September 26th 2020
We are back!
On September 26th, we call 4fakultät back to life, together with resonanzraum Hamburg. A best-of underground jazz, ambient electronics, noise pop and electroacoustic experiment. Of course as usual in a unique setup of cross genre improvisation.
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(Eget Værelse / Kopenhagen, DK)
(faitiche / Berlin, GER)
(Creative Sources / Berlin, GER)
(Bengans / Göteborg, SWE)
Studio Laurens Bauer & David Benski
The Danish all-female quartet Selvhenter mixes free jazz and noise, minimalist compositions and extensive improvisations. The hardness and rawness of rock can be heard clearly heard in their music. In the foreground is a drifting, enigmatic play with atmosphere and rhythm. With their playfulness and uncompromising desire for new sound routes the four women loudly reject the genre clichés. The quartet definitely belongs to the most exciting experimental bands of jazz. “Inyourface and without compromises!” – Mats Gustafsson
Rieko Okuda began her musical career as a classical pianist and found her way to improvisation and jazz through her university studies. In the USA Okuda played with greats like Marshall Allen and Elliott Levine. Her work combines electronic and electroacoustic approaches and is characterized by concentrated repetition, a straightforward minimalism and a wide emotional landscape. At 4fakultät, Okuda will show the impressive range of her work with two contrasting sets.
The Berlin-based musician, producer and label owner Jan Jelinek has been working on various areas of electronic music for decades. His releases under the names Farben, or Gramm are based on electronic dance music, while as Jan Jelinek he takes a more experimental approach. The central elementfor Jelinek is sampling. While avoiding traditional musical instruments, Jelinek constructs collages with tiny sound fragments from a variety of recording devices: tape recorders, digital samplers and various media players. The recordings are processed into loops that reduce the original to its essentials. His work shaped and defined electronic minimalism to a great extent. “Jelinek’s lustrously bare tracks helped define nineties-into-two-thousands minimal techno. – The New Yorker
“I work with a pop mind in the noise” says Klara Andersson, the Swedish mastermind behind the noise pop project Fågelle where layers of noise and fragile constructions of concrete sounds meet pop melodies, exploration of rhythms and the subject of power. With her elaborate array of pedals, synthesizers and samplers, she dives into the sounds and textures, experimenting and tinkering until she finds what will come together with poetry to create a compelling song. She is a producer who sees herself in the middle ground between sound art and pop, which leads to wonderful creative latitude while also generating the conundrum of not fitting in with one particular scene – again being a perfect fit for 4fakultät’s idea of cross genre improvisation instead.
Photo: Maik Gräf