维也纳这个音乐之都正在用不断混种进化的音乐，证明着她音乐生命的新生。Autistic Daughters这个来自当地三重奏乐队，正是实践着这种创作理念的重要名字。乐队三位成员由来自不同音乐领域的，其音乐风格在Post Rock与电子、即兴音乐间游走。自录制于维也纳的首张专辑《Jealousy and Diamond》开始，乐队便开始引起世界摇滚、电子、即兴音乐圈中的注意。由结它手Dean Roberts、鼓手Martin Brandlmayr、贝司手Werner Dafeldecker组成的Autistic Daughters，不仅仅是一个乐队组合，他们更将传统摇滚曲式与即兴电音作出有思想的融合。乐队已在欧洲多个国家举行过巡回演出，受到当地媒体的极大关注。
Werner Dafeldecker - 敲击、低音提琴
Dean Roberts - 主音、吉它、风琴、口琴
Martin Brandlmayr- 鼓、电声
Dean Roberts 主音、吉它、风琴、口琴
从后朋克（Post Punk）三重奏Thela到White Winged Moth等不同的乐队，以及日后的个人发展，Dean Roberts已经用他独特的天赋让自己结它手的地位得到确立。作为在维也纳厂牌New Zealander出版的首张专辑《Be Mine Tonight》，显示了Dean如何从电声实验转移到歌曲和更具旋律化，结合摇滚和电声的创作路向的改变。2003年，他与Werner Dafeldecker（电声即兴四重奏Polwechsel成员）、Martin Brandlmayr（Trapist乐队鼓手）组成了Autistic Daughters。Werner在即兴音乐、电声创作上的经验，和Martin长年在摇滚乐队的浸淫让Autistic Daughters绝不等于“Dean Roberts+节奏”这么简单。一如Dean对杂志《dB》所说的一样：“我们的音乐由我们三人的友谊所维系，因而想象力是集体性的” 。
主要风格为即兴、电子音乐，并长期从事声音研究，亦曾参与电影配乐工作。 1995年于维也纳创办前卫音乐唱片公司 Durian Records。多年来，Werner与不少前卫音乐界知名乐手同台及录制唱片，当中包括：John Tilbury（自由爵士乐团AMM成员）、Keith Rowe（AMM成员）、 Christian Fennesz（抽象实验电子创作者）、David Sylvian（英国 Synth-Pop 乐队 Japan 前成员）、大友良英（著名日本实验乐手；中国电影《蓝风筝》、《女人四十》、《虎度门》配乐者）、松原幸子（大友良英合作者、电音乐手）等人。此外，他亦曾与多个世界级的乐团或剧场合作新古典作品，如奥地利 Klangforum Wien 乐团、欧洲手鼓四重奏、Shabotinski 室内乐团等。
数年间， Werner 曾参与多个风格各异的音乐创作计划。其中包括电声即兴四重奏 Polwechsel，维也纳著名实验结它手Burkhard Stangl的Maxixe计划，与同为低音提琴和电声学音乐家的Uli Fussenegger 组成的二重奏等都是 Werner 较为重要的音乐计划之一。
Sometimes you get some really freakin' weird albums in the mail that, after the first eight seconds, you look at the clock and realize it will all be over in 40 or 45 minutes. This practice is just as much a blessing as it is a curse at times, depending on whether the album is worth its salt or should be used as a coaster on your new Ikea end table. Autistic Daughters is one of those albums that never lulls the listener to sleep, is never mainstream, and hardly ever boring. The brainchild of Dean Roberts and some of his close friends, Autistic Daughters sounds like the music the children in Sigur Ros's video "Vidrar Vel Til Loftarasa" would be creating now. Minimal, sparse, hushed and dirge-like, the opening "A Boxful of Birds" invites the listener into their evolving and vast array of sound structure and adventurousness. Assisted by Wener Dafeldecker on contra bass and Martin Brandlmayr on drums, the song drags itself along prior to picking itself up and dusting itself off. And whereas other bands would be screaming cut by now, Autistic Daughters are getting warmed up as a haunting series of lyrics and handclaps enter the proceedings.
Autistic Daughters aren't riding anyone's coattails such as Montreal's Godspeed You! Black Emperor or Yo La Tengo. Rather they are taking everything to its lengthy logical conclusion before adding something else on. "Florence Crown, Last Relay" begins with a jazzy bass line that could start off any song by a lounge-stuck chanteuse. But Roberts's vocal, resembling a shy David Byrne, flourishes on this track as the drum brushes kick in. The flow of the song is quite solid as Roberts relies heavily on his supporting cast to keep things on a straight but hardly narrow road. As Roberts repeats one line, Brandlmayr, Dafeldecker and Valerio Tricoli flesh out the hypnotic, trance-inducing tune. Guitars are then deftly added, creating the hue of an early and extremely minimal Velvet Underground circa "Sweet Jane". It's a song that can't be easily duplicated due to all the nuances surrounding it.
Of the seven songs presented on this 50-minute album, perhaps "The Glasshouse and the Gift Horse" is the most accessible to the average rock fan. Roberts begins on guitar before his whispered vocals bring to mind Bryan Ferry if he knew the end was in sight. This quickly morphs into a fuller, Bowie-esque experiment with a harmonium and the backing vocals of Tricoli. A carnival like series of sounds makes the song's tension expand as Roberts sounds more fragile, as if he's on the verge of something either tragic or jubilant. He clings onto this feeling for a series of rich, XTC circa Apple Venus Vol. 1 moments before wrapping it up. This might come off as depressing to some, but for a real downer try "Rainy Day in June" that crawls along like a latter day Lou Reed. Sounding not quite out of tune but not quite in tune either, Roberts sounds as if he's facing something inevitable. "Cherished things are perishing and buried in the tomb," he sings as if he's about to snap.
This dreary drizzle-centric theme continues on "Spend It on the Enemy (While It Was Raining)" although it's not as powerful or mesmerizing as the previous song. Here Roberts sounds like he's ranting more than creating a great song, but again the tone and tempo gets into your blood immediately as psychedelic hues swirl around the conclusion. "In Your Absence from the Street" brings to mind Pink Floyd's The Final Cut with Roger Waters delivering one acerbic and dark line after another. There is more of a moody nature to this song as it seems like Roberts is channeling an early PJ Harvey as the music reaches a fuller, passionate pitch. By the time the title track ends, Autistic Daughters should be playing in the darker recesses of your mind over and over.
1. A Boxful of Birds
2. Florence Crown, Last Relay
3. The Glasshouse and the Gift-Horse
4. Rainy Day in June
5. Spend it on the Enemy (While it was Raining)
6. In Your Absence from the Street
7. Jealousy and Diamond