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?
Improvisations And Edits, Tokyo 26.09.2001 - on 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.
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).
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.
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.
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.
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.
The release of Sonne = Blackbox brings together all of these aspects in one CD and book: compiled by Andrew Pekler, the 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.
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.
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".