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Faitiche Vinyl, CD & Tape 11 Items

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Jan Jelinek - Loop-Finding-Jazz-Records HHV Exclusive White Vinyl Edition
Jan Jelinek
Loop-Finding-Jazz-Records HHV Exclusive White Vinyl Edition
2LP | 2001 | EU | Reissue (Faitiche)
24,99 €*
Release:2001 / EU – Reissue
Genre:Electronic / Dance
Only 1 per customer! Limited pressing of 300 copies on white vinyl!

Faitiche presents a long-lost vinyl album: for the last 14 years, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the landmark album is available again on vinyl, as a double LP with two bonus tracks (B-sides from the Tendency EP, 2000).
Masayoshi Fujita & Jan Jelinek - Schaum
Masayoshi Fujita & Jan Jelinek
Schaum
LP | 2016 | EU | Reissue (Faitiche)
18,04 €* 18,99 € -5%
Release:2016 / EU – Reissue
Genre:Electronic / Dance
Faitiche presents the release of a new album by Masayoshi Fujita & Jan Jelinek (faitiche13). Since their debut (Bird, Lake, Objects, faitiche03, 2010) they have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth, foam) is the duo's second album.
Gramm (Jan Jelinek) - Personal Rock
Gramm (Jan Jelinek)
Personal Rock
2LP | 1999 | EU | Reissue (Faitiche)
21,99 €*
Release:1999 / EU – Reissue
Genre:Electronic / Dance
Twenty years ago, Jan Jelinek’s debut album Personal Rock was released by Source Records. Under the pseudonym Gramm, it brings together eight tracks that have not been available on vinyl since their original release. Faitiche is very glad to announce the re-release of the album: Personal Rock will appear as a double LP featuring the original cover artwork.
G.E.S. (Gesellschaft zur Emanzipation des Samples) - Anthology Of American Pop Music
G.E.S. (Gesellschaft zur Emanzipation des Samples)
Anthology Of American Pop Music
LP | 2020 | EU | Original (Faitiche)
18,99 €*
Release:2020 / EU – Original
Genre:Electronic / Dance
GES: Anthology of American Pop Music Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original. GES (Gesellschaft zur Emanzipation des Samples) - Active members: Helmut Schmidt, Jan Jelinek Founded: 2009 Headquarters: Federal Court of Justice, Karlsruhe, Germany - GES Glossary Acoustic Surveillance Series A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject. Bundesgerichtshof (German Federal Court of Justice), Karlsruhe “The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES. Circulations What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music. Emancipation of Sampling Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition. Field Recording A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations). Gambling An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone. Helmut Schmidt Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (ezln). Kraftwerk The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica. Marcel Duchamp As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen. Orecchio di Dionisio This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future. Sampling Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit. Uguisubari Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale. Wind A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors. Zwischen (Between) Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.
Masayoshi Fujita & Jan Jelinek - Bird, Lake, Objects
Masayoshi Fujita & Jan Jelinek
Bird, Lake, Objects
LP | 2010 | EU | Reissue (Faitiche)
18,99 €*
Release:2010 / EU – Reissue
Genre:Electronic / Dance
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 characteristic creak. Other, external influences were proved 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 irrevocable 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). Jan Jelinek, February 2010
Asuna & Jan Jelinek - Signals Bulletin
Asuna & Jan Jelinek
Signals Bulletin
LP | 2019 | EU | Original (Faitiche)
18,99 €*
Release:2019 / EU – Original
Genre:Electronic / Dance
Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.
Ursula Bogner - Recordings 1969 1988 Remastered Edition
Ursula Bogner
Recordings 1969 1988 Remastered Edition
LP | 2018 | EU | Original (Faitiche)
18,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
In the late 1960s, Ursula Bogner started to record her own music on reel-to-reel tapes. With some of these titles, we only found individual tracks of pieces recorded on a four-track-recorder – in these cases, I had to recombine the separate tracks to recreate the original piece. Unfortunately, I could not involve Ursula Bogner in the mixing process as she passed away in 1994. Invoking the original’s authenticity might seem insensitive, yet there was no other way to release them in their entirety. Ultimately, only three of the tracks featured on this CD/LP are such ‘reworkings’. All other titles were taken straight from the original reels. Covering a fairly short period of her creative career, they also convey a peculiar coherence in both form and content. A coherence that reflects her accessible, rhythmic and sometimes even ‘poppy’ side. Naturally, my own preference played a part in the selection process. All my personal favourites made it on the CD/LP, and whenever I listen to this collection, I invariably succumb to the titles’ light-hearted nonchalance. This might leave many hours of undiscovered gems, but a further compilation is already in the works.
My thanks go out to the Bogner family, especially Sebastian Bogner, who was generous enough to grant me access to the reels and supply me with invaluable insights into his mother’s life. I hope that listeners will enjoy the same exhilaration I experienced on discovery of Ursula Bogner’s music.

Jan Jelinek
Jan Jelinek - Zwischen
Jan Jelinek
Zwischen
LP | 2018 | EU | Original (Faitiche)
18,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
Faitiche releases a short version of the radio play Zwischen (German for ‘between’). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures.

We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor?

Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees – all eloquent public figures – the pauses are extracted and edited together. The result is a series of sound collages of silence. But this silence is deceptive, as it is only meaning that falls silent. What remains audible is an archaic body language: modes of breathing, planning phases, seething word particles in search of sense that can break out into onomatopoeic tumult or drift off into sonorous noise.

In a further step, each of the twelve collages controls a modular synthesizer via its amplitude and frequency. Supposedly defective speech acts conduct synthetic sounds and the speakers regain their composure – not via the spoken word, but through sound.

The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte, Slavoj Žižek, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayröcker, Yoko Ono and Max Ernst.

Many thanks to Frank Halbig / SWR2.
Frank Bretschneider - Abtasten_halten
Frank Bretschneider
Abtasten_halten
LP | 2020 | EU | Original (Faitiche)
18,99 €*
Release:2020 / EU – Original
Genre:Electronic / Dance
Faitiche presents a new album by Frank Bretschneider. "abtasten_halten" was made as part of the raster.labor installation first presented at CTM Festival in 2019. It is perhaps the most radical work in Bretschneider's distinctive oeuvre: "abtasten halten" is a self-generating composition for synthesizer modules whose sole sound source is the movement of two VU meter needles. The resulting percussive sounds coalesce into rhythmic combinations - all random, without repetition. The album resembles a meditation on infinite rhythmic variation. It is Frank Bretschneider's first release on Faitiche.
Jonathan Scherk / Daniel Majer - It's Counterpart
Jonathan Scherk / Daniel Majer
It's Counterpart
2LP | 2019 | EU | Original (Faitiche)
18,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Faitiche welcomes two young artists from Canada: Jonathan Scherk and Daniel Majer hail from the post-rock and experimental scene in Vancouver, where they shared a studio for several years. In artistic terms, too, there is a surprising coherence: on 'It's Counterpart', their solo work naturally blends to create a joint album, making it hard to distinguish between their contributions.Majer describes his part as a shadow-like reflection to Scherk's brightly meandering collages. The album's title refers to this: 'It's Counterpart' presents two solo artists who have met their match in one another.
Jan Jelinek & Computer Soup - Improvisations And Edits, Tokyo 26.9.2001
Jan Jelinek & Computer Soup
Improvisations And Edits, Tokyo 26.9.2001
LP | 2018 | EU | Original (Faitiche)
18,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
Faitiche releases the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.
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