Auf Abwegen

Furthering a collaboration started in 2003, the German/American pair initiates selected audiences to aural rites in which morphing silhouettes with impulsive contours ooze glowing liquids made of impassable resonances, immediately vanishing traits, ghosts of chords and acoustic mirages. The legitimacy of the underlying conception is confirmed in two compact discs through which a fluid geometry of sorts is formulated: cold as ice in one moment, extremely clement an instant later. Both masters of sound disposition in a given context, Tietchens and Chartier use frequencies like luminescent clay. They place nearly inaudible yet distinct particles or barely assumed emissions next to remote booming lows that at various times caused a couple of objects in my room to clatter (see, I’m not listening to this kind of audio art at low volume while updating a Facebook profile as professionals do prior to nonchalantly stuffing a “review” with modern literature quotes in absence of a genuine idea of how the record sounds). The resultant music is characterized by a scarcely tangible physical quality, as if the breathing and heartbeat’s mechanics were subjected to weakening alterations. Apart from a few moments in which the abrupt emergence of a particular event might startle a bit, Fabrication 2 is informed by a soothing temperament that, despite an apparent impenetrability, makes us presume the unexpected as a regular occurrence. A quietly enigmatic release needing absorption, unconditional silence and many tries. And once you have done that, additional questions and doubts will be waiting.

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