Drone Records
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Format: do-CD
Label & Cat.Number: Auf Abwegen aatp53
Release Year: 2016
Note: two collaboration albums with MARTIN PEINEMANN from the 90's and 2005 that see the day of light only now, reflecting the different phases in TIETCHENS oeuvre, showming him working on unusual source material.. "both CD's in this package are, no matter how different they turn out to be, quite beautiful. This is a must for every Tietchens fan." [Fdw/Vital Weekly]
Price (incl. 19% VAT): €18.00

More Info

"2 CDs in printed paper sleeves housed in carton slip case. Designed by Asmus Tietchens.
500 copies. Dedicated to C.V. Liquidsky.

On „Harvestehude“
After more than 10 years of enthusiastic experiences and encounters with so-called „Difficult Music“ throughout the 1980ies Martin Peinemann and Asmus Tietchens deemed their somewhat differing approaches to making music compatible and agreed upon a loose collaboration in the year 1992. For various reasons (organizational and others) the work was not to take place at Audiplex studios but at Peinemann’s home studio. This modest lab featured all the necessary technical equipment needed to realize noise music meeting the standards of the day. This included an analogue 4-track-tape deck (9,5 cm/sec, Dolby noise reduction, integrated 6-channel mixer), soon after a digital 8 channel multitrack, a powerful periphery and sound producing devices of all kinds. For „Hochallee“, their first collaboration, Peinemann and Tietchens set themselves no definite deadline. The working sessions took place in an atmosphere of relaxation, usually on Saturday afternoons. By 1996 Peinemann and Tietchens finally had amassed a series of pieces they considered to be complete. At this time Peinemann began working on computer generated solo works and Tietchens moved on towards a more reductionist sound work.

„Klosterallee“, their second collaboration, was realized under completely different circumstances. In the years gone by since their last work Peinemann had deeply immersed himself into the field of extreme digital sound manipulation that he often discussed with Tietchens. From this collection of sound structures Peinemann offered some to Tietchens as sourcings for further treatments. The following expanding of these structures was not done in the form of sessions but executed by Tietchens alone over a period of three months. Peinemann then authorised the final results.

Unlike Asmus Tietchens Peinemann never released any music until now. He always valued the working process higher than the working result. The reason for this collaboration to finally come out as a double CD follows a noble motif that can be roughly translated as such: „A warning to the Old, an instruction to the Young.“ (Friedrich Gottlieb Klopstock, „Pädagogische Ergetzungen“, 1802).


"Quite a treat: last week we reviewed a brand new release by Asmus Tietchens, and this week there is even a double CD of collaborative works. Asmus worked with lots of people in the past, from Merzbow to Vidna Obmana, from Achim Wollscheid to Arcane Device. Most of his collaborators are quite well known, save perhaps for C.V. Liquidsky (and we are still waiting for that particular album to be released
on CD as part of Die Stadt/Auf Abwegen's re-issue program), but he's the man to whom Tietchens and Martin Peinemann dedicate their collaboration. Right, Peinemann, you may ask: now who's that? I also have no idea, really, as up until now he never released anything. The two discs here were recorded in two different periods. The first disc, called 'Hochallee' (the name of the street where Peinemann lived then) has recordings the two musicians made together in the period 1992 to 1996. For
Tietchens this was an entirely different environment than the usual surroundings
of the Audiplex studios where he always seems to record (well, save for a few exceptions). With rather 'low' standards, such as a four-track recorder, six-track mixer and all sorts of apparatus, they recorded thirteen pieces, and at the end they deemed this fit enough for a release (which then took another twenty years).
The other disc is called 'Klosterallee' and it's here that in springtime 2005
Peinemann recorded basic sound material for Tietchens to re-use, and this he did
at the beloved Audiplex studios. By then Peinemann had moved his work into 'extreme
digital manipulations' (the word of the label). One is right when one says this is an interesting find, displaying us mid 90s Tietchens and mid 00s Tietchens, working
in for him slightly different surroundings (at least on one disc) and with someone with whom we have absolutely no history. I was corrected following last week's review and told that Tietchens does work with computers since about fifteen years, using GRM tools, but of course on the first disc that is not the case. These
thirteen pieces are rudimentary pieces of electronic music, sometimes blissful feedback, sometimes a dub inspired synth song ('Hochallee 12'), pieces with looped, rhythmic sounds, and in general it seems that the classic Tietchens treatment is never far away in these pieces. Several of these pieces could have been on, say,
'Aus Freude Am Elend', the various albums with Terry Burrows or some others from the early to mid 90s. That slightly mechanic play with sounds, the entrapment in sound effects (reverb plays some role indeed), but also a rolling rhythm (reminiscing krautrock, one could muse?) in 'Hochallee 6', which makes this first
disc quite an odd bunch of different approaches, but it's a variety that works
very well.
The second disc is the Tietchens we know from recent years, and indeed he doesn't
refer to himself as a reductionist, because his music doesn't resemble that of Ikeda
or Noto; also knowledge picked up last week. His current music is all about quietness,
not for any esoteric reasons, but simply because he wants us to listen more closely,
and perhaps concentration is by now a lost art form in this hectic life everyone is supposed to have these days. Here none of the source material is easily recognized, in fact not at all, but it feeds through analogue and, as we have learned since last week, digital means and reduced to a few sounds here and there sometimes held together with a simple, sustaining drone like sound, a residue of what once perhaps a much bigger sound element. It's interesting to play both of the discs back to
back and hear the progress of Tietchens and the way he treats his sounds. On the second disc perhaps less 'new', because there have been more works alike this and some of the early/mid 90s stuff has moved the background of our memory. I am not sure if that's really the case. However both CD's in this package are, no matter how different they turn out to be, quite beautiful. This is a must for every
Tietchens fan." [FdW/Vital Weekly]