ASMUS TIETCHENS/DIRK SERRIES

Drawing its title from Gustav Falke's 19th century poem, Tietchens and Serries create a beautifully bizarre and remote foggy landscape. Another great collaboration between the two artists.

With Dirk Serries and Asmus Tietchens, attenuation brings together two towering figures of experimental sound. Serries—known for Vidna Obmana and Fear Falls Burning—has been a key force in shaping (dark) ambient, while also maintaining a presence in free jazz. Tietchens, one of the most respected composers of electroacoustic music outside academia, has spent over six decades crafting a singular body of work spanning ambient, industrial, noise, and musique concrète. His influence on global experimental sound culture remains profound.

Their collaboration dates back to the 1990s, beginning with an untitled album (Syrenia, 1995), followed by Motives for Recycling (Soleilmoon, 1999), which included reinterpretations of earlier Tietchens material, and the double album The Shifts Recyclings (Soleilmoon, 2002), where both artists reworked source sounds by Frans de Waard’s project Shifts. After a two-decade hiatus, they reunited in 2022 with Die Höfner Akten (aufabwegen), a work rooted in musique concrète, in which Serries’ acoustic guitar sources remained partially recognizable within Tietchens’ precise and analytical processing.

Their new album, Die Regeninsel, takes a different path. Built on Serries’ richly processed electric guitar textures, the music unfolds into expansive, immersive drone-ambient landscapes. Tietchens reshapes these materials through layering and density, evoking shifting sonic “states” of precipitation. While the evocative, almost programmatic titles suggest a more “naturalistic” listening mode—unusual for Tietchens—they leave ample space for abstraction, allowing the listener to move freely between image and pure sound.

(label info)