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█ █ P U B L I C . S O U N D
█ █
█ █ presenting our latest release
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r e l e a s e . i n f o
Artist.....: Vidna Obmana & Asmus Tietchens
Title......: Motives For Recycling
Rip Date...: Mar-17-2007 Cat.No.....: SOL 84 CD
Style......: Ambient Label......: Soleilmoon Recordings
Quality....: VBRkbps Type.......: Sampler
Size.......: 179,2 MB Source.....: CDDA
r e l e a s e . n o t e s
"The result is a highly varied work consisting primarily of
layered atmospheres but featuring a few interesting surprises. For
instance, the first disc, Linear Writings, starts with a distant,
alien rhythm that is eventually overwhelmed by a sea of thick
atmospherics, only to reappear at the end of the final track.While
Linear Writings consists of four long pieces, the second disc,
Nachtstucke Revisited, is primarily made up of shorter tracks,
each with a distinctive feel. The dark, oppressive "Second Night,"
the ghostly "Miniature one" and the distant, ringing "In a blaze"
are among the best moments here.With Motives for Recycling,
vidnaObmana proves that he is up to the challenge of expanding his
horizons through musical dialogue with the work of another
artist."- Ujamaa
"Disc One (67:19) transforms (mostly unreleased) snippets of
Tietchens' 1988 Linea [1+3] into Linear Writings, dated 1996;
these tracks further expand on the vot series began with their
Syrenia collaboration. Between the two Motives for Recycling CDs,
Linear Writings features fewer, longer tracks (constructed from
shorter, unreleased pieces).
An odd, twangy plucked-string sound leads into the disc, but this
element eventually fades as the rest evolves. Like a continuous
shimmer interwoven with gauzey strands and possibly a vocal chord,
vot 4 (20:28) undulates enigmatically, hypnotizing the listener
with its free-flowing soundwaves and subtle adornments. Silence
evolves into vot 5 (10:25); a blurred convergence of muted musical
notes, electronic ephemera and faintly sparkling static hum
creates a pathless aural landscape for your ears to wander.
The softer, murkily tuned chaos of vot 4/2 seem to be infused with
light which obliquely illuminates the gaseous surroundings,
sometimes casting starker pitches through the sonic mist. A long
fade-out abuts a long fade-in so it seems to be a brief
intermission before vot 6, a sweltering orchestral cloud which is
tinged with a steady sheet of light static, giving the whole track
a very "weathery" atmosphere. After 12 (of 18) minutes, the track
begins to fade, leaving behind a thin drone, sparsely accented
with mutant glimmers, which eventually reprise the CDs plucky
opening (and a clicky bug-like accompaniment).
Disc Two is Nachtstuck Revisited, recycling entire tracks from
Tietchens musical release of the late 1970's. In Opening (first
Nachtstuck), downwardly wafting string section sounds are slurred
and overlapped, thinning at the track's end to a light haze. The
similarly dense drones of Second Night are of a warmer nature,
seeming to emit rolling organ chords from its center. The
continual, resonant hums of 4th Theme seem to levitate in their
own splendor, trailing away and disintegrating toward the piece's
conclusion.
Swarm is yet another sweltering multilevel drone, a languid
whirlpool of dreamy vapors. Not that any of these pieces are less
than calm, but Miniature one (2:57) seems to be even more lulling,
with phantasmic belltones calling into a hazy night. In a blaze is
fired up by powerful surging swells and brassy undertones. The
similarly shapeless majesty of Revisited grows from nothingness
into ringing whorls of oblivion encircling a cyclonic eye, until
all fades away slooowly.
The fogbank of Miniature two seems to contain loose strands of
operatic voices deep within. From a prolonged silence emerges the
billowing clouds of vot 7; sharper metallic strings seem to twine
their way through, intermingling and looping continually. Further
moody gusts gather to become Towering (12:24); a rolling and
rising conglomeration of tones and textures which reaches subtle,
heavenly realms before vanishing into the ether (then temporarily
reappearing as a distantly wheezy pipe organ of a forgotten ghost
carnival).
Motives for Recycling provides a most interesting glimpse into two
artists' combined works. Even without knowing Asmus Tietchens'
original source material, one can sense it through Vidna Obmana's
thoughtful recycling efforts."
www.spiderbytes.com/ambientrance
http://www.tietchens.de
http://www.vidnaobmana.be
In a role-reversal of their first collaboration (1992's Syrenia
2), Vidna Obmana has created new material from Asmus Tietchens
previous works. Appropriately entitled, Motives for Recycling, the
source sounds have been carefully reworked into entirely new
entities. To detail this process, we're very pleased to have our
questions answered by Vidna Obmana. The AmbiEntrance review
follows his commentary.
AmbiEntrance: Why "recycling" instead of "remixing"?
Vidna Obmana: Asmus and I both feel that there's a huge difference
between a remix and the recycling process. We learned to work with
the recycling techniques during the recording of the first
collaboration and soon realized that this is a particular and
unique interaction between musicians in respect for each other's
input.
Remixing a piece means re-interpretating the ingredients, balance
and flow of an existing song or composition, recycling however
takes a new recorded source or existing piece to extract specific
essential elements, sounds or sections from. These excerpts are
used to create, utilizing different kind of techniques, a totally
new structure of sound. Sometimes just one particular timbre is
used from a source or piece to create an entire new composition.
Other times the existing flow and harmony of a piece is being
blended and used as a recognizable pattern.
AmbiEntrance: How is this release different than the "Syrenia"
disc? How is it the same?
Vidna Obmana: We've recorded our first collaboration in the early
90's and beside the idea of recycling being then a vague concept,
the main difference between the recent "Motives for Recycling"
release and our first collaboration is that the role of recycler
was switched. On our first release Asmus recycled my source
material, I recorded especially for that project. And as we
already planned to turn the roles around for a 2nd work, we only
initiated this idea about four years later since the release of
our first work was delayed for a long while.
Originally, "Linear Writings", the first disc of "Motives for
Recycling", was going to be a single disc which I based upon
Asmus' "Linea" work. A work which partially was previously
released but most of the elements I used for this CD were
unreleased. I found the recycling technique so fascinating and
since I wasn't working with samplers, the change, process and in
fact the entire recycling was done with the older and familiar
techniques from the reel-to-reel tape period.
Asmus responded with joy on this so that he granted me the right
of working with his essential "Nachtstⁿck" recording from the late
70's. Since actually this previously released work is perhaps one
of his most melodic and musical albums, I knew that a slightly
different approach was applied. Actually, this led to the idea of
working around the theme of recycling as a double album, showing
two sides of the technique being used extensively.
AmbiEntrance: What about the "vot" series which is apparently
continued from "Syrenia"? (What does "vot" mean?)
Vidna Obmana: First of all, "vot" is actually just a reference of
initials : vidna obmana - tietchens. Simple. Again here the first
disc of "Motives for Recycling" is perhaps more similar to the
original concept of the "Syrenia" release than on "Nachtstⁿck
Revisited" and also since most of the pieces were created with
unreleased sources, we found it approriate to continue with
indexing the pieces this way.
On the 2nd disc of "Motives for Recycling", I felt more related to
the original pieces spiritually and definitely musically so I
decided to use more clear references to the original titles as
well.
AmbiEntrance: Did you treat the "Linear Writings" pieces
differently than the "Nachtstⁿck" tracks? How/Why?
Vidna Obmana: Perhaps I did since as I told you before I was
starting most of the times with raw, highly minimal and unreleased
sources. Distilling an essential harmony from a single noise,
scratch or rumble was a time-consuming and complex work.
With "Nachtstⁿck Revisited" I had an existing album to start from
which initially made it look easier but somehow it put more weight
on my shoulders in order to recycle each theme with great respect
for the original. The recycling technique was maintained over the
course of both discs but I feel that the approach became quite
unique and essential for each disc seperately.
AmbiEntrance: How "recognizable" are the original recordings after
you were done recycling them?
Vidna Obmana: Mostly everything became quite unrecognizable but
now and then I tried to incorporate particular references to the
original pieces. For instance, the opening and ending of the
"Linear Writings" disc are clear references to the main and
previously released "Linea" piece, yet still slightly processed
and altered in order to blend with the recycled material. On
"Nachtstⁿck Revisited" I also worked a couple of times with such
references. Here it was relevant since the original "Nachtstⁿck"
is quite melodic and harmonic, in a way that I beautifully could
use particular themes in a slightly transformed way as reference
points throughout the CD. And it gave flair to the new music as
well.
p l a y l i s t
cd1 ..
..
01 Vot 4 20:28
02 Vot 5 10:26
03 Vot 4/2 18:29
04 Vot 6 17:57
..
cd2 ..
..
01 Opening (First Nachtstⁿck) 05:36
02 Second Night 06:05
03 4th Theme 07:44
04 Swarm 08:15
05 Miniature One 02:58
06 In A Blaze 05:07
07 Revisited 05:49
08 Miniature Two 04:58
09 Vot 7 11:43
10 Towering 12:24
137:59 min
g r e e t i n g s
agw - amok - bass - bcc - bex - boss - cmg - cmc - cms - d2h
def - dh - disc0 - drum - emp - ftd - fwyh - gem - i8 - ipc
jce - jfk - jrp - just - khz - kinky - kw - lame - maem - mbs
mgc - psycz - r2r - rac - radial - rapid - rks - rtb - sb
sever - sfe - soup - sour - sq - tr - trt - ube - uc - upe
uki - xtc - yard - zi
respect to music lovers worldwide
never forget : go to the show. buy the t-shirt. order the vinyl