Jan Jelinek

 

Jan Jelinek is a German producer of electronic music. Since 2008 he also runs the record label Faitiche.

After studying philosophy and sociology, he turned to electronic music since moving to Berlin in 1995. His music is largely based on samples, but their sources are not always readily apparent through digital sound processing. Nonetheless, in some cases he refers to his sources and influences with the titles of his CDs. This applies to "Loop Finding Jazz Records" and "Cosmic Pitch".

Jelinek also publishes under the pseudonyms FARBEN (since 1998) and GRAMM. As FARBEN, based on soul samples, he focuses more on dub and electronic dance music. In this way, the music can best be described as an experimental dub. As a gram, he tries to find a compromise between "audible" minimal electronics and "danceable" music. In the music magazine Intro this was called "additive second music". [1] In 2000, his audio collages illuminated the Young Media Pavilion at the EXPO 2000 in Hanover. In the following years he worked with artists such as Sarah Morris, Christopher Bauder, Dennis Busch and the author Thomas Meinecke, collaborated with the Japanese improvisational ensemble Computer Soup, the Australian jazz trio Triosk, the vibraphone player Masayoshi Fujita and the choreographer Sylvain Émard, wrote and produced various Radio pieces for the SWR2 Ars Acustica and performed with the video artist Karl Kliem audiovisual concerts, which were to be seen, inter alia, in the Center Pompidou Paris. In 2007 he founded Hanno Leichtmann and Andrew Pekler, the free improvisation trio group show.

Jelinek's work can hardly be conceptualized - especially if one includes his works under the pseudonyms. Most likely it can be characterized as a mix of Clicks & Cuts, Electronica, Intelligent Dance Music, Glitch and Microsound.

In the summer of 2013 he turned to the remix and edited pieces of James DIN A4, which appeared 2014 as colors presents James DIN A4. "Remixes are not easy. You should be in the spirit of the original piece, but you still want to add your own handwriting. An ideal remix combines both. "[2] The taz described the album as a" summit meeting two strange buzz "and came to the conclusion: "Jan Jelinek delivers with the successful album something that lies in the contradictory nature of the remix art: an independent quote work."

His live performances with a laptop were also published in part (eg improvisations and edits, 2002).

Photo © Takehito Goto
 
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