Asmus Tietchens & David Lee Myers - 60:00 (Line, 2004)

1 One 10:00
2 Two 10:00
3 Three 10:00
4 Four 10:00
5 Five 10:00
6 Six 10:00

LINE is proud to present 60:00, the fourth collaborative album from influential electronic music pioneers Asmus Tietchens and David Lee Myers. On their first three collaborative projects the working method for this pairing was essentially the same: Myers provided Tietchens with raw feedback sound banks and the later constructed the compositions from this source material using his varied processing and editing techniques. For 60:00 this approach was altered; again beginning from the feedback sources, tracks were repeatedly exchanged between the two composers, transformations and edits by each resulting in several levels of manipulation. In the final pieces, the particular contributions of each composer can no longer be precisely identified.

Asmus Tietchens' first released his unique electronic music in 1980. Since then he has produced about 30 more cutting edge recordings on numerous international labels dealing with electronic sound and conctrete music. Other collaborationive projects include the ongoing Kontakt der Junglinge with Thomas Koner. Tietchens' focus is the manipulation of found sound in ways suggested by the material itself. German label Die Stadt has begun to reissue his groundbreaking early works on cd in limited edition. His latest critically acclaimed project, a series based strictly on sine tones and white noise is the Mengen series released by Ritornell/Mille Plateaux (Alpha-, Beta- and Gamma-Menge). Tietchens' series in scheduled to continue on LINE in 2005.

David Lee Myers is a sound and visual artist living in New York City. He has created music based on feedback principles since 1987 using his unique "feedback machines." As Arcane Device, and more recently under his own name, Myers has had twenty recordings released on numerous noted international labels. In the Fall of 2003 ReR Megacorp rereleased his classic Engines of Mythalbum on CD. Using the portable feedback apparatus, Myers continues to perform in the US and Europe, and exhibits his paintings and prints based on electronic traces generated by Feedback Music.
Line

Asmus Tietchens has done a lot of collaborations with a lot of people, but I believe the most work was done with David Lee Myers (the guy that used to be Arcane Device, and who is now back under his own name). '60.00' is their fourth collaboration and it's first in which the working principle was changed. Before Myers send raw sound material to Tietchens who transformed and made the compositions. Here blocks of sound were send back and forth all the time and each did his share of processing. In the end, it's not clear who did what. A collaboration as it's supposed to be, I believe. The principle sound source is still feedback, but don't let that scare you off. The feedback sounds here all transformed in such a way that there is no harsh tone to be found. Instead the gentle sounds have only vaguely something in common with feedback sounds. Compared with the previous three collaborations they did, it seems that they have now moved in the areas of computer processed sounds. A track like 'five' seems to be built out of dsp-plug ins treating the feedback on a microscopic level. Tietchens recent album for Ritornell went already in that direction and here it is extended a little bit more. Small loops, going through various computer programms make this into a most delicate work, resulting in the most finest work of the two to date. And this work doesn't sound like their end station, so this fruitfull collaboration will be even more fruitfull in the future.
Vital Weekly

seems to be sold out visit Asmus Tietchens, David Lee Myers & Line

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Steve Roden - Forms Of Paper (Line, 2001)

1 Forms Of Paper (54:01)

Presqu'une heure de manipulation de pages d'un livre, pièce créée pour l'exposition Art in the Libraries Exhibition...

Los angeles artist steve roden often reconfigures physical objects and spaces in his recordings and installations, in pursuit of 'possible landscapes'. that is, by abstracting objects, architectures and field recordings through electronics, he creates new audio spaces. he refers to his microsonic aesthetic, which at times shares affinities with bernhard gunter's hushed work, as "lower case sound" or "sound concerned with the subtlety and the quiet activity of listening". fittingly, "forms of paper" is an expanded version of a recording initially designed for installation in the los angeles public library which dealt with the materiality of the printed page. all of the sounds on "forms of paper" are derived from the turning and touching of book pages, but the way that they've been processed and reconfigured with protools strips out any obvious sonic hallmarks. what's left is a shifting constellation of crackles, rustles, and static, swirling together eddy upon eddy of clicks into a pouros drone. it's certainly not a vast imaginative leap to imagine these sounds as a sort of sonic metaphor for the surface of paper viewed under magnification, cratered with the natural grain of compressed pulp, littered with dust, and scraped with angled light. Indeed, the narrow scope of roden's conceit contributes the work's success. his philosophical interest is summed up in a quote from hiroshi ogawa: " when you hold a clean immaculate piece of paper, no matter what size it may be cut or folded into, you can find the meaning of its form there. it is clear that the surface of the sheet encloses infinite space." like the object that it takes as its point of departure, "forms of paper" unfolds from a nominally two dimensional plane into a space shot through with hidden depths and cavities, each one a wormhole leading to a realm as full of possibility as silence itself.
The Wire

sold out visit Steve Roden, Line & some photos of the installation

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