 |
|
Kontakt der Jünglinge, "n"
Die Stadt
The fourth CD release from Asmus Tietchens and Thomas Köner's collaborative project Kontakt der Jünglinge, nis the duo's strongest work to date. Like their other releases, thedisc is drone-heavy, consisting of one 40+ minute live improvisation,dominated by huge bell tones and what sound like recordings of rushingwind, delayed, looped and exploded along a slow evolution. Whileprevious efforts warranted descriptors like "barren" and "bleak," basedon their preference for more acute, concr?te-associated sounds orsparse assembly, n is the first Kontakt der Jünglinge releaseto which these words apply in a comprehensive way. Tietchens and Könerwork together in seamless fashion, arranging sounds that define theboundaries of spaces rather than concentrating on details or eventswithin. The piece succeeds in avoiding the more recognizable orassociative sounds that appeared on earlier releases while creating arich, more easily inhabitable sound-world, in this case something likea vacuous region of deep space. The title, a break from the lineartitles of the first three collaborations (1, 0, -1),also suggests that this fourth disc deals with sounds of a moreelemental nature or offers a purification of the ideas posited by itspredecessors. Just words, yes, but very few things can fill a room likethis.
The fourth CD release from Asmus Tietchens and Thomas Köner's collaborative project Kontakt der Jünglinge, nis the duo's strongest work to date. Like their other releases, thedisc is drone-heavy, consisting of one 40+ minute live improvisation,dominated by huge bell tones and what sound like recordings of rushingwind, delayed, looped and exploded along a slow evolution. Whileprevious efforts warranted descriptors like "barren" and "bleak," basedon their preference for more acute, concr?te-associated sounds orsparse assembly, n is the first Kontakt der Jünglinge releaseto which these words apply in a comprehensive way. Tietchens and Könerwork together in seamless fashion, arranging sounds that define theboundaries of spaces rather than concentrating on details or eventswithin. The piece succeeds in avoiding the more recognizable orassociative sounds that appeared on earlier releases while creating arich, more easily inhabitable sound-world, in this case something likea vacuous region of deep space. The title, a break from the lineartitles of the first three collaborations (1, 0, -1),also suggests that this fourth disc deals with sounds of a moreelemental nature or offers a purification of the ideas posited by itspredecessors. Just words, yes, but very few things can fill a room likethis.samples:
