home bio/ disco press audio/ video pictures dates tech-rider
|
Digital In Berlin, 06.08.2010 : WWW.DIGITALINBERLIN.DE/113-EL-FOG 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... You are receiving this email because you have subscribed to the Boomkat mailing list. If you would like to change the emails you receive from Boomkat, (for example, to request we only send you our fabulous MP3 newsletters, but nothing else) then Click to modify your email preferences. If you would like us to never email you again, although we would be sad to see you go, you may Click here to unsubscribe entirely. - this will remove you from ALL emails sent by us. This email was sent by: Boomkat Limited, Unit 101, Ducie House, 37 Ducie Street, Manchester, M1 2JW Made for Boomkat by Rumble - Persuasive Digital Marketing Content Copyright Boomkat © 2010. 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 |
