Review: Ursula Bogner was a German pharmacist, artist and musician. She attended courses with Herbert Eimert, founder of the Studio For Electronic Music in Cologne at the WDR. She became interested in new sounds and recorded synthesizer music privately for a long time. Many years later, Jan Jelinek of Fatiche met her son by chance and learned about his mother's hobby, finally publishing a compilation of music from the scarcely marked reel-to-reel tapes and hi-fi cassettes. Winkel Pong contains three previously unreleased pieces from the archive of the late sound researcher who passed away in 1994. They were compiled and remixed by Colombian artist Lucrecia Dalt and follow up the compilation 'Recordings 1969-1988' and 2011's Sonne = Blackbox, which was compiled by label staple Andrew Pekler.
Review: Label boss Jan Jelinek's Gesellschaft Zur Emanzipation Des Samples alias is no official entity, but rather a rough idea. It is said to be an 'association without membership or manifestation'. Their manifesto is to find the funds and legal backing in case of active breaches of copyright ie: the process of sampling. As part of Fatiche's new Surveillance series, he presents a historical system for acoustic surveillance, beginning with The Uguisubari EP. The pieces on the record feature recordings of special floors in Japanese temples and castles. During a residence of several months in Japan in 2014, Jelinek had the opportunity to mic and record nightingale floors at Nijo Castle and at the temple of Nanzen-ji.
Theme From Tristes Tropiques/Avian Modulations/Life In The Canopy - (10:47) 115 BPM
Review: Andrew Pekler was born in the Soviet Union, grew up in California and currently lives in Berlin, Germany. He was formerly a member of Sad Rockets and Heidelberg act Bergheim 34. Following releases on labels such as Staubgold and Kranky, his latest work is Tristes Tropiques. This tenth studio album is an album of synthetic exotica, pseudo-ethnographic music and unreal field recordings presented on Fatiche, the German label run by glitch/microhouse innovator Jan Jelinek. According to an interesting interview with Pekler, by Jelinek on the Fatiche website, the album's title was inspired by a reference to Claude Levi-Strauss and a famous account of his travels among native peoples in the Mato Grosso. Innovative textures, offworld exotica, new frontiers in synthesis and a truly riveting sense for sound design all merge wonderfully on this album.
Review: Even by the standards of celebrated experimentalist Jan Jelinek, this is a fabulously enticing project. It sees Jelinek don his Farben guise to remodel, rework and remix the work of similarly leftfield sound collage artist Dennis Busch, AKA James Din A4. The resultant 10 tracks are as intriguing and entertaining as you'd expect, with Jelinek putting his own sludgy 4/4 twist and wonky electronic stamp on Busch's dense field recordings and glitchy concoctions. Highlights come thick and fast, from the organ-laden off-kilter swing of "Kader Dolls" and chiming oddness of "Powerbaum", to the smack-jazz soundscape of "Rettung" and hypnotic, experimental techno bump of "Krieghelm Hundewasser".