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The New Yorker, August 2019

Sound collage, as much as musical composition, has been central to the Dutch electronic musician Jan Jelinek’s work from the beginning. As Farben, and also under his own name, his lustrously bare tracks helped define nineties-into-two-thousands minimal techno.


Resident Advisor, April 2019 (review by Ray Philp, Aaron Coultate & Marissa Cetin)

Re-Textured 2019: Five key performances
Jan Jelinek flipped the script and the light switches. Positioning his table of hardware beneath a camera exposing every turn of a knob and press of a button (as is his preferred live setup), Jelinek was as transparent a performer as he could possibly be, one step short of giving a demonstration. It's hard to know if he leaned more experimental than usual for the show. His synth noodling featured fuzzy radio-inspired samples from his last LP, Zwischen.


Fluid Radio, April 2018 (review by James Catchpole)

...Electronic musician Jan Jelinek and Japanese composer and percussionist Midori Takada recently lit up Islington’s Union Chapel. Jelinek’s opening fifty-minute set was a wonderful cocktail of experimental electronica, like pure, sweet candy for the ears. Airy and ambient atmospherics padded out the space while a slippery, skittering rhythm emerged, looping quietly and bringing back cherished memories of his golden Loop-Finding-Jazz-Records, which is considered a classic. ...


If Only, April 2018 (interview by Elliot Stevens)

... My work is actually driven by a very simple question: What’s happening when I’m combining or confronting one material with another one? It’s like a chemical reaction: Sometimes two rather uninteresting audio recordings start shining in combination. Also I wouldn’t call it deconstruction – its much more a banal: creating interrelations. ...


Kaltblut, January 2018 (interview by Colette Pomerleau)

Can you talk about where your focus is currently going with your music?

JELINEK: Perhaps this is my major problem: Too many projects and too many ideas which interfere a major focus. I always find it more attractive to develop ideas instead of realizing them. Once the idea is manifested, I feel pretty often that there is no need the materialize it. But nevertheless, I just finished a new album – based on radio piece which I have written for German radio SWR this year. Album and radio piece is called ‘Zwischen‘ (Between). It gathers twelve sound poetry collages using interview answers by public figures, like Yoko Ono, John Cage, Lady Gaga etc. Each collage consists of the moments between the spoken words: pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. So this album will rather be sound experiment than music, I guess.


Inverted Audio, April 2017 (interview by Tom Durston)

"I would describe my catalogue as a constant drift. I was never interested in repeating, extending or improving one certain production methods."


GROOVE, March 2017

"... Viola Klein hatte schon Anfang des Jahres mit einer tollen kollaborativen EP auf dem Meakusma-Label begeistert, Jan Jelinek und Masayoshi Fujita bringen ihre knusprigen Vibraphon-Vibes ebenfalls vors Publikum und auch Lucrecia Dalt wird mit ihren tiefen Bassfrequenzen den Raum ausloten ..."


Resident Advisor, March 2017

Jan Jelinek: Sampling matters
Oli Warwick unpacks the sprawling career of Jan Jelinek, the highly adventurous German artist who's about to reissue Loop-finding-jazz-records, one of the best electronic music records of all-time.


TAZ April 2014 :

Jan Jelinek remixt James DIN A 4 - Techno meets Unkraut
Ein Gipfeltreffen zweier seltsamer Käuze: Jan Jelinek remixt James DIN A 4 und sucht dabei nach dem Dreh, der etwas neu macht.


Secret Thirteen Mix 101 - Jan Jelinek, December 2013 :

A highly exceptional mix by Jan Jelinek connecting 32 diverse records released in the last 70 years.
The author of the mix is Jan Jelinek, a legendary German producer and musician based in Berlin, Germany. Back in the days Jelinek started as a passionate records collector of vast specter of musical genres ranging from dub, jazz, funk to soul, experimental until one day he discovered house music. It was in the late 90s when Jelinek started his musical career. Jelinek immediately jumped into a train of expanding abstract, yet rhythmically subtle electronic music scene.


Preis des SWR für Radiokunst, July 2012 :

...Vergeben wird außerdem der Karl-Sczuka-Förderpreis mit 5000 Euro an Jan Jelinek für seine Studioproduktion "Kennen Sie Otahiti?". ...


The Wire, UK, 03.2012 :

Spex, 23.03.2012 :

Als Sensu von der niedrigen frontalen Bühne aus sein Set zielsicher zu genuinen Technoklängen geführt hat, ist das Recyclart dicht gefüllt und tanzt. Eine Körperlichkeit hat Einzug gehalten, der sich im Jan Jelinek im Anschluss direkt annimmt. Sein House wirkt live ebenso kontrolliert, weil routiniert arrangiert, wie verspielt, weil das komplexe Samplepuzzle zwischen Soul und Jazz ein diffuses Kopfkino erzeugt, das beinahe Geist und Körper voneinander trennt, sie aber in letzter Konsequenz doch pulsierend...


Skug, 02.10.2011 :

Die spannende Frage ist natürlich: Existierte Ursula Bogner wirklich oder ist sie nur ein Fake von ein paar Kölner Musikstudenten (oder eben doch ihrem »Entdecker« Jan Jelinek selbst), die damit den ultimativen PRSchachzug ausgetüftelt haben, um eine Musik zu promoten, die sonst … ja, was sonst? Wäre diese Musik sonst bedeutungslos? Es sind Stimm- und Tonbandexperimente, datiert auf die Jahre 1972 bis 1985, die man mit viel guten Willen zwischen musique concrete und…



Resident Advisor (29.10.2010) :

Playground Mag (03.11.2010) :

Debug (29.10.2010) :

Boomkat (04.11.2010) :


After a 7 year hiatus, Jan Jelinek finally returns to arguably his most interesting project: Farben. 

Between 1998 and 2004 Klang Elektronik released a succession of Farben releases that more or less defined "microhouse" with a magnified attention to detailed sound aesthetics and elegant, streamlined rhythm constructions. With this new 30 minute EP Jelinek digs deep for a mix of unreleased archival material and new recordings that return to that signature sound, and yet seem to draw on his more recent fascination with Radiophonic techniques and early electronic music. 

Opening track "Rrival Inn" in particular merges discordant instrumentation and processes borrowed from Musique concrète for a retro-futuristic variant of House, somewhere between the Moritz Van Oswald Trio, Bernard Parmegiani and Karl Berger. 'Swinn Off', meanwhile, returns to the kind of supple House production which earned Jelinek so much attention over a decade ago, all breathy, indistinct textures and geometric shapes curled into a sumptuous groove. 

On the flip, 'Aspiral Worlorder' is an effervescent collage of pizzicato strings, flute and crackling sonic ephemera dispersed like a rare gas over spherical House patterns, but for the closing "Kursbuch 1&2" Jelinek manages to string an opening that borrows from Martin Denny's Exotica and Disco all at once, before slipping into a robust and pounding square bass session that just completely seals the deal in glorious, unexpected style...

Masayoshi Fujita & Jan Jelinek - "Bird, Lake, Objects"

Queried on his favourite word in the German language, Masayoshi Fujita will pick ‘getragen’ – without a sliver of hesitation. Further questioning will reveal that he loves the term’s semantic signifiers, its inherent sense of “expansive, deep, quiet and sombre.” And yet, ‘getragen’ leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried – two more mundane interpretations that I would rather keep from him. Does Masayoshi’s own definition, however, apply to Bird, Lake, Objects? Only to a limited extent.
Compared to previous Faitiche releases, Bird, Lake, Objects is certainly the most ‘getragen’ of them all. Nevertheless, this is by far not the first association that comes to mind. 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. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a character- istic creak. Other, external influences proved to be beyond our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its ir- revocable nature. Space itself was always present and an audible entity, except on ‘Stripped to RM’ (recorded without a microphone or vibraphone track).
After extensive deliberations, we decided to forgo the vibes on this piece – a very similar version had already been released in 2008 (on the compilation ‘Enjoy The Silence’, Mule Electronic, 2008).

On Masayoshi Fujita :

Masayoshi Fujita’s route to Berlin was a roundabout one. Introduced to music via Bon Jovi, his first stint abroad naturally took him to the motherland of rock, the United States. After a year in the USA, he returned to Japan to study film. His love for movie making, however, proved less pronounced than his admiration for Bon Jovi, a band he can still quote and sing from memory. He decided to learn how to play the drums, followed by extensive vibraphone training to craft and play his own, mostly jazz and electronic-influenced compositions. Determined not to stick to traditional vibraphone styles or techniques, Masayoshi started to prepare his instrument with pieces of metal, strips of foil and similar objects. The result- ing new sounds, akin to distortions, help to expand the vibraphone spectrum without eroding the instrument’s intrinsic character or even abandoning it altogether. Besides his extremely reduced and deliberate style of playing, it is this aural redefinition that makes Masayoshi Fujita’s craft so remarkable and noteworthy in my eyes. Literally caught in his spell, it was a delight and privilege to accompany his play.
On a different note, Masayoshi’s wood prints should not go unmentioned. The cover and booklet of Bird, Lake, Objects present concise, abstract and monochrome landscapes and thus a visual complement to his music.

Jan Jelinek

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