(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

Kopflastig (Kitty-Yo, 1997), 6.5/10
Tritop: Rosenwinkel (1998), 6/10
Unter anderen Bedingungen als Liebe (1999), 7/10
Filesharing (2000) , 5/10
AGF: Head Slash Bauch (2002) , 6/10
AGF: Westernization Completed (2003), 6.5/10
AGF: Language Isw The Most (2004), 4/10

Laub is the German duo of vocalist Antye Greie-Fuchs and keyboardist Jotka (Juergen Kuehn). On the mini-album Miniversum (Kitty-Yo, 1997) and the album Kopflastig (Kitty-Yo, 1997) they concoct inventive rhythms and alien textures, not unlike compatriotes Mouse On Mars and To Rococo Rot, but enhanced by Bjork-like song structures.

Tritop is a side project (AGF, Jotka and Marko Timlin) that plays dance-music on the EP Reume/Kai (Infrcom, 1998) and on the album Rosenwinkel (Infracom, 1998). Timlin then left and was replaced by Sebastian Vogel and Tritop became again Laub.

Unter anderen Bedingungen als Liebe (Kitty-Yo, 1999) is their most accomplished work, with the 14-minute suite Grau. Intuition (Kitty-Yo, 1999) is the remix album.

Laub pared down again to the original duo for Filesharing (Kitty-Yo, 2002), a work that departs from the creative structures and rhythms of their earlier works and sails towards a calmer pop-soul genre. The duo of Antye Greie-Fuchs and Jotka have the talent and the background to fuse pop and glitch music, particularly in gentle lullabies such as Wortspur. Unfortunately, it sounds like most of the material on this album was not carefully composed, arranged or performed. It sounds like it was assembled in a hurry to put out an album, when an EP would have been enough.

Antye Greie-Fuchs (or AGF) has released the solo albums Head Slash Bauch (Orthlorng Musork, 2002) and Westernization Completed (Orthlorng Musork, 2003), that contain cubist puzzles of voice and rhythm as if she had shuffled the chronology of a stream of consciousness. The former employs lyrics based on software data, whereas the latter has more personal stories to tell. Her vocal style is recitation rather than singing, somewhere between Brecht's theater and a chanteuse's movie. Both albums are erudite, replete with references to the literary, artistic and musical avantgarde. The latter is perhaps more emotional. Rhythms (mostly fractured, distorted, morphed) are employed only to the extent to grant menacing (ambientTRUST and MYpatch) or disorienting (PRIVATEbirds, chorizon) qualities to her futuristic collages. If youSTOP and contemporaryWESTERNIZED approach the format of the pop-soul ballad, it is only because the rest inhabits a distant stylistic galaxy, where genres are diffracted by several layers of time warping.

AGF's Language Isw The Most (Quecksilber, 2004) documents a live performance. Explode was a collaboration with Vladislav Delay. Nature Never Produces the Same Beat Twice (Nexsound, 2006) was a (minimal) collaboration with Ukrainian composer Zavoloka in which AGF only offers her voice.


Deinetwegen (2006) was a blues album.

AGF's Mini Movies (Asphodel, 2006) was a collaboration between Antye Greie-Fuchs and San Francisco's multi-media artist Sue Costabile, and, musically, it mainly consisted of sendups of soul ballads.

AGF's Words Are Missing (AGF, 2008) espressionist art rooted in the vocabularies of industrial, techno and ambient music. Her vocal expressions have become more and more metaphysically rudimentary and drowned in Delay-like digital structures (Presswehen).

Lappetites' Before The Libretto (Quecksilber, 2005) was a collaboration among Elaine Radigue (France), Kaffe Matthews (Britain), Ryoko Kuwajima (Japan), and Antye Greie-Fuchs (Germany), basically a multinational laptop quartet ranging in age from the 70-year old Radigue to the Japanese teenager.

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