The Japanese sound artist's meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.
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.
Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet.
Since their debut (Bird, Lake, Objects, 2010) Masayoshi Fujita & Jan Jelinek 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.
Jelinek's works deal with the transformation of sounds, translating source materials from popular music into abstract, reduced textures. He constructs collages using tiny sound fragments from a wide variety of recording devices: tape recorders, digital samplers, media players and the like. The recordings are processed into repetitive loops that boil the original down to its essentials.
Jonathan Scherk and Daniel Majer hail from the post-rock and experimental scene in Vancouver, where they shared a studio for several years. They produce contemporary sound collages on samplers, laptops etc. using raw material drawn from YouTube videos, field recordings, cassettes, and LPs from the dollar bin.