We’ve added another round of items from the AUFABWEGEN label this week, so visit the SOUNDSWIM store soon and check them out!
“A co-release between Die Stadt and Aufabwegen. Finally the Tietchens reissue series continues with ‘Marches Funebres.’ originally released by Multimood (Sweden) in 1989.” –aufabwegen.de
“Some stock here of the long out of print CD on dutch Barooni label from 1991. It includes one track with basic material by Thomas Köner and comes with a booklet on special see through paper. In our opinion it is one of Tietchens’ “scariest” works to date. ” –aufabwegen.de
Konrad Kraft – Temporary Audiosculptures and Artefacts –$11.99
“On ‘Temporary Audiosculptures and Artefacts’: After 15 years of silence this is the first major release by Duesseldorf electronic artist Detlef Funder, aka Konrad Kraft. In the early days of experimentation he was one of the leading figures behind the label SDV (Stimme des Volkes) who put out stuff by such great projects like Strafe Fuer Rebellion, Paul Schuetze and TUU. For ‘Temporary Audiosculptures and Artefacts’ Detlef has changed his trademark ambient sound flows to resemble something that sounds like a cross between fade out post-industrial, concrete sounds and a desire for filmic density.” –aufabwegen.de
Artificial Memory Trace – Tidal –$11.99
“Tidal zone is a fluid line between land and sea, a site of perpetual motion and metamorphoses.
During 2008 – 2010 I collected a variety of sounds in coastal areas of Western and Southern Ireland and on the other side of Atlantic Ocean in Newfoundland, Canada: the remote fishing village of Conche, the ghost settlement of Crouse, and the St.Georges peninsula. I recorded underwater: crackles of decapods, dolphins, mink-whales, a breaking iceberg, a sea-otter fishing in the harbor. And on land: a wooden church crackling in the wind, engines of boats, pebble-surf, sea-gulls …
All sounds and individual sequences used in the composition were recorded as-it-is. There is no other transformation than editing and mixing. Though sounds are organized in groups by the location of recordings, there is no intention to re-create an acoustic representation of the location itself. Sounds are chosen solely by morphologic associations and treated as abstractions.” –aufabwegen.de
Asmus Tietchens / David Lee Myers – Arcs –$11.99
“60-minute CD in full color digipak carton sleeve designed by David Lee Myers. 500 copies. On ‘Arcs:’ Asmus Tietchens and David Lee Myers have been collaborating since 1993. The dialogue continues to this day, with a new collection of 14 pieces entitled ‘Arcs’ that were created over the past two years. Asmus Tietchens has molded the sourcings delivered by David Lee Myers into shapes and textures of abstract elegance and flowing transparence.” –aufabwegen.de
Asmus Tietchens & Frans De Waard – Oordeel –$11.99
“This collaboration was bound to happen someday! Out of mutual respect and admiration for each other’s work Asmus Tietchens and Frans de Waard decided to work on some music together. The result is ‘Oordeel’ (dutch for ‘judgement’) – eleven tracks of diverse character and subtle beauty. From distorted groans and gritty pulses to delicate and abstract sound layers Tietchens and de Waard have created a fascinating sound world of bizarre beauty.” –aufabwegen.de
LP sized sleeve, reproducing an original drawing by Guido Hübner; layout and design Rainer Frey. Limited to 300 copies
“On ‘Die Eisenbüglering:’ The idea for this project was in the air since the late 1980´s. There was an intense, though short-lived, (snail) mail contact between DSM and P16.D4, RLW´s group in those days, which fell into sleep for reasons unknown today. 20 years later the contact lived up again. After getting themselves informed about the actual respective state of work, methods and techniques and sounds, the recordings for the project started. RLW cd:The basic recordings were done by rlw from early to mid 2009, sound sources are instrumental (piano, trombone) and household objects. First detailed sketches of the compositions (autumn 2009) include heavily treated versions of these recordings, cross-modulations with sounds supplied by DSM and with DSM-variations of the RLW sounds sent to Caen. Fine-tuning of the compositions took until fall 2010.DSM cd:With very few exceptions I used only the original sound recordings of RLW, discarding most of his own processing that he provided me with as I wished for treatments only what would be conceived to be already into the realm of the compositional strategies I fancied for these works. So up to which degree a processing of a sound turns it into an autonomous new one is a question without answer. In consequence resulted a collaboration starting with extremely few basic recordings. However as they had been particularly distinctive by their material character as well as the audible space of the recordings and the variation of their physical intensity as they all resulted from manual efforts they provided me with what was needed. Besides dynamical treatments and cleaning up, my sound processing is not only mostly analogue or equivalent too, but mostly even mechanic. Playing back recordings through ‘no-fi equipment’ and recording them again, while manipulating mechanically reproduction and recording devices is what I employ most.” –aufabwegen.de