Boogie is the successor album of the Vienna quartet Efzeg to their successful debut, Grain (Durian, 2000). The band has gained density, compactness and complexity, which means a lot, if one takes into consideration how carefully worked out Grain already was.
The saxophone of Boris Haufs is even more integrated, the guitars of Burkhardt Stangl and Martin Wiewert are even more integrated, the turntables of "Dieb 13" are more .... Without the musicians having to deny their musical identities, developed with hard work, Efzeg was able to achieve a unity of expression which is impressive. Like in a feedback process in which one quickly loses the overview, the musicians feed their sound in the group process and the group process feeds on the sounds of the individual musicians. Logical that Efzeg is a working group.
Efzeg is already there before the musicians produce the first tones. One no longer hears the transformations which come from the extremely individualized sounds of the musicians, all highly distinguished soloists, who make the radically collective sound. That's what's so stifling. One hears, however, how this group's sound changes, how it grows, gets denser, then relaxes. Almost organic. Efzeg stand thereby in a tradition which was founded by the early AMM. But Efzeg also stands in a tradition they themselves founded in last three or four years, when Boris Hauf called the band into being.
The raw, uncompleted quality of Efzeg music refers to the only eternal song the recently deceased John Lee Hooker played; refers to the monolith, which itself originates in process, to the multi-layered monochrome.
The musical side of the band is complemented by the interactive video work of Billy Roisz. She is a regular member of the group. Her video editing/visualization "Pram" is the last track on the album. The cover art work is also from her.

Billy Roisz

Boris Hauf

Burkhard Stangl (also on GROB313/4, GROB431)

Dieb 13

Martin Siewert (also on GROB431, GROB547)

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