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TIETCHENS, ASMUS - Soiree Fantastique

Format: mCD
Label & Cat.Number: Auf Abwegen aatp57
Release Year: 2017
Note: three new pieces of wondrous and mysterious sounds, blurred harmonies appear in otherworldly, somehow subaqueous surroundings.... darker and less micro-sounding as before... this is TIETCHENS as we love him most! Lim. 500
Price (incl. 19% VAT): €9.50

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5 CD in full colour digipak carton sleeve and printed inner sleeve. CD is off-set printed in half-metallized format, all designed by Asmus Tietchens. Production: Okko Bekker. 500 copies.

On Soire fantastique:
"Two pieces unfocussed in every aspect featuring blurring contours, spooled out harmonies and barely recognizable melodies frame an extreme minimal, almost static piece in the centre. A piece of harsh, sharp-edges transparency. If this were not the music of a phantastic nightlyx gathering, a soire fantastique, one could liken these sounds to be signifiers of the setting we name the soft core inside a hard shell only in reverse. To know that this saying is as paradox as there cannot be a soft core might proof to be life-safing."
[Asmus Tietchens]

"Just like the 10" the miniCD is a format of doom. Not a lot of music to be a full length, too much to be a single. But at least this miniCD looks like a full length CD, with the outer ring being all-transparent, and only the twenty-two minutes of music with a silver layer; it's been a while since I last saw one of these. They were more popular a decade ago, but somehow I doubt whether Asmus Tietchens (or his label) cares much about popularity, and what to do or don't in that respect. He does what he does, and it's a matter of take it or leave it. Over the years we have seen a seemingly endless reduction in much of Tietchens music (although not exclusively), creating a very rich sound with the most minimal sounds. Even when I know the music of Tietchens very well, and on a few occasions engaged in a conversation with him, I have very little knowledge of how he works. I believe to some extent he uses computer technology, and somehow I have this fantasy in which Asmus creates a fully formed piece on his computer and then has some plug ins that effectively take out certain frequency ranges and then takes what's left and feeds that into an entirely different plug ins, reducing some more, or perhaps emphasizing a few other frequencies and he repeats that a few times. Then he takes all the processed pieces, overlays them on each other, super-imposing them, and then creates a gentle mix out of these residue sounds. It's a technique that works really well, and can, in principle applied to all sorts of sounds, but also entire finished pieces, even by others. Yet, I am not sure if this is what Tietchens does; somehow he seems not to be the
plunderphonics kind-a guy. The three pieces on this new release are all along these lines, and they all sound wonderful; wonderful again, I should add. But then I am a big fan of the man's music and there is very little that he does that I don't like. I could say he's perhaps exhausted the 'reduction' by now, but secretly I hoped this would have contained two or three more pieces like this. To have some change is fine but not always necessary; this is a fan boy speaking, so I am sure not everyone agrees with me there." [FdW/Vital Weekly]