LINE_020 | CD | Edition of 500 (sold out/out of print) | February 2005
LINE is proud to present E-Menge the new installment of the Mengen series from influential German electronic music pioneer Asmus Tietchens. LINE will be releasing the subsequent works in this series. Epsilon-Menge means Epsilon quantity.
The four pieces of this recording represent my aesthetic approach to space. Space not as in a “spacey” or astronomic sense, but space as an extension of the three-dimensional region in which we exist. Caused by acoustic foregrounds and acoustic backgrounds, spaces of different capacities occur. In the early 20th century the fine arts began to abolished spatiality, I wish to restore it by sound.
– Asmus Tietchens, 2005
Ultimata la serie di ristampe su Die Stadt dei dischi del periodo Sky, da qualche tempo il decano Asmus Tietchens sembra vivere una nuova giovinezza, grazie anche alla frequentazione di giovani estimatori come Thomas Koner e Richard Chartier, con la cui Line ha stabilito un rapporto di solida collaborazione ("E-Menge" e infatti solo il primo capitolo americano di questa collana, inizialmente pensata per la Ritornell - quattro i volumi usciti per la label tedesca). Interamente basate su toni puri, onde sinusoidali e rumore bianco, le composizioni della serie ribadiscono l'interesse di Tietchens nei confronti della rielaborazione di materiali basici, trovati, propri od altrui (nella fattispecie Malte Steiner), che vengono costantemente riciclati e rilavorati, dunque mai considerati complet(at)i di per se. L'approccio colto e severo, isolazionista ed anti-accademico, dell'autore tedesco ben rappresentato nelle sommesse astrazioni del full length su Line e della sua appendice su Tausend Fussler, austere spazializzazioni tridimensionali dal profilo acre come le immancabili citazioni dello scettico Cioran. (7) ad entrambi.
(Blow Up, IT)
"Epsilon quantity" is what E-Menge means - at least if I could re-create the Greek E on my computer. This is the fourth part in a series but unfortunally the three previous (Alpha-, Beta- and Gamma-Menge) are not easy to get these days: the original label is bankrupt for some time. With this series, Tietchens breaks away from his older musique concrete work (the treatment of sounds through studio techniques; computers are not his thing) into a more electronic body of work. That is to say: I think. Maybe his Menge series is an extension of his previous musique concrete work, but with new technology. This new work, and so did the previous three, are works that shows that Tietchens is connected to the world of microsound. An almost empty sound, or maybe some faint background hum, and on top some sort of rhythmic construction, which is being repeated every now and then never seems to form any sort of repeating rhythm. Tietchens says that his work deals with space; not the one abo ve our heads or anything astronomical, but as in three dimensional. Some of the sounds are in the foreground and some are in the background. The background is usually the humming part and the foreground the rhythmic constellations - which, excuse me, sound like rotating planets and stars shooting by. As a truely devoted Tietchens man I can only applaud this CD, another fine small masterpiece.
(Vital Weekly, NL)