Asmus Tietchens

NUANCES IN SELF-SUFFICIENT MUSIC. Asmus Tietchens – a name that popped up about 40 years ago for the first time on an album of ambient music by Cluster&Eno (1977) and can be found in various fields of electronic and experimental music ever since, mostly on the fringes of certain genres like industrial, synth-pop, acousmatic, reductionist electronic music or krautrock. It’s hard to fix his position to a specific scene, instead he seems more like a curious and peculiar mind working his way through all the spheres that catch his curiosity. Although he can be classified as a consistent solo-artist, quite a few collaborations have been exercised with people like the percussionist Jon Mueller, the reductionist electronic composer Richard Chartier, Chrysanthemums’ Terry Burrows or his duo Kontakt der Jünglinge (a combination of two the title of two early Stockhausen pieces) together with media-artist and composer Thomas Koener. He also appears on an album by the ephemeral Krautrock band-project Liliental (one of the few records featuring studio-wizard Conny Plank as a musician), probably the only real band he ever played in, not to mention his general dislike of most Krautrock.
01 December 2016 | AG 8

But let’s start at the beginning: Asmus Tietchens was born in Hamburg (*1947), has lived there ever since, and works there mostly in the studio of his old friend Okko Bekker – a composer of filmscores and advertisments who also guest-starred on the

Confronted with early german electronic avantgarde music and french musique concrete on the night-programs of germany’s state-radio as a 12-year old kid, because he somewhat felt obliged to follow the development of the arts as a grammar school student

While also some of his experimental pieces work with rhythms and repetitive patterns, his current compositions however are rather abstract, sparse and stern, a music not easy to access but starring an idiosyncratic beauty; they explore very subtle diff

Asmus Tietchens doesn’t mind to talk about his music before his performances, and he is a great talker. He is also a gifted writer of critical essays on experimental music or linernotes for records by Cluster, Günther Schickert or Institut fuer Feinmot