A typically elegant and challenging offering from Line, courtesy of veteran electronic music pioneer Asmus Tietchens. The 68-year-old German first took to the field in the mid-1960s, when he developed his own brand of concréte using tape recorders, sine wave generators and the like. Since the release of his first album in 1980, produced by Tangerine Dream's Peter Baumann, Tietchens has kept pace with technology and sought out new compositional strategies, clocking up releases on such respected labels as Mille Plateaux, Staalplat and Nurse With Wound's United Dairies along the way. Soiree is apparently "the result of endless recycling" - versions of versions of versions of versions (and so on) of old tracks from the Tietchens archive. Applying a range of different methods and tools to the recycling process, he moves further and further away from the source material. What we're left with are eight electronic explorations that we'd happily call ambient, were they not so dynamic and humming with occult power (it's easy to see why Tietchens was adopted by the industrial cognoscenti in the 80s).
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A typically elegant and challenging offering from Line, courtesy of veteran electronic music pioneer Asmus Tietchens. The 68-year-old German first took to the field in the mid-1960s, when he developed his own brand of concréte using tape recorders, sine wave generators and the like. Since the release of his first album in 1980, produced by Tangerine Dream's Peter Baumann, Tietchens has kept pace with technology and sought out new compositional strategies, clocking up releases on such respected labels as Mille Plateaux, Staalplat and Nurse With Wound's United Dairies along the way. Soiree is apparently "the result of endless recycling" - versions of versions of versions of versions (and so on) of old tracks from the Tietchens archive. Applying a range of different methods and tools to the recycling process, he moves further and further away from the source material. What we're left with are eight electronic explorations that we'd happily call ambient, were they not so dynamic and humming with occult power (it's easy to see why Tietchens was adopted by the industrial cognoscenti in the 80s).
A typically elegant and challenging offering from Line, courtesy of veteran electronic music pioneer Asmus Tietchens. The 68-year-old German first took to the field in the mid-1960s, when he developed his own brand of concréte using tape recorders, sine wave generators and the like. Since the release of his first album in 1980, produced by Tangerine Dream's Peter Baumann, Tietchens has kept pace with technology and sought out new compositional strategies, clocking up releases on such respected labels as Mille Plateaux, Staalplat and Nurse With Wound's United Dairies along the way. Soiree is apparently "the result of endless recycling" - versions of versions of versions of versions (and so on) of old tracks from the Tietchens archive. Applying a range of different methods and tools to the recycling process, he moves further and further away from the source material. What we're left with are eight electronic explorations that we'd happily call ambient, were they not so dynamic and humming with occult power (it's easy to see why Tietchens was adopted by the industrial cognoscenti in the 80s).
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A typically elegant and challenging offering from Line, courtesy of veteran electronic music pioneer Asmus Tietchens. The 68-year-old German first took to the field in the mid-1960s, when he developed his own brand of concréte using tape recorders, sine wave generators and the like. Since the release of his first album in 1980, produced by Tangerine Dream's Peter Baumann, Tietchens has kept pace with technology and sought out new compositional strategies, clocking up releases on such respected labels as Mille Plateaux, Staalplat and Nurse With Wound's United Dairies along the way. Soiree is apparently "the result of endless recycling" - versions of versions of versions of versions (and so on) of old tracks from the Tietchens archive. Applying a range of different methods and tools to the recycling process, he moves further and further away from the source material. What we're left with are eight electronic explorations that we'd happily call ambient, were they not so dynamic and humming with occult power (it's easy to see why Tietchens was adopted by the industrial cognoscenti in the 80s).