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TIETCHENS, ASMUS - Abraum

Format: CD Label & Cat.Number: 1000füssler 017 Release Year: 2010 Note: microscopic ambience work based on field recordings of steel tubes transporting waste during the creation of a new subway-tunnel through Hamburg; lim. 300 - "Obwohl »Abraum« gerne aus der Menschenferne zitiert, wirken die vier Kompositionen in ihrer sterilen Offenbarung eingesunkener Materieströme und ziselierten Klangklumpen wie neugewonnenes Gold aus Tietchens audiophiler Alchemie.." [AEMAG] Price (incl. 19% VAT): €13.00 More Info "A new subway tunnel is being built in the harbor area of Hamburg's inner city. The tunneling produces waste and the waste needs to be disposed of. In this case sand and shredded rubble are mixed with groundwater in order to be pumped out through steel tubes with a diameter of approximately 80cm. The sounds that are produced in the tubes are object of field recordings that I made at different times and places on site. It was immediately apparent that the continuum of the basic sounds that I used for my compositions already sounded formed in its randomness and diversity. The real surprise though, was that commonplace noises such as flowing water and rippling sand were completely inaudible, instead a steady progression of sophisticated rasping and quiet metal jangling was present. Besides the polymorphism of the basic sounds it was the total artificiality of the signal that interested me, acoustic manifestations of sand and water subject to the conditions of technical and functional canalization. (Asmus Tietchens) Asmus Tietchens lives and works in Hamburg. His focus is on the manipulation of sounds in ways suggested by the material itself. In 1965 he began to experiment with tape machines, concrete sounds and electronic sound generators. After a period of experimental pop music at the beginning 1980, he became more and more influenced by Industrial Music (1982 -1985). Since the mid 1990s his music is characterized by a reductionist aesthetic, often using sine waves, white noise and quiet sounds. Until today more than 50 LP- and CD-releases as well as numerous public performances in Germany and abroad. Collaborations with Thomas Köner (Kontakt der Jünglinge), Achim Wollscheid, Jon Mueller, Arcane Device, Richard Chartier, Merzbow and many others. 2003 and 2006 awarded with the "Karl-Sczuka-Preis für Akustische Kunst" by German public radio station SWR. Guest lecturer for sound studies at the Hamburg University of Applied Sciences (1989-2010) and the University of Fine Arts of Hamburg (2010). http://www.tietchens.de" [label info] www.1000füssler.com " »Abraum« verbindet sich mit den anfallenden Geröllschutt aus einer Hamburger Baustelle, welche anfallenden Kieselschutt mit beigemengten Grundwasser durch Rohre nach draußen pumpt. Das dergleichen Bauprozesse nicht still ablaufen, hat Asmus Tietchens zum genaueren Hinhören bewogen. Die dabei gewonnenen Klangereignisse in ihrer reduzierten Kargheit und instabilen Frequenzgefüge hat Tietchens später in vier Kompositionen umgesetzt, deren feine Subtilität an die Mengen-Serie erinnert, aber durch den konkreten Grundcharakter eine gewisse Andersartigkeit ausstrahlt. Obwohl »Abraum« gerne aus der Menschenferne zitiert, wirken die vier Kompositionen in ihrer sterilen Offenbarung eingesunkener Materieströme und ziselierten Klangklumpen wie neugewonnenes Gold aus Tietchens audiophiler Alchemie. Das Klangsujet der letzten Komposition bildet dabei in seiner traditionell zurückgenommenen, fast vornehmen Statur ein absolutes Musterbeispiel für den Umgang mit konkretem Solomaterial, welches sich in den größeren Werkkorpus Tietchens durchaus zur klassischen Schnittmenge rechnen darf. »Abraum« ist ein geradezu dezentes Werk konkreter Musik und einem interessanten Ansatz untergeordnet, macht allerdings auch Lust auf ein üppiger ausformuliertes Werk Tietchens, welches sich durchaus mehreren klanglichen Einzelstrukturen annehmen darf." [Thorsten Soltau / AEMAG] "The work of Asmus Tietchens becomes more and more radical. I have no idea how things work on 'Abraum', but its most likely one of the more stranger Tietchens works. Apparently somewhere in Hamburg, where Tietchens lives, there is a tunnel being made in the harbor. As far as I understand Tietchens went there to do some recording, which he brought in the studio. So far nothing new, but the 'problem' is that we don't know what he did in the studio. His usual kind of processing only seems to be appearing in 'Abraum 4', the final piece on 'Abraum'. The microscopic, detailed splatter of sound, being fed through oscillators make a connection of Tietchens's imminent past. But in the first three pieces this seems to be not the case. They seem (but no doubt I am wrong) be cut straight from a bunch of field recordings, and hardly sound processed at all. But it is a composition (three of them) in as far that Tietchens collects the very silent bits with a minimum of sound information and collates these together into some very intense music. One needs his full attention to pick up what this is about. No sit back and lie down music, but some seriously intense form of soundscaping. Highly - neh utterly - reduced in its form but with an absolute great musical quality. I am biassed, I know - I just happen to like Tietchens a great and this new CD is one of the most radical and pure releases by him." [FdW /Vital Weekly]