles like a lap-top, me wonder in mild curiosity). There those recognizable AMM influenced bits (although their curve is usually even longer) and even a link to industrial music (the motor like buzz in 'Text Piece'). This makes this into a somewhat more varied CD, and you could even wonder if the variations aren't too much. Myself, I thought it was ok and thought it was a well-entertaining CD. (Frans de Waard / Vital weekly)  

Ralf Wehowsky (RLW) was founding member, and most important conspirator in P16D4. Peter Duimelinks and Roel Meelkop were members of THU20. Profitable postal collaboration (or each one composes from another one's material) and between three current figures of electroacoustic musics. Stratified resonances, shocks of sounds like tectonic plates, brutal ruptures opening on different spaces. A formal and structural work of the most interestings. (Jerome Noetinger / Metamkine) Needles to say that at least I think this is a well made CD, that is witty and serious, and should be part of your record collection if you care about this sort of music. (FdW / Vital Weekly)  

The truth is, you found something incomprehensibly comforting in these sounds, this noise, this audible darkness. It occupies the space and fills your lungs, so in such a short time you grew accustomed to this nightmare, probably just in time for Burke and Dimuzio to sever the umbilical cord so suddenly, leaving you helpless and in silence. (Richard di Santo / Incursion) - Dan Burke has called this one of his favorite works he's put out. Dimuzio is the guy behind Gench Studios, the place where so many experimental labels get their stuff mastered. HZ is a refined, driving, eclectic nightmare of beats, darkhop and odd sound tones and soundscapes. The listen deepens as it progresses, with varied layers of styles developing and fading. Very nice little digipack item. (Manifold web site) - Illusion of Safety mainstay Burke and sonicist errant Dimuzio are a perfect pair. Their common chosen path is one of electroacoustic exploration, combining sampling, processing, tapes, and live noise-making (calling their enthusiastic instrumental and radio-knob manhandling "musicianship" would be overly generous) in live and studio settings. Each artist brings to the workbench an affinity for the nature of sound. HZ documents a series of California performances presented by Burke and Dimuzio in October of 1997. The improvised tracks operate in the desolate arena of post-industrial sound, but the perpetrators take a page from the example of AMM's jazz-like metamusical interplay to imply a certain, if covert, human presence. Motors purr, hiss, scrape, and groan, setting up a foundation of sonorous drones for Burke and Dimuzio's sonic manipulations and electronic outbursts. The duo's efforts range from freakish alien-zoo atmospheres ("Aware," "Dross," "Outflow") to the labored workings of arcane machinery ("Dropforge," "Rota"). HZ strikes an especially poignant note on "Charastrigor," as radio strains drift sadly across the rubble of a bomb-scarred city square. (Allmusic)  

Artifical Memory Trace sort of is the right person to fit these traditions of electro-acoustic music: intelligentely composed with modern means (read: sampling), into relatively short pieces that hold the attention. Without any limitation he jumps back and forth in his sound material. Sometimes all the events seem to be apparent at the same time, but at other times one long curve is drawn, such as in the beautiful opening piece 'Skeletune(s)'. AMT can be placed among the likes of Illusion Of Safety and Brume. With the latter AMT shares something odd: presenting a large body of work, which ranges from good to excellent, it is hard to see the difference between each work. (FdW / Vital Weekly) Slavek Kwi continues its excellent work of organization of sounds in time and spaces exploiting great dynamic scales, unexpected ruptures, complex morphologies and astonishing changes. He pays much importance to the environmental sounds. (Jerome Noetinger / Metamkine)