The first component was the film, shot in Greece in 2016. The vantage point is a clifftop I have visited many times. A strange sense that the water curves up into the hemisphere of the sky here is always startling. The surface of the sea perpetually coruscates with patterns describing wind movement. The entire landscape feels sentient.
The first component was the film, shot in Greece in 2016. The vantage point is a clifftop I have visited many times. A strange sense that the water curves up into the hemisphere of the sky here is always startling. The surface of the sea perpetually coruscates with patterns describing wind movement. The entire landscape feels sentient. The sound was constructed in direct response to the image. The stereo image is unusual in that it has no centre. Every element is perpetually moving in the image field. For this reason, it works best heard through speakers. The sound is both harmonically, structurally and texturally unresolving and fluid. My aim was to amplify the emphatic formlessness of the waters. The olfactory elements were created last. They began as a complete fragrance encompassing both the marine and terrestrial aspects of the place. The image you see, while excluding the land necessitates the viewer be land-bound so the two zones are inextricably connected in this film. The complete fragrance was then split into earth and sea elements. The two groupings are diffused from positions in the space mirroring those of the sound diffusion. The two scents blend to varying degrees in the space depending upon the position and movement of the viewer/auditor/olfactory. The complete work rewards physical movement with subtle variation in the sonic and olfactory perspectives “It is only after you have come to know the surface of things...that you can venture to seek what is underneath. But the surface of things is inexhaustible.” Italo Calvino, Mr Palomar (1985) This work continues a theme of anti-narrative which has been present in my sound-works for nearly four decades. We make stories to emboss meaning onto the surfaces of life. Those surfaces shrug of our scribbling like leviathans in troubled slumber. Paul Schütze - London (2020)
Work on the composition began as early as 1979. A rough sketch of these first steps utilizing analogue rhythm machine and Minimoog is included as the bonus track on this disc. It became obvious that "Grünschattiger Nachmittag" was impossible to realize on the Fairlight CMI. It took nine years for the equipment at Audiplex Studios to match the technical...
"Eine Menge Papier" assembles 20 minutes of sounds derived from using paper as the sound souce. Two tracks originally came out as a limited 7" record on the austrian Syntactic label in the 1990ies and appear here for the first time on CD.
Limited edition of 600 copies, 300pp. book with full length CD. Mostly German. This is the second edition of the MONOGRAPHIE ASMUS TIETCHENS - the book about the work of Asmus Tietchens, edited by Kai U. Jürgens. The new edition will have almost 300 pages and will include an updated commentated discography, plus new texts by Jon Mueller, Vidna Obmana,...
Three new tracks of pristine abstract beauty by Asmus Tietchens. This mini album comes in full colour carton sleeve with printed inner sleeve. The CD is printed in half-metallized format. Produced by Okko Bekker, 500 copies.
There's yet another, third name, I won't reveal. The final words on the LP are: 'My friends'. For piety reasons I won't explain the original context of the voice, nor reveal the identity of the woman, who speaks these words. Besides, it's a damn long time ago anyway, and mystifications were no longer a part of my repertoire after 'Stupor Mundi'.
Raum 318 was originally released on cassette only in 1991 on the E'ostrate label in France, in an edition of only 138 hand-numbered copies. It is a part of Tietchens' more Industrial sounding body of work and was remastered for this edition. In addition, a long previously unreelased bonus track has been added.
It is one of Tietchens's most minimal compositions, and has a special place in our music hearts here at Klanggalerie. For our new edition, Asmus Tietchens has dug deep into his archive and unearthed two further Linea pieces that have so far never seen the light of day. Full running time now 75 minutes. Remastered and repackaged. Full tracklist: 1 Linea 1...
"Parergon" (Greek 'collection of small texts') is the sequel of the idea to continue to recycle recyclings of recyclings. That does not mean remixes or deconstructions but much more genuine compositions derived from already repeatedly recycled structures. In the future the new compositions, too, will be transformed by recycling into totally new music.
Kolejna odsłona twórczości Asmusa Tietchensa w barwach Dark Vinyl
Info od wydawcy: "Elektronische Musik von äußerster Abstraktion. Menschenferne Klänge und Geräusche aus bleichen, vergessenen Brunnen. Poröse Überreste in verlassenen Landschaften, kristalline Zeugnisse anorganischer Zustände von höchster Transparenz. Die Musik vermittelt Ruhe, lädt aber...
The first component was the film, shot in Greece in 2016. The vantage point is a clifftop I have visited many times. A strange sense that the water curves up into the hemisphere of the sky here is always startling. The surface of the sea perpetually coruscates with patterns describing wind movement. The entire landscape feels sentient.
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