The past 4 years have gone very fast for Yaron and he was able to share the decks with many famous national and international artists. His current style is a mix of deephouse and techhouse with a twist of techno.
From October 22 to 25 our capitol is the stage for its annual Amsterdam Dance Event (ADE) again. Beatfreax has created the ultimate online guide to keep you up to speed with the coolest parties and venues during the event.
Rekord3r is jarig! Al twee jaar lang bezoekt het Rekord3r mannetje steden als Rotterdam, Utrecht en Amsterdam en giet hij een fijne dosis vrolijkheid en funk over techhouse feestjes.
Ja, de laatste week van de “ zomervakantie” is ingegaan dus zal het normale leven snel weer beginnen. Voor dat er weer gewerkt of gestudeerd gaat worden moet er van deze weken nog volop genoten worden
Central Berlin. Vinyl, wherever you look. With microscopic precision Jan Jelinek scours his never-ending archive for those fleeting moments, those in-between noises and beat fragments that often get lost between hookline and rhythm. With the sampler as his dissection tool he breaks down these micro fragments into intricate elements – production becomes the re-interpretation, re-formatting and blurring of original material.
Jelinek’s love for music is deep-rooted. Barely five years of age the former resident of Darmstadt bought his very first record and became a great fan of dub and Lee Perry. Soon he swapped his bass for the simplest production equipment, discovered the attraction of a healthy dilettantism (forcing him to improvise) and, with house, a musical genre that allows reduction and emotion to co-exist.
Since 1998 Jelinek has taken his work to the public: split into the re-evaluation of phrases in soul music (as Farben), a reduced approach to the dance-floor (Gramm) or, under his third pseudonym which strictly speaking isn’t one (Jan Jelinek), the exploration of his own production concepts, he has so far released six Farben Eps on Frankfurt-based label Klang Elektronik (recently compiled on the album "Textstar”), followed by a Gramm album on Move D’s Source Records and, as Jan Jelinek, with "loop-finding-jazz-records" (~scape) the shifting of linear second loops, condensing Jazz samples into arrangements with an unrivalled depth of field.
Nowadays surrounded by technology of every kind Jelinek nevertheless still sees it as a simple means to an end – his music cites the sampling source, not the production platform employed. Whether as Gramm, Farben or under his own name: he always blends fresh approaches and sources into a distinctly new, very personal sound.
On "La Nouvelle Pauvreté" for the first time he deliberately reveals his sampling sources - even Jelinek’s voice is allowed appear as an additional instrument. Playing with the means and structures of traditional music The Exposures act as his fictitious backing band, his Alter Ego and extended self, bolstered by new, sparingly employed rock references.
This dalliance with context, concept and consistency re-surfaces in various remixes, collaborations and compilation contributions. Equally diverse are his live requests from all over the world – from performances and installation scores (various exhibition openings as well as the soundtrack for the Expo 2000’s multi-medial youth pavilion) to straight-forward club appearances: with his subtle, danceable grooves Jelinek redesigns environments, often accompanied by VJs and video artists (Visomat, Sebastian Kutscher and Aaron Day) to visually offset the traditionally static laptop performance.
Jelinek will continue to explore this relationship between music and visuals, together with a number of artists like Sarah Morris ("ICE Compositions” as part of the EN/OF series on Bottrop-Boy), Inna Todisko (responsible for the artwork on "La Nouvelle Pauvreté") as well as programmer and video artist Karl Kliem. With the latter Jelinek has developed an audio visual performance to generate synchronised graphics to the music.
Deze man verdient toch ook wel een topic hoor!!! Hij maakt echt zalige plaatjes. Een beetje zoals in de oudere werkjes van Matthew Herbert is hij ook heel zuinig met zijn klankenpalet, tsja hij werkt niet voor niets onder het pseudoniem farben. Vind het wel knap want daardoor kan je ook alle mooie details makkelijk horen.
Misschien is het meeste wat hij maakt niet echt clubvoer? Ik hoor niet zo vaak van die die hard minimal jocks maar ik peins toch dat hij niet zo heel gauw gedraaid zal worden... Of wel?
Der Jan...prachtige muziek maakt ie...
dj Koze draaide een plaatje (my favourite shop d8 ik) van hem op soulcialism..oogjes dicht en snaveltjes toe
z'n farben releases vink beter dan z'n jelinekjes..iets meer tempo
ik vind zowel zijn produkties onder Farben als onder zijn eigen naam geweldig. Le nouvelle pouverte is echt wel een vet album. Kon hem helaas niet aanschouwen in Amsterdam.
