omg JAN JELINEK PLAYING AGANE.....!!!!

http://www.a-v-a.co.uk

I hear he has his own "visuals" guy, i've never seen him live, whats so special?

Thomas Fehlmann played with him & rocked it hard. Schaffelfieber.

New Jan Jelinek Album

Artist: Jan Jelinek

Title: Kosmischer Pitch

Label: Scape

Cat No: SCAPE 032

Release Date: 10/25/2005

Back in the heyday of Krautrockpeople often talked of ‘Cosmic Music’ – even then, the term‘Rock’ was approached with plenty of caution. In the early 70s,Kosmische Kuriere spawned the Cosmic Jokers whose songs flaunted extravaganttitles like “Galactic Supermarket�, a more than apt description oftheir sound. While bands like Popol Vuh began to experiment with early Moogsynthesisers, Holger Czukay’s Can claimed to aspire to a ‘plasmaticsound’. This era was all about sound blurring, flow, a musical hazinessof sorts, perceived as a transcendental moment, with the pioneers of electronicmusic on a quest for liberation. And the fact that these musicians, all bornand bred in post-war Germany, decided to repair to imaginary outer space topursue their aims, should most certainly be considered a political statement:everything they did was about escaping the confines of their own country.‘We want to create beautiful music’, Tangerine Dream explained,‘far removed from all those expressions of hate, aggression anddespair’. And yet, this outlook had nothing to do with escapism, butrather with disconnecting themselves from formal constraints. Airy vibrationsinstead of earthy rock. Although the obvious parallels to Sun Ra’s spacediaspora might seem uncanny, they hailed from an entirely different context andvery different experiences.

Jan Jelinek’s new album „Kosmischer Pitch“ (Cosmic Pitch)holds plenty of allusions to this era. While “Lemminge und Lurcheninc.� (Lemmings and Amphibians) might seem to refer back to AmonDüül’s 1971 double album “Tanz der Lemminge� (Dance of theLemmings), “Planeten in Halbtrauer� (Planets in Semi-Mourning) isreminiscent of Arno Schmidt’s “Kühe in Halbtrauer� (Cows inSemi-Mourning) and thus cites yet another relentless chronicler of post-warGermany who refused to carve himself a cosy niche in his native country.Nevertheless, you will be hard-pressed to find any direct references orconcrete quotes to, for example, Can or Cluster. Jan Jelinek merely extractstiny fragments to serve as loose associations. Back in 2001, his“Loop-Finding-Jazz-Records� had staked out a similar referenceframework without actually making it audible: although these recordings weresourced from old jazz records, the resulting music – to paraphrase aformer INTRO author – consisted predominantly of “minutely atomisedsounds, extremely freely woven crackle and snap noises exuding a shimmeringsense of calm�.

For “Kosmischer Pitch“ Jan Jelinek decided to work with loops andlayers. In a way, the outcome really does sound ‘plasmatic’ andties in with the drifting sounds of the early seventies – not by way ofrecycling, but at the most by reconstructing a certain mood. This album is allabout tranquillity, submersion in sound, and tracks that might just as wellextend to twenty, thirty minutes or even a whole two hours. In this,“Kosmischer Pitch� draws on the rationale of those variants ofmodern music deliberately unconstrained by the song format: whether La MonteYoung’s minimalism, psychedelia or deep house – all these auralforms of expression were and remain about circumventing any conventional senseof time, thus creating, by means of carefully placed modulations, a sense ofendless intensity. Naturally, even these tracks come to an end eventually, butonly because great beauty can also trigger exhaustion. The “Pitch�referred to in the album title exploits this premise of rising above time andrefers back to the arrangement idea of “wild pitch� deep house,thus pursuing a two-fold consolidation process: of tracks resp. layers andintensity.

By transforming this basic principle of drifting into something audible - hismusic, albeit blurred, has always been transparent, hiding nothing – JanJelinek forges a new connection: from Conny Plank’s studio, the masterconsole of early 70s Electronica, to Detroit and back. Moreover,“Kosmischer Pitch� is the exact opposite of retro, deliberatelyforgoing references to a specific time or place for vibrations that defylocalisation. In 2006, Jan Jelinek will take this principle to the stage: notas a laptop solo artist, but together with guitarist Andrew Pekler (Scape) andHanno Leichtmann (Static, White Hole, VSQ) on drums.
(Martin Büsser)

Via FE Publicity Email

*Well not exactly: the timing is slightly tighter, and there's no cartoonish vocals.

thoughts?

http://avclub.com/content/node/42249

i would say that jelinek is way less easy to listen to than the boards, but i can easily pick out his work (like the boards). this new album is a departure though even if it is only in terms of source material (somewhat like the boards)...jelinek is way more artsy in his approach though (repurposing disco/house and then jazz and now krautrock). with the boards it's a more down to earth feel, almost homey -- we wrote these songs on acoustic guitars...so maybe the difference is one of preference of pretentiousness?

i have been having a jan jelinek fest on my ipod as i just ripped all of his cds...i think my favorite album is the one he did as gramm. i am going to hunt down the one he did for eastern developments which i didn't even know about until yesterday. wish i had the starbox.

I felt like a techno snob when I couldn't stand the guitars on the new Boards. It made the songs a bit too upfront for me?

Re: Brinkmann, it felt a little weird on the first time for me (the poppy vocal tracks seemed a bit displaced,) but has really gelled on further listens.

i'm surprised there aren't more posts in this thread as it's the only jan jelinek thread on ilm.

Also like this record a lot and have been having my own Jelinek fest on the iPod.

So who is credited with this German takeover? Ulrich?

Farben!!!! Textstar! (so much better than KP.)

re krautrock homage: yes, i think i could pick it out just from the tunes, but i am a krautrock novice. the krautrock aspects to me are the droney guitar loops and percussion. i suppose loop-finding-krautrock-records isn't a very palatable title.

some tracks hit me straight away and made me perk up my ears to it, some of the other ones took a little time. it is a very subtle record in my opinion and wins you over in a strange way, sort of in the way that bands like seefeel did over a decade ago. it is not a very immediate record, but it is a very powerful record none the less. i have loved a lot of records this year, but i would have to say that this one in particular is definitely going on my year end list and most definitely in the top 10.

The animal is experiencing a renaissance in music. It provides a reflective surface for our notion of the unbridled and irrational, of that Other the philosophers Deleuze/Guattari - as part of their ‘Animalisation’ - called the embodiment of artistic deliverance. And yet, how much of a liberation can art actually tolerate? To what extent can music truly throw off its fetters without descending into chaos?

Jan Jelinek’s new album title provides a first hint of this development: like the above, ‚Tierbeobachtungen’ (animal observations) deals with the issue of release and liberation. Recorded almost in transit, while preparing his move to a new studio, the tracks reveal and relish in their improvisational character, a drifting lost in sound, yet never lose sight of their underlying structure. ‘Tierbeobachtungen’ might constitue Jelinek’s freest and most personal work. Simple arrangements with tracks based on four to five layered and modulated loops, while his own studio equipment provides the main sampling sources, from synthesizer and guitaret to vibraphone. And, not least of all, more than any of his previous albums, ‘Tierbeobachtungen’ picks up on Jelinek’s live appearances.

Nevertheless, Tierbeobachtungen’ steers clear of all animal emulations, does not succumb to the myth of the wild and unfettered, but merely – as the title implies – aims to observe. The tracks’ intoxication never exhausts itself in unbridled expression - the observer’s post, a level of reflection, remains audible throughout. On the other hand, this is by no means intellectual, distanced music. On the contrary: Jelinek leads us straight into a thicket, an acoustic jungle where sumptuous splendour meets the uncanny. A long tradition of psychedelic music pervades the recordings – Amon Düül, Cluster, My Bloody Valentine … yet whatever musical memories might vie for our attention, these are no clear-cut references, just loose associations. Jelinek side-steps the overly tangible.

All tracks pursue a common principle. They well up slowly, a period of concentration, of taking shape, followed by equally rapid dissipation. On occasion, we might even be tempted to take them for field recordings - gems discovered, stored and returned from their travels by ethnologists fifty or a hundred years ago. Jelinek’s tracks provide tantalising glimpses of acoustic treasures from faraway lands, without ever divulging their true heritage. Similar to the pioneers of industrial music, like Cabaret Voltaire or Zoviet France, who back in the early 1980s experimented with field recordings to challenge western listening habits, ‘Tierbeobachtungen’ takes us to new, unknown territories and brims with sounds that defy geographic or stylistic classification, not unlike the semi-conscious state between dream and awakening, always a little cryptic, yet never overly romantic. Overt romanticism is also precluded by Jelinek’s sense of humour, which rears its head in titles like ‚Palmen aus Leder’ (palm trees of leather) and prevents us from taking the album’s mystic overtones too seriously.

Since the 1990s Jan Jelinek has been working with sounds as a musician, producer, using various pseudonyms for his many projects. Releases under his own name include the albums ‘Loop-Finding Jazz Records’ (scape, 2003) and ‘Kosmischer Pitch’ (scape, 2005), the latter a drifting loop vortex peppered with subtle Kraut references.

I found a used white label of La Nouvele Pauvrete this other week, am listening to it, and it's great! Sort of thing I needed, the question now is why I slept on it all this time.

His new project sounds really interesting. I'm quite curious to hear it.

and 14 tracks cooked up a tasty looking jan comp recently:

http://14tracks.com/selections/55-the_loop_finding_jazz_records_of_jan_jelinek

and i'm very anxious to hear this: http://www.scape-music.de/Artist/details/scape/groupshow/

So dude's pretty much hands-down the best musician of the decade, right?

He did cover a ton of ground, and it's v. cool that he never looked back, just kept doing what was interesting to him.

Still like his early 'micro-house' albums the best. Loop finding is a bit of a classic.

been vibing HARD on Loop Finding these last few days. there's one moment (2.54 into Tendency) that i can't stop thinking/grinning about. And it's just one note that's slightly higher than anything else on the record.

sorry, 3.43

Got a used copy of Tierbeobachtung a while back, still have to get around to listening to it, but I should in the new few days. Looking forward to it.

Jelinek played last night at Tonic in New York with a guitarist and drummer and the band were very impressive, very rock. (Zip was DJing downstairs so it was a nice counterpoint, although frustrating that both were happening at the same time.) the peaks were much more intense than what you get on the record, similar to the way Stereolab (or whoever) likes to go way out there when they play their songs live.

― Tracey Hand (tracerhand), Saturday, 27 May 2006 20:34 (3 years ago) Bookmark Suggest Ban Permalink

i don't remember this gig AT ALL.. :(

loop finding is the bollox

what ever happened to Jelinek? I'm still regularly playing his krautrock mushroom album

^ me too, love that and Tierbotungenengunen or whatever it is. he did just release a new Farben 12", btw.

So I see on Apple Music that he's been releasing a couple of EPs in the last 3-4 years.

"A Concert for Television" off Tierbeobachtungen hitting like a truck today, just really lush.

Over the years, Loop Finding has become one of my favourite albums of all time. I could play it ten times in a row and it would still feel fresh and cleansing, which makes it sound like a facial product.

https://www.youtube.com/watch?v=k6wMFp73lik

Ulla & Jan Jelinek - Live At Funkhaus 29.03.2024 from this recent Giegling comp

wonder if a full recording is out there somewhere.

they definitely have adjacent aesthetics, a collaboration album would probably be really cool.