aatp59 cover

Auf Abwegen (aatp59) | 42’31’’ | CD + Digital | limited to 500 copies | March 2, 2017

“There is an élite of the anxious: the rest is the mankind” — E. M. Cioran, Notizen 1957—1972

Fabio Perletta and Asmus Tietchens’ hermetic micro-cosmos of Deflections unfolds by exploring instability and physical decay of sound. Built upon liminal forms and atonal passages, the six near-silent pieces of the work traverse empty space by means of elementary sonic emissions and drifting nano-structures. Among sound collisions and evanescent masses, the almost immaterial yet corporeal nature of Deflections, embodies sound in its most subliminal and contradictory form.

“When atoms move straight down through the void by their own weight, they deflect a bit in space at a quite uncertain time and in uncertain places, just enough that you could say that their motion has changed. But if they were not in the habit of swerving, they would all fall straight down through the depths of the void, like drops of rain, and no collision would occur, nor would any blow be produced among the atoms. In that case, nature would never have produced anything” — Lucretius, De Rerum Natura

Composed, recorded and processed by Fabio Perletta at Tokonoma Studio in Roseto degli Abruzzi, Italy and Asmus Tietchens at Audiplex Studio E in Hamburg, Germany.
Designed by Fabio Perletta at Mote Studio, Berlin. Mastered by Asmus Tietchens.

(C) 2017 Fabio Perletta / Asmus Tietchens
(P) 2017 aufabwegen

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A special thanks to Till Kniola.


An interesting collaborative project comes at last, designed by Perletta himself, as an elegant coloured digipack. Asmus Tieschens is partner of Perletta the first experimenter from Roseto degli Abruzzi – now living in Berlin and owner of Farmacia 901. Tieschens was known by the audience as an experimental and electroacustic composer from Hamburg. As opposed to others in his group, he is an author who, in his issues, never gets lost in technical reports and methodological narrations, but in this situation underlines how his research deals with the instability and physical decay of sounds, with a lack of tones and subtle perceptions. The album is produced by Aufabwegen, a label that is not new to inventive music excursions, including in its catalogue names such as Marc Berhens, Francisco Lopez, Simon Whetman and Konrad Kratz. The main aim is to investigate empty spaces leading to the unlistened, and to silence with a meticolous action on evanescent harmony and residual structures. From the hardly distinguishable sound pads, muffled hisses and breaths emerge together with a multitude of immaterial and weak details produced by a subliminal and abstract microcosm. This kind of works always offer samples for a sensory modelling for the listeners which also occurs when contrasting volumes are explored, but with Deflections limiting the sound underneath, a certain threshold is not necessarily an example of minimalism. The unprecedented duo doesn’t seem interested in cold formalisms or aesthetic peaceful interpretations. The time has come to scan the sequences, the proportions among the parts and the succession of grainy sound emergencies. The thinned-out emissions are likely to emerge from the empty space but they have punctual accents and careful deviations that seem to work as vague and dilated compositions. They are unplanned sets built up on evanescent chains, ambiguous and weak resonances but are still able to move everyone who lets himself go against the dictatorship of volume.

Aurelio Cianciotta, Neural

Everyone who comes to this website has one thing in common: they are fascinated by sound and by the seemingly inexhaustible ways of combining sounds into music. We take it for granted. We tend to see music is something organic, something that is just out there, waiting for us to be enjoyed.

But what if I told you that sound too can be fragile, unstable and challenged, just like us humans. If feels like this was the basic idea behind this cooperation between sound sculptors Fabio Perletta & Asmus Tietchens. On ‘Deflections’, they have manipulated sound into something otherworldly and strange.

The six tracks on this album are all experiments with minimal soundscapes and alien noises. With these tunes, we’re far away from anything that is conventional, unless you are one of those persons who claim that the softly droning engine of a spaceship is a musical masterpiece. The whole album is silent and tends to move to the background, even at a high volume. Perhaps, that is also it’s only flaw, it’s too silent.

But apart from that, I think ‘Deflections’ is an interesting album, one that comes highly recommended to fans of minimal ambient and sound art. Zoviet France and O Yuki Conjugate come to mind, be it in an extremely minimal approach. So, my advice? Check it out but turn the volume up. You’ll enter a world rarely explored and only for the chosen few to be enjoyed. Oh, how great it is to be one of the chosen few…

Serge Timmers, Merchants of Air