Farben EP Farben EP


Farben FarbenFarben EP

8 / 10

Farben Farben EP FAITICHE (Faitiche04, 12” + digital)

For reasons I can’t grasp, Jan Jelinek has never entered the big leagues of digital (and post-digital) electronic music, in spite of his immaculate CV and prime releases on labels such as Klang Elektronik and ~scape. In an ideal world his prestige and acknowledgement would be close to, albeit below, that of Akufen or Villalobos and even of the man who was his label boss at ~scape, Stephan Betke (alias Pole), but never so much below that he’s ignored or forgotten. He doesn’t deserve to be the underdog. “Farben EP” is released six years after Jelinek’s last official release under his moniker that is the closest to techno –he temporarily said goodbye to the affair in 2004 with “The Sampling Matters EP” (Klang)–, and comes after an episode in his career during which he was occupied with digging deeper into the ultimate substance of the sound. Jelinek was a creator immersed in a battle between dance music –which he always made liquid and not very danceable– and a hypermodern kind of jazz that took shape from de-fragmenting and wearing out samples of old records.

This new 12” signed as Farben has hardly anything to do with what Jelinek had previously released on Klang, and it was obvious that it would have to be that way. It’s the Jelinek who captures sounds of insects and nature ( “Kurbusch 1&2”), or who practices the fine outlines of drones and the new kosmische sound ( “Rrival Inn (All)”) with some beats from the old times, but without any of the two inclinations taking the primary role. It’s a profoundly experimental record, dissonant, with electro and minimal patterns deluded in a soup of analogue sound, and it’s a dance single impossible to dance to, more extreme than the material many DJs keep playing in the after-hour clubs of Berlin. And in spite of wandering in a no-mans land, it’s a brave 12” that only relaxes during segments of “Swinn Off” and “A Spiral Worldorder”. It shows a courage and complexity which explain why Jan Jelinek isn’t more popular, but which should justify more appreciation by the lovers of avant-garde.

Tom Madsen

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