Jan Jelinek’s Faitiche venture a first vinyl pressing for Giuseppe Ielasi’s 2013 archipelago of animated sound sculptures, originally issued on the Italian sound animator’s Senufo Editions, which, like Jelinek’s label, is a treasure trove of inquisitive sound art curios.
‘Rhetorical Islands’ derives from a commission, by l’Audible Festival, Paris, in which Ielasi evokes the materiality of physical objets across a series of what he calls “isolated sound worlds.” The idea and its effect neatly dovetail with Faitiche’s fetish for playful enigma and anachronistic otherworldliness with 10 concrète vignettes that subtly coax a poetry from everyday sources of torn and folded paper, what sounds like a shatterproof ruler twanged on corner of a table, cutesy squawks resembling a Radiophonic voicing of Goodiepal’s gilded, mechanical birds, or gunky pulses harnessed to alien tribal rhythms or snuffling hogs.
As Jan Jelinek clearly realises; the magic lies in Giuseppe Ielasi’s renowned ability for aural animism, divining enchanting nuance from inanimate materials with a patient and finely sound sensitive approach to his art that has led to his copious, acclaimed work in engineering and mastering for myriad other artists. In the aleatoric sense, from piece to piece it’s hard to tell exactly what materials Ielasi is manipulating, but that’s not really the point. It’s better to revel in the uniqueness of his palette, and how he makes each material choice chatter and sing its song with abundant variation. In effect his imaginative approach and hands-on, technical nous is comparable to Rashad Becker’s work on the ‘Traditional Music of Notional Species’ volumes or indeed Jan Jelinek’s most fanciful, pseudo-archival suppositions.
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Jan Jelinek’s Faitiche venture a first vinyl pressing for Giuseppe Ielasi’s 2013 archipelago of animated sound sculptures, originally issued on the Italian sound animator’s Senufo Editions, which, like Jelinek’s label, is a treasure trove of inquisitive sound art curios.
‘Rhetorical Islands’ derives from a commission, by l’Audible Festival, Paris, in which Ielasi evokes the materiality of physical objets across a series of what he calls “isolated sound worlds.” The idea and its effect neatly dovetail with Faitiche’s fetish for playful enigma and anachronistic otherworldliness with 10 concrète vignettes that subtly coax a poetry from everyday sources of torn and folded paper, what sounds like a shatterproof ruler twanged on corner of a table, cutesy squawks resembling a Radiophonic voicing of Goodiepal’s gilded, mechanical birds, or gunky pulses harnessed to alien tribal rhythms or snuffling hogs.
As Jan Jelinek clearly realises; the magic lies in Giuseppe Ielasi’s renowned ability for aural animism, divining enchanting nuance from inanimate materials with a patient and finely sound sensitive approach to his art that has led to his copious, acclaimed work in engineering and mastering for myriad other artists. In the aleatoric sense, from piece to piece it’s hard to tell exactly what materials Ielasi is manipulating, but that’s not really the point. It’s better to revel in the uniqueness of his palette, and how he makes each material choice chatter and sing its song with abundant variation. In effect his imaginative approach and hands-on, technical nous is comparable to Rashad Becker’s work on the ‘Traditional Music of Notional Species’ volumes or indeed Jan Jelinek’s most fanciful, pseudo-archival suppositions.
Jan Jelinek’s Faitiche venture a first vinyl pressing for Giuseppe Ielasi’s 2013 archipelago of animated sound sculptures, originally issued on the Italian sound animator’s Senufo Editions, which, like Jelinek’s label, is a treasure trove of inquisitive sound art curios.
‘Rhetorical Islands’ derives from a commission, by l’Audible Festival, Paris, in which Ielasi evokes the materiality of physical objets across a series of what he calls “isolated sound worlds.” The idea and its effect neatly dovetail with Faitiche’s fetish for playful enigma and anachronistic otherworldliness with 10 concrète vignettes that subtly coax a poetry from everyday sources of torn and folded paper, what sounds like a shatterproof ruler twanged on corner of a table, cutesy squawks resembling a Radiophonic voicing of Goodiepal’s gilded, mechanical birds, or gunky pulses harnessed to alien tribal rhythms or snuffling hogs.
As Jan Jelinek clearly realises; the magic lies in Giuseppe Ielasi’s renowned ability for aural animism, divining enchanting nuance from inanimate materials with a patient and finely sound sensitive approach to his art that has led to his copious, acclaimed work in engineering and mastering for myriad other artists. In the aleatoric sense, from piece to piece it’s hard to tell exactly what materials Ielasi is manipulating, but that’s not really the point. It’s better to revel in the uniqueness of his palette, and how he makes each material choice chatter and sing its song with abundant variation. In effect his imaginative approach and hands-on, technical nous is comparable to Rashad Becker’s work on the ‘Traditional Music of Notional Species’ volumes or indeed Jan Jelinek’s most fanciful, pseudo-archival suppositions.
Jan Jelinek’s Faitiche venture a first vinyl pressing for Giuseppe Ielasi’s 2013 archipelago of animated sound sculptures, originally issued on the Italian sound animator’s Senufo Editions, which, like Jelinek’s label, is a treasure trove of inquisitive sound art curios.
‘Rhetorical Islands’ derives from a commission, by l’Audible Festival, Paris, in which Ielasi evokes the materiality of physical objets across a series of what he calls “isolated sound worlds.” The idea and its effect neatly dovetail with Faitiche’s fetish for playful enigma and anachronistic otherworldliness with 10 concrète vignettes that subtly coax a poetry from everyday sources of torn and folded paper, what sounds like a shatterproof ruler twanged on corner of a table, cutesy squawks resembling a Radiophonic voicing of Goodiepal’s gilded, mechanical birds, or gunky pulses harnessed to alien tribal rhythms or snuffling hogs.
As Jan Jelinek clearly realises; the magic lies in Giuseppe Ielasi’s renowned ability for aural animism, divining enchanting nuance from inanimate materials with a patient and finely sound sensitive approach to his art that has led to his copious, acclaimed work in engineering and mastering for myriad other artists. In the aleatoric sense, from piece to piece it’s hard to tell exactly what materials Ielasi is manipulating, but that’s not really the point. It’s better to revel in the uniqueness of his palette, and how he makes each material choice chatter and sing its song with abundant variation. In effect his imaginative approach and hands-on, technical nous is comparable to Rashad Becker’s work on the ‘Traditional Music of Notional Species’ volumes or indeed Jan Jelinek’s most fanciful, pseudo-archival suppositions.
First time on vinyl. Edition of 300 copies.
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Jan Jelinek’s Faitiche venture a first vinyl pressing for Giuseppe Ielasi’s 2013 archipelago of animated sound sculptures, originally issued on the Italian sound animator’s Senufo Editions, which, like Jelinek’s label, is a treasure trove of inquisitive sound art curios.
‘Rhetorical Islands’ derives from a commission, by l’Audible Festival, Paris, in which Ielasi evokes the materiality of physical objets across a series of what he calls “isolated sound worlds.” The idea and its effect neatly dovetail with Faitiche’s fetish for playful enigma and anachronistic otherworldliness with 10 concrète vignettes that subtly coax a poetry from everyday sources of torn and folded paper, what sounds like a shatterproof ruler twanged on corner of a table, cutesy squawks resembling a Radiophonic voicing of Goodiepal’s gilded, mechanical birds, or gunky pulses harnessed to alien tribal rhythms or snuffling hogs.
As Jan Jelinek clearly realises; the magic lies in Giuseppe Ielasi’s renowned ability for aural animism, divining enchanting nuance from inanimate materials with a patient and finely sound sensitive approach to his art that has led to his copious, acclaimed work in engineering and mastering for myriad other artists. In the aleatoric sense, from piece to piece it’s hard to tell exactly what materials Ielasi is manipulating, but that’s not really the point. It’s better to revel in the uniqueness of his palette, and how he makes each material choice chatter and sing its song with abundant variation. In effect his imaginative approach and hands-on, technical nous is comparable to Rashad Becker’s work on the ‘Traditional Music of Notional Species’ volumes or indeed Jan Jelinek’s most fanciful, pseudo-archival suppositions.