asmus tietchens s/d

"Asmus Tietchens has a piece in the August issue of The Wire magazine. It is in their Epiphanies series (always the last page) and relates the story how Tietchens was ultimately driven to making music by his fanatic adoration of The Shadows in his youth."

http://www.aufabwegen.de/at/?p=1825

:)

playing the tietchens/moebius lp since sean booth of autechre repped for it in that interview

don't think i have heard any tietchens since 2004? or something like that, and even less well acquainted with recent moebius

VOD box set is a total revelation... here's something I wrote to a friend.

Hi E***,

Since you are probably one of the only people I know who cares, allow me to rave about that Tietchens box set.

What really blew my mind about that thing was that the tapes were all made BEFORE his 4 records on Sky, I always had a fairly clear line in my head that went "working with Cluster & Eno" to "albums on Sky" to "weird alien industrial genius", but those 4 tapes have all of the blueprints/forerunners of his "later" weird period, even down to some of the same song titles. Incredible document there, I have done some deep listening twice now and remain amazed.

finally sprung for the Aus Freude Am Elend reissue, so good. are there other ones with voice/vocal source material that is this prominent in the mix?

that one's pretty special. there's the three 'Von Mund Zu Mund' eps, which are great but it doesn't have the same messed up, highly charged focus on strict source material.

shoulda sprung for that VOD box.

they did a great job choosing these two bonus tracks, they sound very much like the LP

I'm getting back into these reissues, slowly, very amusing that this:

they're releasing one new album every 3-4 months

has stalled out 14 years later at (I think) #15 out of 18. I'm trying to get ones from around the same late-80's period, so I got Marches Funebres, turns out the liner notes are in German but translated on Die Stadt's website, I am putting them here for reference.

The central piece on MARCHES FUNEBRES is »Grünschattiger Nachmittag«. 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 standards needed for the recording of the orchestral version of the piece as it was originally intended. Aided by my teacher and mentor Okko Bekker and equipped with numerous samplers and a sophisticated music software the piece was finally realized in 1988 after several weeks' hard work. The mockers would have it that I tried to have Django dancing the Bolero. Maybe they were half right. As you know, I am not not a friend of soft entertaining sounds but if it has to be kitsch then do it full-on. Hence even today I am standing in a »greenish afternoon shade«, if you know what I mean.
»Linea 5« was placed on the original LP to balance out »Grünschattiger Nachmittag«. I was hoping to create something equally austere as »Linea 1–4«. But, »Linea 5« got out of hand. Carried away by delays and echochambers I lost myself in erratic mountains of sound (complete with sceneries of St. Elmo's Fire and alpenglow) until I was wholly exhausted. For my better I was saved by some good St. Bernhards wearing their bootles of brandy around their necks. Who knows where this journey of belated psychedelia would have ended without them. This time, the mockers' questions remained unanswered. MARCHES FUNEBRES was the second time I tried my hand at something vaguely symphonic; a slippery ground for me. It was preceeded by the »Faircomp«-series and followed by the collaborative LP »E« with Okko Bekker. Then this chapter was closed. »Cobbler, stay at your last!« as they say. Still, for such an LP as MARCHES FUNEBRES to come out shows how the scope of what was possible had broadened by 1989. From now on, at the gate to the decade of the 1990ies, there shone an alternative to the quickly fading legacy of industrial at the horizon. Computers became affordable, CD began replacing vinyl, new ideas generated a musical diversity hitherto unheard of. In 1989 the new beginning was near.

Asmus Tietchens 2010

Forthcoming documentary & season’s greetings

!!!!

that is some serious Klaus Wunderlich homage

stakes were high for me when he started up Hematic Sunsets doing 4/4 tunes again because I love his records on Sky so much. I don't love all of them but when it works it works, I have no idea why I love the track 'In Babel' so much

https://www.youtube.com/watch?v=Rvvbn7O1nus

Die Stadt has put out two more reissues, only one more to go. There are some clunkers in the series but I finally gave in and got them all so my CD spines line up.

I have too many of the originals to be tempted to line up the complete spines, was tempted by the Burrows 2CD until I visited Die Stadt and realized I missed the Kontakte Der Jüngliche 2014 studio album and flipped out. a collaboration with Thomas Köner made so much sense I took it for granted when those came out 20 years back (!!) but I got totally addicted to those again a few years ago -- I still find myself resisting some of the solo Tietchens from that period when he went all in on the -menge series but that same research sounds unbelievable in context with where Köner was going after 'Permafrost' / 'Aubrite'

bump

finally tracked down all of the Von Mund Zu Mund 7"s as well as Das Bleibt which is similar, those comprise the (unattainable) "bonus disc" of the 20-year-long Die Stadt reissue project. as Milton notes upthread those do indeed scratch the same itch as Aus Freude Am Elend, alien vocal manipulations