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Artist: TIETCHENS, ASMUS
Title: Fast ohne TItel, Korrosion
Format: CD
Label: Black Rose
Country: UK
Price: $18.00
"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. Corrosion is a degradation mechanism. It is an insidious process often difficult to recognize until deterioration is well advanced. Are these new pieces a comment on the current state of noise music, serious music, or both? As a pioneer of electronic composition, his work spans over three decades and doesnt fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds, and musique concrète. Never straightforward or obvious, always unpredictable and innovative, his groundbreaking music influences many working in todays experimental music scene. He has worked almost exclusively as a solo artist but recent releases have seen him collaborate with well-known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Köner, and Richard Chartier." - Black Rose.

Artist: TIETCHENS, ASMUS
Title: Biotop
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"In retrospect, we might suspect that Asmus Tietchens was deliberately leading us up the garden path with the discordant pseudo-pop of his early musical productions. Four albums between 1981-1983 and a handful of individual pieces comprise the Zeitzeichen (time signal) phase which, in the words of their creator, was characterized by the implementation of rhythmic-harmonic set pieces and gaudy record sleeves. These albums do indeed feature elements of the noisy-abstract structures which Tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. Yet to understand Zeitzeichen as a period of transition, a mere curiosity, would be wide of the mark. Günter Körber released the Biotop, Spät-Europa, In die Nacht, and Litia albums on Sky Records. His label specialized in contemporary electronic music, often cosmic or Kraut-like, but also offered a platform to un-agitated cryptic experiments. Tietchens was well-acquainted with the Sky program, both as a listener and through personal friendships -- with Dieter Moebius, Hans-Joachim Roedelius, andMichael Rother; hence, establishing contact presented little difficulty. Sixteen tracks had been produced for Biotop but, in 1980, saw no genuine prospect of a release, so signing to Sky was a logical move. The Sky series is markedly different, surprisingly so, from the debut album Nachtstücke, rife with soft rhythms and harmonic bliss, as Tietchens acknowledges today. Not something which can be said of Biotop. In keeping with the sleeves garish color scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. But there was more than ironic intent in the disjointed rhythms and sliding melodies. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. Biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. The hectic piece Moderne Arroganz is notable for a voice listing types of insurance; from behind this unbeatable idiocy, a critical reflex emerges which can be taken as social commentary -- it is no coincidence that Sauberland resounds with squeaky absurdity, taking itself none too seriously. One would not be wrong, therefore, to divine the artist finding himself in the banefully-piercing title-track, which rejects the alleged harmlessness of the album, a contrary Im here too, attenuated only by the remark lets see how things go. But Tietchens half hoping, half skeptical stance -- underlined as an endless groove on the initial pressing -- proved unfounded." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Biotop
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Comes on 180 gram vinyl. In retrospect, we might suspect that Asmus Tietchens was deliberately leading us up the garden path with the discordant pseudo-pop of his early musical productions. Four albums between 1981-1983 and a handful of individual pieces comprise the "Zeitzeichen" (time signal) phase which, in the words of their creator, was characterized by the implementation of "rhythmic-harmonic set pieces and gaudy record sleeves." These albums do indeed feature elements of the noisy-abstract structures which Tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. Yet to understand "Zeitzeichen" as a period of transition, a mere curiosity, would be wide of the mark. Günter Körber released the Biotop, Spät-Europa, In die Nacht, and Litia albums on Sky Records. His label specialized in contemporary electronic music, often cosmic or Kraut-like, but also offered a platform to un-agitated cryptic experiments. Tietchens was well-acquainted with the Sky program, both as a listener and through personal friendships -- with Dieter Moebius, Hans-Joachim Roedelius, and Michael Rother; hence, establishing contact presented little difficulty. Sixteen tracks had been produced for Biotop but, in 1980, saw no genuine prospect of a release, so signing to Sky was a logical move. The Sky series is markedly different, surprisingly so, from the debut album Nachtstücke, rife with "soft rhythms and harmonic bliss," as Tietchens acknowledges today. Not something which can be said of Biotop. In keeping with the sleeves garish color scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. But there was more than ironic intent in the disjointed rhythms and sliding melodies. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. Biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. The hectic piece "Moderne Arroganz" is notable for a voice listing types of insurance; from behind this "unbeatable idiocy," a critical reflex emerges which can be taken as social commentary -- it is no coincidence that "Sauberland" resounds with squeaky absurdity, taking itself none too seriously. One would not be wrong, therefore, to divine the artist finding himself in the banefully-piercing title-track, which rejects the alleged harmlessness of the album, a contrary "Im here too," attenuated only by the remark "lets see how things go." But Tietchens half hoping, half skeptical stance -- underlined as an endless groove on the initial pressing -- proved unfounded." -Bureau B.

Artist: TIETCHENS, ASMUS
Title: Der fünfte Himmel
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. Between 1981 and 1983 Asmus Tietchens released four albums on the Sky Records label, fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality. The "pseudo-pop" epithet reflected their frequently ironic air. All four records have been reissued by Bureau B in their original form. What remained may be found on this collection. Der fünfte Himmel ("The Fifth Sky") retrieves those pieces which were denied a place on the original LPs, although clearly cut from the same contextual cloth. Quality control was not behind their relegation to the archive, but rather their eccentric and, at times, outlandish character. "Futurum drei" is patently a bridge to Tietchens debut album Nachtstücke, recorded back in 1978, while "Soirée" and "Zum Tee bei Frau Hilde" were originally -- in a completely different guise -- designed to form the basis of the Experimentelle Geselligkeit album, ultimately shelved. The titles themselves are interesting: "Würgstoffe" ("Wirkstoffe") and "Niedermacher" ("Liedermacher") are further evidence of Tietchens penchant for wordplay, even though the composer today admits that these rather corny jokes no longer seem quite so witty. In addition to this promenade through the outskirts of the "Zeitzeichen phase" (or "Sky phase"), Der fünfte Himmel includes tracks which could have constituted a further album on Sky Records. Tietchens was working ahead of himself as his contract covered just four albums and sales were in sharp decline. Moreover, his musical direction had shifted to accommodate a far less rugged sound and a broader range of musical tools. If these pieces share a link to the strategies of previous works, it is a tenuous one. This would probably have been enough in itself to preclude a continuation of the series, as the material veered so far away from the Sky label line." - Bureau B.

Artist: TIETCHENS, ASMUS
Title: In die Nacht
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Bureau B reissues Asmus Tietchens third solo album on Sky Records, originally released in 1982. It stands to reason that any musical journey undertaken by a skeptic like Asmus Tietchens is destined to head into the night (In die Nacht) rather than into the day. In die Nacht, the third album in the so-called time signal ("Zeitzeichen") phase, continuing in the same vein as Biotop (BB 141CD/LP) and Spät-Europa (BB 142CD/LP), while laying down its own stylistic markers, no doubt attributable to the sizeable challenges facing the composer. Time, or the lack thereof, was the most pressing concern. With only a few weeks available in which to produce the record, he had to rein in his ambition. In the past, Tietchens had seldom allowed tracks to exceed three minutes in length, avoiding the effect of "musical drift"; hence, the ideas came thick and fast on his previous two albums. This time around, in creative terms -- and with all due meticulousness -- he needed to be more economical. Four of the tracks turned out far wider-ranging than they might have done under different circumstances. Ironically, these are the very pieces which lend the album its enduring character. The exuberantly stumbling rhythm of "Höhepunkt kleiner Mann" is as typical as the dark mood of the title-track, although jaunty and highly-charged tones creep into the latter. "Regenwald," on the other hand, carries the listener off to a magical sonic setting, a hypnotic allure underneath pulsating rhythms. Such a display of color is akin to the atmosphere of Max Ernsts jungle paintings. In technical terms, In die Nacht differed notably from its predecessors as Tietchens now had access to a Polymoog, enabling him to play chords. The Minimoog and rhythm machine he had used until then were deliberately pushed into the background; the drum machine in particular was drastically taken out of the mix. The creative versatility of this relatively modest equipment still appears remarkable today." -Bureau B.

Artist: TIETCHENS, ASMUS
Title: In Die Nacht
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B reissues Asmus Tietchens third solo album on Sky Records, originally released in 1982. It stands to reason that any musical journey undertaken by a skeptic like Asmus Tietchens is destined to head into the night (In die Nacht) rather than into the day. In die Nacht, the third album in the so-called time signal ("Zeitzeichen") phase, continuing in the same vein as Biotop (BB 141CD/LP) and Spät-Europa (BB 142CD/LP), while laying down its own stylistic markers, no doubt attributable to the sizeable challenges facing the composer. Time, or the lack thereof, was the most pressing concern. With only a few weeks available in which to produce the record, he had to rein in his ambition. In the past, Tietchens had seldom allowed tracks to exceed three minutes in length, avoiding the effect of "musical drift"; hence, the ideas came thick and fast on his previous two albums. This time around, in creative terms -- and with all due meticulousness -- he needed to be more economical. Four of the tracks turned out far wider-ranging than they might have done under different circumstances. Ironically, these are the very pieces which lend the album its enduring character. The exuberantly stumbling rhythm of "Höhepunkt kleiner Mann" is as typical as the dark mood of the title-track, although jaunty and highly-charged tones creep into the latter. "Regenwald," on the other hand, carries the listener off to a magical sonic setting, a hypnotic allure underneath pulsating rhythms. Such a display of color is akin to the atmosphere of Max Ernsts jungle paintings. In technical terms, In die Nacht differed notably from its predecessors as Tietchens now had access to a Polymoog, enabling him to play chords. The Minimoog and rhythm machine he had used until then were deliberately pushed into the background; the drum machine in particular was drastically taken out of the mix. The creative versatility of this relatively modest equipment still appears remarkable today." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Litia
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version, on 180 gram vinyl. Released in 1983, the Litia album concluded Asmus Tietchens études phase and bid a farewell to rhythmic synths -- well, almost. All the signs of "pseudo pop" as heard on Biotop (BB 141CD/LP), Spät-Europa (BB 142CD/LP), and In die Nacht resurfaced: squeaky sounds and protracted, rattling rhythms grouped into abstract forms through their accentuated artificiality. Sporadic noisiness is as much a part of it as is a winking gesture, which should not detract from the basic sobriety of the work, however. Musik aus dem Aroma Club (1998) is Tietchens first openly-parodic work, not that he had ever lacked humor. Take the plays on words in his titles, with "Unterhaltungsmusik" mutating to "Unterhaltsmusik" ("light" music becomes "livelihood" music) or the appropriation of terminology from respiratory medicine ("Nebulizer" is another word for an atomizer). The banality of everyday life proves itself to be unconquerable: "Auf Elf" ("On Eleven") refers to the fact that the piece is archived on a tape with the number 11 -- nothing more profound than that. What sets Litia apart from its three predecessors is the wider pool of instruments at Tietchens disposal. For the first time, he had a digital rhythm machine which could play samples; then there was the Korg Polysix synthesizer, a hybrid of analog and digital technology. The polyphonic transition piece could not actually create samples, but could at least simulate the sounds of instruments. As the Korg Polysix and rhythm machine could be synchronized, "a whole new world of sound" beckoned. Günter Körber of Sky Records exited the scene after Litia, as Tietchens turned his attention to "rhythmic-harmonic set pieces." It was not until 1996 that Rattenheu was issued, featuring material which dated back to 1984 and now -- augmented by further tracks from this period -- representing the fifth "Zeitzeichen" album to be reissued by Bureau B." - Bureau B.

Artist: TIETCHENS, ASMUS
Title: Litia
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Released in 1983, the Litia album concluded Asmus Tietchens études phase and bid a farewell to rhythmic synths -- well, almost. All the signs of "pseudo pop" as heard on Biotop (BB 141CD/LP), Spät-Europa (BB 142CD/LP), and In die Nacht resurfaced: squeaky sounds and protracted, rattling rhythms grouped into abstract forms through their accentuated artificiality. Sporadic noisiness is as much a part of it as is a winking gesture, which should not detract from the basic sobriety of the work, however. Musik aus dem Aroma Club (1998) is Tietchens first openly-parodic work, not that he had ever lacked humor. Take the plays on words in his titles, with "Unterhaltungsmusik" mutating to "Unterhaltsmusik" ("light" music becomes "livelihood" music) or the appropriation of terminology from respiratory medicine ("Nebulizer" is another word for an atomizer). The banality of everyday life proves itself to be unconquerable: "Auf Elf" ("On Eleven") refers to the fact that the piece is archived on a tape with the number 11 -- nothing more profound than that. What sets Litia apart from its three predecessors is the wider pool of instruments at Tietchens disposal. For the first time, he had a digital rhythm machine which could play samples; then there was the Korg Polysix synthesizer, a hybrid of analog and digital technology. The polyphonic transition piece could not actually create samples, but could at least simulate the sounds of instruments. As the Korg Polysix and rhythm machine could be synchronized, "a whole new world of sound" beckoned. Günter Körber of Sky Records exited the scene after Litia, as Tietchens turned his attention to "rhythmic-harmonic set pieces." It was not until 1996 that Rattenheu was issued, featuring material which dated back to 1984 and now -- augmented by further tracks from this period -- representing the fifth "Zeitzeichen" album to be reissued by Bureau B." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Nachtstucke
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. Nachtstücke owed its publication to former Tangerine Dream member Peter Baumann, who was asked by the French label Barclay/EGG to produce three albums focusing specifically on German electronic music. He was working with Hans-Joachim Roedelius at the time, who had been given a few Tietchens tracks on cassette. When Baumann heard Roedelius play them in the studio during a break in proceedings, they sparked his interest and he met up with Tietchens some time later; they agreed that he would go over the material again and edit or abridge it in places. A release date was penciled in for the latter part of 1978. The commissioning label, however, doubting the commercial potential of the project (Tietchens: "How right they would turn out to be"), postponed the release and had to be reminded of contractual commitments on more than one occasion. When the Nachtstücke LP finally appeared, almost two years later, it bore the unauthorized subheading "Expressions et Perspectives Sonores Intemporelles," and featured a completely different cover. Originally, the album was to depict a leathery embryo with a laser beam shooting through its eye (Tietchens: "I liked the idea of starting with something so gruesome"), but now three blurred figures danced on the sleeve: "I was pretty disgusted when I opened the package containing my copies," Tietchens reports, taking the re-release as his cue to create completely new artwork. Nachtstücke has surprisingly little in common with the pseudo-pop of the ensuing Sky Phase, but shines a light further ahead to the gloomy, spectral aspects of Tietchens later works. Created between 1975 and 1978, the Nachtstücke pieces reveal a deliberate approach, avoiding dissonance and discord wherever possible. Still, the release saw the album "fall right out of time" as Tietchens frankly admits: "Gentle rhythm and harmonic beatitude did not suit the concert of advanced pop music as it was then being played." Nevertheless, the Nachtstücke tracks remain important to the artist, as they document his early encounters with the Moog Sonic Six and Minimoog. With this in mind, the material is presented here in its original, unadulterated form." - Bureau B.

Artist: TIETCHENS, ASMUS
Title: Spat-Europa
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"While Asmus Tietchens planned to head off into the future (In die Zukunft) with Biotop (1981), Spät-Europa witnesses his arrival. Released on Sky Records in 1982, the second album in the Zeitzeichen phase not only continued in the style of its predecessor, it managed to refine it a little more precisely. Spät-Europa also conveys a banefully distorted pseudo-pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue-in-cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon-colored pieces, indicative of the artists parallel lines of development. What is new on Spät-Europa is a greater concentration of form, concise and pointed in the sense of musical economy. Tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the miniatures lasted exactly two minutes. Nevertheless, he only missed his ideal target by a few seconds here and there. The concept of Biotop as an album of 20 tracks two minutes long recalls the Residents Commercial Album (1980) which contains 40 tracks, each a minute in length -- although these were designed to be played in groups of three in order to create a regular pop song. Tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the American band, having organized crusades for their albums at this time. Traces of their influence may be discernible, but Tietchens has placed them in an entirely new context. Like Biotop, Spät-Europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. Epitaph introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. But the headstone etched in readiness to mark his musical career proved unnecessary -- before the year was out, Günter Körber had requested a further album for his Sky label. This would be the opus entitled In die Nacht." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Spat-Europa
Format: LP
Label: Bureau B
Country: Germany
Price: $22.00
"Comes on 180 gram vinyl. While Asmus Tietchens planned to head off "into the future" ("In die Zukunft") with Biotop (1981), Spät-Europa witnesses his arrival. Released on Sky Records in 1982, the second album in the "Zeitzeichen" phase not only continued in the style of its predecessor, it managed to refine it a little more precisely. Spät-Europa also conveys a banefully distorted pseudo-pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue-in-cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon-colored pieces, indicative of the artists parallel lines of development. What is new on Spät-Europa is a greater concentration of form, concise and pointed in the sense of musical economy. Tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the "miniatures" lasted exactly two minutes. Nevertheless, he only missed his ideal target by a few seconds here and there. The concept of Biotop as an album of 20 tracks two minutes long recalls the Residents Commercial Album (1980) which contains 40 tracks, each a minute in length -- although these were designed to be played in groups of three in order to create a regular "pop song." Tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the American band, having "organized crusades" for their albums at this time. Traces of their influence may be discernible, but Tietchens has placed them in an entirely new context. Like Biotop, Spät-Europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. "Epitaph" introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. But the headstone etched in readiness to mark his musical career proved unnecessary -- before the year was out, Günter Körber had requested a further album for his Sky label. This would be the opus entitled In die Nacht." -Bureau B.

Artist: TIETCHENS, ASMUS
Title: Adventures In Sound/Nachtstucke
Format: Double CD
Label: Die Stadt
Country: Germany
Price: $28.00
"First in a series of 18 CDs aiming to make available all early vinyl albums by Asmus Tietchens between 1980-1991 on CD. Each release feat. the original tracks (sometimes extended/original versions) + unreleased bonus tracks from the same recording period, original artwork + accompanying texts by Tietchens. This -- the only 2CD in the series -- feat. his very first album Nachtstücke from 1980 (incl. 4 bonus tracks) + a 2nd CD with archive material recorded with his long time friend Okko Bekker between 1965-1969. These are the first works in Tietchens long career as a sound artist and were never released before. Edition of 1000 copies in jewelcase with full color poster booklet. About the artist: Asmus Tietchens started recording music as early as 1965 (documented here on Adventures In Sound) though his first release only appeared 15 years later (Nachtstücke). Ever since then he stayed very productive and had numerous cassette, vinyl and CD releases on numerous labels (Sky, United Dairies, Dom, Staalplaat, Ritornell and Die Stadt to name just a few). He has collaborated with various other like minded artists such as Okko Bekker, Cluster, Conny Plank, Terry Burrows, Liquidski, David Lee Myers (Arcane Device) and most recently with Thomas Köner who is one half of their ongoing collaborational project Kontakt Der Jünglinge." -Die Stadt
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Artist: TIETCHENS, ASMUS
Title: Aus Freude Am Elend
Format: CD
Label: Die Stadt
Country: Germany
Price: $26.00
"Eleventh part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Aus Freude Am Elend is based on the human voice as a primary sound source and was originally released in an edition of 500 copies on Dom America in 1988. The CD includes two previously-unreleased tracks and comes in a jewel case with full color artwork and poster booklet also featuring the original front and back cover. First edition of 600 copies. "Following my research of piano and water sounds, it didnt come as a surprise that my next project was about the human voice as a sound source. The great masters of Plunderphonics already showed the way in the early 80s, when they plundered the gigantic junk-shops packed full of already recorded material, which was stolen by them to use it for their own aesthetic targets. This album only consists of such stolen goods. Each track (with the exception of In Memoriam P.F.) was based on voices of people who I naturally didnt ask their permission to use these recordings in the first place. So you can hear the voices of ecstatic religious people as well as other people making love. Youll also hear someone singing to Annette and Peggy out of the trash bin of a publishing company. Even the screams of furious teachers came in handy while I made loops from them. Especially loops: rarely before this album and only once after it did I made use of the structural means of loops to such an extent. I was fascinated by the rhythmical and harmonic permanence, in the same way as many of my musical colleagues at the time. The aspect of the ritual was a self-evident common formulation in difficult music during the 80s, so loops and tape voices, monotonous rhythms and LoFi became obvious means to shape the music. Aus Freude Am Elend too was strongly spiced with these ingredients and therefore can be seen as a prototype album of this specific view of music during the time. This tendency was supported -- even partly inspired -- by a new generation of sound machines, which also made it possible for new aesthetic goals to appear at the horizon. The 90s were near at hand and sound art music would develop drastically in many ways in the years to follow. Samplers, digital editing, hard-disc recording and the first PCs opened new doorways. Half of the material on Aus Freude Am Elend was already created with these digital tools. I never quite understood how the labels Dom America (run by Jon Carlson) and Dom here in Germany were connected. Was Carlson a fan of Dom which was founded by Christoph Heemann and Achim Flaam? Did he simply like the release politics of this label? And what became of Dom America? Actually I dont know. I guess it was one of the small enthusiastic independent labels which released a handful of titles and which disappeared after being active for a couple of years during the 80s. However ,Aus Freude Am Elend had vanished shortly after its release. I only used stolen voices twice again after this album, by the way." -Die Stadt

Artist: TIETCHENS, ASMUS
Title: Formen Letzter Hausmusik
Format: CD
Label: Die Stadt
Country: Germany
Price: $22.00
"Part six in the ongoing re-release series of all early Tietchens albums on CD. Formen Letzter Hausmusik was originally released on United Dairies (the label run by Steven Stapleton of Nurse With Wound) in 1984. The original album consisted of a mix of archive tracks from the late 1960s / early 1970s and new tracks specially recorded for the release. Many people see Formen Letzter Hausmusik as the first real Tietchens album laying the basis of what was about to follow in his long recording career and therefore vote this album among the most important and best Tietchens works. The CD version includes three unreleased bonus tracks and comes with the usual poster booklet featuring the original cover art plus text by Tietchens about the album." - Die Stadt.
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Artist: TIETCHENS, ASMUS
Title: In Die Nacht
Format: CD
Label: Die Stadt
Country: Germany
Price: $22.00
Fourth part in the re-release series of all early vinyl albums by Asmus Tietchens on CD. This is the third of the SKY albums from 1982 incl. three bonus tracks of unreleased material not included on the original LP. "I found myself trying to square the circle, wanting to have the rich detail of my short works at the same time as creating longer pieces. This experiment, an equivalent to doing the splits, was only partly successful. It is not really possible to create pieces of six minutes or more from ideas which are only adequate for tracks of three minutes, unless one is willing to risk musical redundancy or, worse, long-windedness. In retrospect, the four central tracks of In die Nacht are too long for the material from which the are built. Back in 1982 though, my opinion was different. Nonetheless, I did gain my first insight into the rules of time and proportion, even though I was not able to handle them perfectly." -Asmus Tietchens, 2004
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Artist: TIETCHENS, ASMUS
Title: Leuchtidioten
Format: 10"
Label: Die Stadt
Country: Germany
Price: $15.00
"This new release features two rhythmic tracks that were recorded during the Teilmengen sessions (which appeared on CD as a-Menge and b-Menge on Ritornell) but were not used for these albums as Tietchens regarded them as too different to the other pieces and therefore decided to have them released on their own. Limited edition of 500 copies." -Die Stadt

Artist: TIETCHENS, ASMUS
Title: Notturno
Format: CD
Label: Die Stadt
Country: Germany
Price: $23.00
"Tenth part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Notturno was originally released by Spanish label Discos Esplendor Geometrico in 1987 and also by Barooni on CD in 1992. Remastered version in a first edition of 600 copies in jewel case with full color artwork and poster booklet also featuring the original front and back cover. By the time Studie für Klavier (Formen Letzter Hausmusik, DS84) was released, it actually wasnt my first attempt to use the piano as a sound source. Various pre-studies came before this, but all which either were not characterized as such in their title or simply didnt make it onto record. I was intrigued by the great range of sounds it offers in general, but also by the multiple possibilities to produce sounds inside of the piano. Of course I was fully aware that these techniques had already been used by other composers like Henry Cowell and John Cage in the past. Not only could I make use of a grand piano in 1986, I also had the technical equipment at hand which didnt leave nothing to be desired. I wasnt quite precise calling these pieces Studien für Klavier (Piano) by the way, as I was actually using a flügel (grand piano). I began preparing the strings in an almost old fashioned way, also producing sounds with unusual aids (electric gastr beater, wire brush, coins and others). Then in another step, with the help of the studio, I carefully started working on the recorded sounds. While doing this, I wasnt even afraid of using some good old avant-garde tricks, by the way. But I wont tell. The fact that Notturno was released by an industrial label, shows how much the interest in unusual electro-acoustic music had grown at the time. In fact, Notturno is nothing less than an industrial album. To my own delight and to the delight of the listeners as well, I used techniques which were introduced in the field of new music since several years already. As a result, Notturno can be seen as a cross between musical styles. On one hand it sounds academic, but in fact it isnt. But the question whether this was U (popular) or E (serious) was obsolete anyway, as electro-acoustic experiments didnt exclusively belong to the circle of serious composers anymore. Of course I wasnt the first or only non-academic composer who produced music, which couldnt be categorized easily then, and maybe even still not until today. As a result, the exchange of these new aesthetic strategies with other musicians and listeners in the mid-80s, further encouraged the musicians to produce such music, and as a result, labels such as Discos Esplendor Geometrico could be sure to sell a small edition of 500 copies in a fairly short time. The ears had opened up for this genre-crossing music and the heads were ready to accept. We had succeeded breaking new ground." -Die Stadt
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Artist: TIETCHENS, ASMUS
Title: Seuchengebiete
Format: CD
Label: Die Stadt
Country: Germany
Price: $22.00
"Seventh part in the re-release series of all early Tietchens albums between 1980-1991. Another early Tietchens classic, the first where he only used a single sound source as the basis for a complete album. Originally released on A-Mission in 1985 the CD version includes one bonus track. Full colour fold-out booklet featuring the original cover artwork plus liner notes by Tietchens." - Die Stadt.

Artist: TIETCHENS, ASMUS
Title: Zwingburgen des Hedonismus/Mysterien des Hafens
Format: CD
Label: Die Stadt
Country: Germany
Price: $22.00
"Part 9 of the ongoing re-release series of all early Tietchens albums from 1980-1991 on CD. This combines two separate releases from 1987 (Zwingburgen des Hedonismus) and 1988 (Mysterien des Hafens on Face to Face, Vol. 1). Zwingburgen des Hedonismus was originally released as a one-sided LP on Swedish label Multimood and features a single 21-min. long track composed on a Fairlight CMI. Mysterien des Hafens was part of a split LP (the other side feat. Die Form) originally released on French label Odd Size and featuring recordings made by Tietchens using underwater microphones. The bonus track Faircomp 1K on this CD is a different version of the first track and previously unreleased. First edition of 600 copies in jewel case with full cover artwork and poster booklet also feat. the original album covers." -Die Stadt

Artist: TIETCHENS, ASMUS
Title: Ptomaine
Format: Triple LP
Label: RRRecords
Country: USA
Price: $22.00
"Three records on clear vinyl seeing Tietchens working only with the locked grooves on the RRR-100 7"."
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Artist: TIETCHENS, ASMUS
Title: Recycled
Format: Cass
Label: RRRecords
Country: USA
Price: $5.00
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Artist: TIETCHENS, ASMUS
Title: Teils Teils
Format: LP
Label: Swill Radio
Country: USA
Price: $20.00
"Ive been a fan of Asmus Tietchens music since Formen Letzter Hausmusik came out in 1984. That LP fascinated me and I soon began acquiring anything I could by this strange musical force. Ive learned a lot from his music over the years and we became acquainted via the post in the late 90s. As it turns out, we both have an extreme fondness for cigarette smoking and an interest in Max Nordau, so what better place for his first LP release in years than Swill Radio? The side-long Teilmenge 20 starts off the LP with an odd manic ticking that never lets up. Other sounds ebb and flow throughout and the whole piece has the rare quality of sounding totally artificial and yet organic at the same time. The second side slows things down with three tracks of dripping industrial ambience. The whole LP brings to my mind an atmosphere of waiting. To quote my good friend Matt Krefting, No ones music sounds both as cold and as emotional in quite the same way as the music of Asmus Tietchens." -Swill Radio.

Artist: TIETCHENS, ASMUS
Title: 4K7+
Format: 5 CD Box
Label: Vinyl-On-Demand
Country: Germany
Price: $56.00
"Asmus Tietchens is a German electronic synthesist and musician whose interests in experimental music and musique concrète began during childhood. He began recording sound experiments in 1965 with electronic musical instruments, synthesizers, and tape loops. In the 1970s he met producer Okko Bekker, and the two formed a decades-long partnership. In 1980 Peter Baumann of Tangerine Dream heard a recording of Tietchenss music and offered to produce an album; the result was the 1980 release of Nachtstücke (BB 155CD/LP), which was followed by several releases on the legendary German label Sky Records between 1980 and 1983. At the same time, Tietchens also began releasing on several international cassette labels. He released Musik Aus Der Grauzone (1981) and Musik An Der Grenze (1982) on the British YHR Tapes (York House Recordings) and Musik Im Schatten (1982) and Musik Unter Tage (1983) on the American label Aeon. These four outstanding limited tape releases, now highly in-demand, are included in this five-CD set, an expanded reissue of a four-LP set released in 2007. The fifth CD, Musik Von Der Halde, contains additional audio material recorded during the 70s, including the two tracks included on a bonus 7" with a limited edition of the original vinyl release of 4K7. Except for the tracks from that 7", all of the material on Musik Von Der Halde is previously unreleased. While Tietchenss recordings from before 1984 (including the recordings found on this set) feature accessible synthesized music, his focus shifted to more abstract sound-collages, as can be heard on Formen Letzter Hausmusik, released in 1984 on Nurse With Wounds label United Dairies. This set chronicles the transitional phase between the poppy Sky releases and the more noise-based style of releases like Formen Letzter Hausmusik. Tietchens later pursued "absolute music" through an almost mathematical process of rigid formal exercises. With strong ties to Karlheinz Stockhausens early electronic work, Tietchens started specializing in irregular patterns of sonic abstractions suspended in gray drones to create cold textural space, void of external reference." - Vinyl-On-Demand.

Artist: TIETCHENS, ASMUS
Title: 4K7: Early Recordings
Format: 4 LP Box Set
Label: Vinyl-On-Demand
Country: Germany
Price: $92.00
"The 4LP box set contains his first 4 tapeworks from the mid/late 70s, released in the early 80s on Yorkhouserecords (YHR) in limited editions of 50 (Musik an der Grenze, Musik im Schatten, Musik unter Tage and Musik aus der Grauzone)." - Vinyl-On-Demand. Very highly recommended!
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