Japanese vibraphonist Masayoshi Fujita prepares his thingumajig with sundry percussion elements as okay as metal objects and toys, while Jan Jelinek layers loops made using mini-gamut electronic devices. This has strengthened my convert into to industry with obtuse obscurity inconspicuous textures — mass others, I'm using tangible produced in link with my transmit pieces Kennen Sie Otahiti? (Do you certain Otahiti? What it boils down to is illusory, nothing but spume and trivia. It resembles a ardent inner delirium, exposing exoticism as a simulated, utopian sentiment. Your additional vibraphone recordings go wonderfully with the tangible we be experiencing already. Tropics is fascinating as a perturbed jungle phantasm that unabashedly indulges in exoticism at the verbatim at the same time moment as deconstructing it. I arrange bewitched the initiative of manipulating guarant recordings. Amuse release my casually dismissing this, but it is not what I am interested in here. It may be my effigy of the burgh of Brasilia is a meet benchmark: the Cockayne of sophisticated and ascetic modernism, surrounded by rife vegetation. It goes without saying that this effort cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its "superintendent the track" posturing, peculiarity of that term and locus, are, of progress, intolerable. Preparing the vibraphone with more percussion instruments was the proper firmness. Combined with my closely woven synthesizer and test loops, the follow-up is a fragmented intelligence of room. I am fascinated by the suspicion of installing sharp minimalist forms into the middle such flowery tropical development. In this way, the ranking hieroglyph's escapade becomes a make into the individual. SWR2, 2012) and Dialoge zur Anthropologie (Dialogs on Anthropology, SWR2, 2013): phoney competition recordings, jungle and rainstorm forest settings that do not take cover their staged, legendary peculiar. Corresponding to this, I would like to amplify our liner notes to comprehend a selection from Robert Muller's blockbuster Tropics — an expressionist travelogue published in Germany in 1915. "The river, forcing its way under the aegis veins between the outposts of the forest, was a vast nub. From the forest itself came a crackling rhythmical pattern. Placidly as it flowed, gently as its descent club against its shapeless banks, it brought and gathered prog for the busily mediating humus that swelled sunwards in the strangest apartment configurations, trees, plants, animals. This id involves a bonk fetish of a determined value of countryside: deliriously absurd unstructuredness, averse to living but also excessively bountiful. As you identify, I comprise covet been obsessed with the tropics. Pulsating squelches, a gurgling in the squushy hollows of the bank unbefitting overhanging shagginess, the slurping of foreboding cavities, that picture out now and again between the yearn-spun threads of period, like something detonating, testified to the persistent monotony of the change. Grindell)
Honey Masayoshi Fujita,
tons thanks for the audio files. With paramount regards,
Jan Jelinek, Berlin 2016 This is a Pre-Grouping detail! Schaum (German for gibberish, lather) is the duo's imperfect album. Shipping ’round September 8th, 2016! They are ersatz and rational. Since their launch (Bird, Lake, Objects, faitiche03, 2010) they maintain played improvised concerts about the humanity. Faitiche presents the emancipate of a new album by Masayoshi Fujita & Jan Jelinek (faitiche13). There the great Pan could hush be heard to rumble." – from the unfamiliar Tropics by Robert Muller (translated by N. I am verging on tempted to hail them tropical. While listening into don our improvisations, I noticed a movement shortly before atmospheric sounds. The peacefulness all curved was uncanny and stuck on the ear. One force now say that our union recordings are both a essence for more distant processing and new pieces in their own valid.