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Asmus Tietchens biography, Asmus Tietchens discography
You are currently registered for a different area.Your info may also be shared with the artist.If you are under 13 years old, you must not fill in this form or provide any information about yourself.Get notified before Asmus Tietchens tickets go on sale!Of(checkUni("Enter City or Zip Code"))!By clicking any links above, the iTunes application will launch or you will be prompted to download iTunes if you don't have it.Born in 1947 and based in Hamburg, Tietchens listened to German radio as a child and heard pioneering electric transmissions by the likes of Stockhausen and Gottfried Michael Koenig.During the '90s, Tietchens recorded for experimental labels Barooni, Staalplaat and Syrenia, the latter a 1996 collaboration with Vidna Obmana.Since 1990, he has also taught sound at a Hamburg university.Some of the information on this page is provided by All Music Guide and does not necessarily reflect the views of Ticketmaster.Use of this site is subject to express terms of use, which prohibit commercial use of this site.By continuing past this page, you agree to abide by these terms.URL for paid search terms.For a long time I only recognised his name out of a long list of others who I associated with the likes of
Klaus Schulze, Edgar Froese, Moebius and Roedelius, and others made familiar thanks to an interest in the German
"cosmic" music of the seventies.For a long time Asmus Tietchens remained nothing more than a name on a list.Gradually, however, a picture began to fall into place.But also, there were a growing number of less
accessible releases, like Formen Letzer Hausmusik on United Dairies, or Notturno on Discos
Esplendor Geometrico, more abstract and more sombre instrumental pieces.Others are more ambient and abstract, but just as
apparently inhuman and threatening.His side of Face to Face Volume 1, a record shared with Die Form, mixes
subdued rhythms with long drones, and dangerous clouds of ambience in a slowly developing, minimal way.His most recent release, and his first on CD, was Sinkende Schwimmer on Dutch label Barooni (BAR 004).Instead, irregular and disassociated noises are suspended in a grey sound void to
create strange and cold sound textures, some atonal, some tonal.Metal, plastic and glass are the materials that seem to resonate most strongly.For example, Neue Menschen, which opens proceedings, consists of subdued bouncing squalks combined with only the quietest of atmospheric effects.It's a mature and highly accomplished work, but for most it won't be easy listening, and it's a far cry from Tietchens' more accessible releases.The following interview was conducted between Asmus Tietchens and Brian Duguid by post in May and June 1991.Could you tell me something about your early musical history?And why should I copy perfect music?My first equipment in 1965 was a Revox A77, an old cheap electric guitar and a tiny Philips reverb device.In 1972 I got a Mini Moog and continued making atonal music, but in a more advanced way due to the electronic medium.Seriously spoken: That was when I felt for the first time that my music was developed enough to be released.After two years this kind of music didn't satisfy me any longer and I returned (stylistically) to the kinds of music I played since 1965.Since about four years ago I haven't used any synth.Zwingburgen des Hedonismus and Marches
Funebres) and then mothballed it, too.Keyboards of any kind can't help me make the music I imagine.Of course the CD is the more efficient medium compared with vinyl.But I'm not a CD fetishist.If a label can't pay for a CD production I let them of course release my stuff on vinyl, hoping that the cut and pressing will be okay.Would you release more commercial music in order to become better known?In no case am I willing to do that.Is it all an uphill struggle financially, and if so, what keeps you going?To survive I must do jobs of nearly all kinds which have nothing to do with music.But to explore the white dots on the landscape of sounds and structures is a
permanent adventure and this keeps me going that way.What sort of music has inspired you in the past and present?How did you get into this sort of music?Electronic Music for the first time when I was 7 years old (1954).And then came the late 60s, groups like Cluster, Kraftwerk, Faust etc.Cosmic Couriers like Tangerine Dream, Ash Ra Temple or Silly Kids who play Cosmic Music.Cluster and the
others fascinated me again, and again I didn't try to copy these great and innovative groups, but always tried hard to develop my own kind of music.Do you feel your music is only suitable for a specialist audience, or do you feel anyone could like it if given the chance to hear it?Yes, my music is only suitable for a special audience.This has nothing to do with arrogance.What sort of moods are you trying to create in your music?Mostly my pieces are formalistic exercises, or better, the results of
formalistic exercises.Who have you collaborated with in the past?I've collaborated with Terry Burrows (Watching The Burning Bride) and with Okko Bekker (E).Collaboration can be very fertile if people with similar intentions meet.Working with the two above mentioned
people was a fantastic mutual fructification.Another collaboration was released in May: Monoposto by Tietchens and Liquidsky.How much of this do you feel is lasting work?Is it possible to release too much?Obviously there is a slowly increasing demand for my music (thank you, listeners!So I confine myself to sporadic tape concerts.That is the good tradition of the 50s when Electronic Music tapes have been played in light, brightly illuminated rooms to a very attentive audience.The most dangerous movement since Hitler and Stalin is the New Age Movement.Contact address: Asmus Tietchens, Eppendorfer Landstr.Thurston Moore's Root project comes to mind as one example of this advancement in remixing, and Asmus Tietchens' FT+ is surely another.On FT+, tracks from Crouton's Folk Tales series of 3" CDs are remixed by German sound artist Asmus Tietchens.Though Tietchens has been recording and performing since the 1960s, this disc will most likely be an introduction to many to his work.Musicians like Bhob Rainey, Hal Rammel, and Dan Warburton have their music dissected and reassembled in new forms, with varied results.Heaps and Millionaires" is one of the disc's best, as well as the insectoid buzz of the remix of John Kannenburg's "Lave," and the ethereal glimmer of Tietchens' treatment of Adam Sonderberg's "I just want to make sure."Asmus Tietchens' FT+ is definitely an interesting companion to the Folk Tales series, but as a standalone recording, the album doesn't steadily impress.Google
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del.If you find something I should add, please give me a pinch.Asmus Tietchens album reveals an unwavering devotion to finding extremes within limited parameters.Litia, his 1983 Sky Records foray into industrial dance music, forewent typical dancefloor build and release to focus on the pure texture of that tension.It fails as a dance album, but for those with their ears to the speaker instead of the beat, it's a remarkable deconstruction.The point being, even when operating within clear and necessary signposts, Tietchens finds ways to limit the scope further, or to at least make that scope feel limited by highlighting the resultant claustrophobia created by limitations.The Menge releases haven't been about building and developing so much as juxtaposing chosen frequencies and timbres.This isn't to say that those prior releases were undeveloped, but there's a particular logic to the sequencing within and between these tracks that unlocks Tietchens' often difficult work.Electronic music has a complicated interaction with its past, an idea elaborated upon by Jon Dale in a recent review for this site.Unlike in rock music, a throwback or revival in electronic or experimental music feels particularly pointless.It's easy listening only in the sense that all the pieces undeniably fit into place.Fabrication is a difficult project, as Richard Chartier brings an equally singular personality to the proceedings that, unlike his collaborations with Taylor Deupree and William Basinski, doesn't initially appear to be completely congruous with the more Sturm und Drang elements of Tietchens.Also extremely prolific, Chartier's work consistently frustrates, in that his lengthy excursions are predicated upon absence.Though new territory isn't really explored, Tietchens and Chartier's generous attenuation to each other helps Fabrication avoid discordance.Mengen series from influential German electronic music pioneer Asmus Tietchens.The latest in Asmus Tietchens ongoing Mengen series, this album maintains the bold adventurousness and strict minimalism of previous recordings whilst suggesting some sense of evolution along the way.The series was initiated as an exercise in composition based exclusively around spatial manipulations of white noise and sine tones, but this instalment seems to hint at a heightened level of sonic richness and diversity than that policy could ever reasonably hope to accommodate.Some of the pieces on this disc are suggestive of physical sound, with a clearly defined spatial presence, and in the case of 'Teilmenge 44A' you hear a kind of watery clamour taking over in the final third.As with so much of Tietchens' work, this references the old alongside the new, incorporating vintage electronic music's aesthetics into modern microsound composition, melding reductive drones and primordial modulation techniques into a singular vision.Irrespective of where these sounds come from, you'd have to acknowledge Tietchens as a true craftsman of the genre, not to mention one of the most distinctive voices operating at the extremes of electronic music.Web Design and Engineering by Default, business intelligence by SpringBolt.
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