Dean Robertsは､ﾄﾘｵ〈Thela〉や自己のﾕﾆｯﾄ〈White Winged Moth〉で､ｷﾞﾀｰによるﾄﾞﾛｰﾝやﾌｨｰﾄﾞﾊﾞｯｸ音を追求している｡Dafeldeckerは､ｳｲｰﾝを代表する即興集団ﾎﾟﾙｳﾞｪｸｾﾙ（Polwechsel）の主要ﾒﾝﾊﾞｰであり､｢Durian｣ﾚｰﾍﾞﾙの主宰者でもある｡
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"Two long improv pieces recorded in a studio in Vienna in April documenting the first time these two ever played as a duo; both are on guitar, electronics and percussion. Dean Roberts and Werner Dafeldecker seem unlikely collaborators at first glance. Roberts, who originally hails from New Zealand, began his career delving into guitar drones and feedback, both in the trio Thela and on his own, under the name White Winged Moth. He founded the label Formacentric Disk in order to document a wider range of his work, and released four projects in two years. In 1998, he began working with the influential German label Mille Plateaux, who put out his much acclaimed All Cracked Medias, and in 2000 And the Black Moths Play the Grand Cinema, on their more experimental sublabel Ritornell. Dafeldecker, a lifelong resident of Vienna, is probably best known for being an integral member of the improv supergroup Polwechsel, as well as for founding and running the influential label Durian. He's composed numerous pieces for various classical ensembles, and also appears on two recent notable CDs, Printer (Durian), and Martin Siewert's Komfort 2000 (Charhizma). Originally and primarily a bassist, Dafeldecker has been working more with guitar and electronics recently, both of which he plays to great effect on Aluminium. Aluminium was recorded during a marathon studio session in Vienna in April, and was brilliantly mastered by Tim Barnes. Both musicians play guitar and electronics, along with occasional percussion on a hi-hat placed between them. On the first track, Dafeldecker's sine wave electronics intersect with Roberts' rough guitar textures, priming the listener's aural palette for the marathon track which follows. This half hour-long piece is an atmospheric exploration fusing the legacy of AMM with the spirit of rock and roll. 'Roberts and Dafeldecker avoid flamboyant gestures as emphatically as a trust fund anarchist dodges the neighborhood Starbucks. They prefer to gradually generate magnetic tension by parsimoniously deploying contrasting squeals, scrapes, whines, and bell-like tolls like small objects on a vast, hushed soundfield. The two men evoke a space where humans are heard but not seen, crafting visions of a humming metalworks with nary a human in sight.' -- Bill Meyer"
