Drone Records
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Format: CD
Label & Cat.Number: Auf Abwegen AATP64
Release Year: 2019
Note: two of the key figures of the experimental underworld (as we know it), both active since the 70's / 80's of last century, in their first collaboration => enter micro-catacombs and a jungle with strange metallic sounding birds, frictional surfaces in interaction, finespun glass chants and far-out quasi rhythmic and pulsing chains of machine-like noises.. = very delicate woven surrealistic sound-proceedings! (11 tracks, 47+ min.)
Price (incl. 19% VAT): €13.00

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On „Oordeel“
This collaboration was bound to happen someday! Out of mutual respect and admiration for each other’s work Asmus Tietchens and Frans de Waard decided to work on some music together. The result is “Oordeel" (dutch for "judgement") – eleven tracks of diverse character and subtle beauty. From distorted groans and gritty pulses to delicate and abstract sound layers Tietchens and de Waard have created a fascinating sound world of bizarre beauty.

Frans de Waard
Frans de Waard (1965) has been producing music since 1984 (Kapotte Muziek, Beequeen, Goem, Zebra, Freiband, Shifts, Modelbau, etc.). In 1984 he started his own record label Korm Plastics, releasing music from Arcane Device, Asmus Tietchens, Jim O'Rourke among others. He has worked for the pioneering Dutch tape label Staalplaat (1992-2003) and since 1986 as a reviewer for his own publication Vital (now Vital Weekly), a magazine which has been an online source for underground music since 1995, and which celebrated its 1000th issue in 2015. In 2016 Timeless published in France his first book, an autobiography of life in Staalplaat titled This Is Supposed To Be A Record Label. His interests in music creation ranges from ambient to noise to what he describes as 'silly disco
music'. He has played concerts in Europe, USA, Canada, Russia and Japan, and collaborated with Steven Wilson, Jaap Blonk, Andrew Liles, Radboud Mens, Keiji Haino, Pan Sonic and others.

Asmus Tietchens
Tietchens was born in Hamburg in 1947. Since 1975 he has been working as an independent musician; in 1980 he released his first solo record Nachtstücke. After producing a series of rhythmic and harmonic albums for the Sky label in the early 1980s he released his first industrial record Formen letzter Hausmusik in 1984 on United Dairies. Here Tietchens articulated his musical interests clearly: everyday noises were treated and at times deformed beyond recognition and placed into new contexts. Until now Asmus Tietchens has released more than 80 albums on international labels where he continues to explore the posibilities presented to him by specific sound sources (ranging from water sounds to pure sine wave tones). He has a more rhythm-oriented fake band project called Hematic Sunsets. Tietchens’ work is rooted in a deeply sceptic gesture, marked by frequent quotes from the works of philosopher E.M. Cioran on his album covers. Asmus Tietchens has been awarded with the prestigious Karl Sczuka Prize of the Südwestrundfunk (SWR) twice: in 2003 for his work Heidelberger Studien 1-6 and in 2006 for Trois Dryades. He lives and works in Hamburg.


"As everyone knows by now, I am the world’s foremost authority on Frans de Waard Record
Reviews. Do you think you’ve written more Frans de Waard record reviews than I have? You are
incorrect. Go ahead, count all the Frans de Waard record reviews that you’ve ever written and tell me how many there are. Oh, is that all? I’ve written more. You cannot win. Looking at my recent contributions to the subgenre of music journalism of which I am the indisputable champion, I notice that my critical expertise is most frequently turned towards de Waard’s solo albums as Modelbau and Quest/QST. However, as the Reigning King of Frans de Waard Reviews that we all agree I am, I happen to know that the (unofficial) Mayor of Nijmegen thrives on collaborations. This latest pair of albums show off his versatility with two very different, yet equally excellent, pieces of electronic music made with the cooperation of two very different composers.
It’s amazing to think that “Oordeel” is the first album-length album that de Waard and veteran German composer Asmus Tietchens have done as a duo. Both are prolific and enthusiastic collaborators, so it seems natural that they’d come together at some point. Both gents share a disinclination to explain themselves, preferring to follow their musical instincts wherever they lead and to let an image or a title stand as the only signpost to guide listeners. The way that the title “Oordeel” is pronounced in English, the word describes something difficult to endure; a protracted
unpleasant or traumatic experience. The Dutch word, however, means “judgement”. I suspect that
neither interpretation is intended to frame this music literally, and that the title was more likely selected for it’s aesthetic appeal. I could be wrong, but then again I’m the greatest reviewer of Frans de Waard records on the planet, so… let’s just assume I’m right, okay? Indeed, this music is not in any way an ordeal to sit through, nor does it seem to be judging anything. The album’s sequence of short, discrete pieces offers no clues as to a concept or even compositional strategy, and yet it sounds very specific. Every piece seems to be created from similar materials united by a
background ambience of incorporeal breath, which makes it hang together as a single idea.
There’s a cool hermetic quality to all eleven vignettes, each one offering sharp clicks and carefully sculpted hums that skip lightly over a surface haze. I’m reminded of smooth 1970s plastic, mercilessly austere and yet vaguely sinister in its indifference. Only one piece breaks up the set: “VII” temporarily shatters the reverie with a buzzing whine of dial-up modems and hostile radio static. Once “Oordeel” gets that out of its system, though, it returns to the holodeck and stares out at the cosmos for awhile." [HS/Vital Weekly]