A new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA's meandering organ drones merge with Jelinek's pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

 

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1999 - twenty years ago, Jan Jelinek’s debut album Personal Rock was released by Source Records. Under the pseudonym Gramm, it brings together eight tracks that have not been available on vinyl since their original release.

Whether the drummer mimics the machine or the machine mimics the drummer is no longer a question for cultural critique or estrangement theory: rhythmitised assembly on the factory line concerns only a minor part of today’s working world. More important is the animistic core question: Is the subject (drummer) contained in the beat or does he lose himself to the beat? Or does he follow an experimental setup that functions like a composition or a conceptualist experiment, that allows for both, considers both?

Faitiche is delighted to release a short version of the radio play Zwischen (German for ‘between’). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures.

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Improvisations And Edits, Tokyo 26.09.2001on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo.

Acoustic Surveillance Series - Each 7” vinyl single in the series presents a historical system for acoustic surveillance, beginning with uguisubari by G.E.S.. The pieces on the record feature recordings of uguisubari – special floors in Japanese temples and castles.

Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.

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Faitiche is delighted to present a long-lost vinyl album: for the last 14 years, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks (B-sides from the Tendency EP, 2000).

Andrew Pekler’s Tristes Tropiques is an album of synthetic exotica, pseudo-ethnographic music and manipulated field recordings.

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Since their debut (Bird, Lake, Objects, 2010) the duo have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth, foam) is the duo’s second album.

Faitiche is very pleased to present a new album (faitiche12) and, at the same time, a well-known name: Farben presents James DIN A4. In the summer of 2013 Farben (Jan Jelinek) remixed his way through the extensive oeuvre of the sample and collage artist James DIN A4 (Dennis Busch) – and gathered ten of his favorite titles here. 
 

Temple is the final installment in a series of four vinyl compilations that bring together the wide variety of Jan Jelinek’s music: commissioned works, live recordings, collaborations with other musicians as well as unreleased material from the last five years.

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USB concrete cube Temple (size: 31 cm x 31 cm x 31 cm, weight: 70 kg) is containing the WAV files of Jan Jelinek’s compilation (Faitiche8-11). Temple cube is decidedly not portable - it is in fact monumentally bound to location.

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Do you know Otahiti? is the third of four vinyl compilations that bring together a highly diverse range of Jan Jelinek's works - including commissioned pieces, live recordings, collaborations with other musicians, as well as unreleased material from the past five years.

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PrimeTime is the second of four vinyl compilations that bring together a highly diverse range of Jan Jelinek's works - including commissioned pieces, live recordings, collaborations with other musicians, as well as unreleased material from the past five years.

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Music for Fragments / Music & Birds is the first of four vinyl compilations that bring together a highly diverse range of Jan Jelinek's works - including commissioned pieces, live recordings, collaborations with other musicians, as well as unreleased material from the past five years.

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Faitiche presents four new recordings from the Gesellschaft zur Emanzipation des Samples (G.E.S.). On More Circulations G.E.S. remain stylistically and conceptually committed to the first release Circulations, instigating the following recording situations: audio playback devices are placed in public spaces in order to play the desired sample material.

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Faitiche is very pleased to announce the release of a new Farben 12" vinyl single. This is Jan Jelinek's first release under the Farben pseudonym since 2004 and combines older, unreleased recordings with newly produced material.

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The release of Sonne = Blackbox brings together all of these aspects in one CD and book: compiled by Andrew Peklerthe CD/LP presents Bogner's early experiments with voice and tape music  – a previously unknown emotional side of her music is revealed here through her singing.

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Faitiche is very pleased to announce the release of a new Farben 12" vinyl single. This is Jan Jelinek's first release under the Farben pseudonym since 2004 and combines older, unreleased recordings with newly produced material.

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From a distance, these tracks seem rather introspective, cautious even – and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike.

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Circulations aims to restage a particular recording premise. Playback devices are placed in public space and broadcast the desired sampling material. Even where authorship is still recognisable, the resulting field recordings relegate music to a casual, circulating background element – just one event among many, equal to the ambient acoustics, casual conversations and traffic noise.

It is only due to a fortunate coincidence that we know anything of Ursula Bogner, the musician. Born in 1946, she spent her professional life as a scientist in the pharmaceutical industry, simultaneously pursuing a hobby of experimenting with electronic music in seclusion over a span of nearly 30 years. From the extensive archival material Jan Jelinek compiled "Ursula Bogner: Recordings 1969-1988".