This latest offering by German EFX ace, composer and producer Jan Jelinek embodies some of the subversive, or perhaps subliminal, elements of dub and digital loop-based fare. With this outing, the artist uses space as a mechanism for injecting faint sounds, scratches and dreamy synth motifs into the grand scheme of things. Pronounced bass grooves, samples and quietly oscillating noises equate to a forest of quaintly organized textures. Jelinek doesn’t overwhelm you with bombastic drum ‘n’ bass motifs or Indian divas chanting wordless vocals to airy synth orchestrations. His musical approach might be conducive to something that rings like ornamentation for the mind’s eye. He features murmured voices in certain passages that are at times eerie and forbidding. Jelinek is a painter of canvasses, as he generally maintains an exacting pulse throughout many of these alluring pastiches of sound.
I love jazz because it's sophisticated, international, atmospheric yet free, cool and warm.
I was first exposed to jazz through the sultry voice and flawless swing of my mother.
I met Mark Murphy, David Linx, Kurt Elling, and Youn Sun Nah.
The best show I ever attended was Youn Sun Nah in Paris.
The first jazz record I bought was Native Dancer by Wayne Shorter and Milton Nascimento
My advice to new listeners: open your mind and your ears, forget about structure, feel the textures.
Go see live music and keep buying CDs!