Ranga - Mask 
Past Life [ST092 / Secuencias Temporales]

Produced by Oliver Hudson aka Ranga
Mastered by Jorge Eafhm at Secuencias Temporales Studio
Artwork by Scencist
Released by Secuencias Temporales from México City, México
Release Date: September 01st, 2025

For this release, a selection of instrumental tracks has been chosen, ranging from tracks and experiments created years ago to some created more recently. The common thread between them is smoothness, erotic rhythms, the comfort of synthesizers, and live instruments. These tracks selected highlight the deepest, most hypnotic, and mystical dance rituals that Ranga offers us.

The album's title, Past Life, refers to the feelings and ideas that were circulating when the tracks were created, but also to how it feels to look back at old music and the old selves who created it. There is an unsettling but tempting feeling about the future for the artist. The tracks selected for this release are those that he always listened to without really knowing where they came from or where they were going, as he is still surprised to this day that he created them. They do not resemble Ranga's previous music, but rather, for him, they are music of the future.

Ranga (Cumbria, UK)
https://soundcloud.com/daranga
https://www.facebook.com/DaRangaMusic
https://www.instagram.com/wyrdolranga

Secuencias Temporales
https://soundcloud.com/secuencias_temporales
https://www.facebook.com/secuenciastemporales
https://www.instagram.com/secuencias_temporales
https://secuenciastemporales.bandcamp.com

Oslated.
http://www.oslated.com

Past Life

Mask

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Ranga - Mask [Secuencias Temporales]

SERA028: Satellite Era presents "Soft Soil EP" - the debut project of queer multi-instrumentalist néel, formerly known as Boris Donskoff.

Out now on all major platforms: https://ffm.to/sera028

Trekking through long and humid days of a lively summer, we find ourselves yearning to take the longer route more frequently. In an effort to capture slowed moments of the expansive world around us, we turn to an eccentric up and comer to help us master meditation through downtempo and space.

It was only a couple short seasons ago that French artist néel introduced themselves to us, bringing forth handmade audio relics like a merchant traveling across the mountainous internet. We were enticed hearing the byproduct of computerized sounds blended with organic field recordings - a stark yet memorable contrast. We were then astonished to hear that these demos would only mark the beginning of this contemporary guitarist's journey into our sonic niche. With a little help from our vibrant and welcoming community, we planted their compelling seedlings into the damp dirt of our musical garden.

We are proud to unveil the latest strain of our creative harvest - one as sentimental as it is inventive. Welcome to "Soft Soil EP," the debut project of néel and a field guide to their search for a newfound sonic identity. The composition was mainly developed in an isolated countryside home, utilizing its calm yet hollowing ambiance as an instrument. This stripped-down site, sometimes lacking electricity, was then filled with recordings of various social encounters on the bustling streets of urban sprawls around Europe. This juxtaposition is celebrated throughout the EP, combining both realms into one that thoughtfully expresses how their heart splits in two. The introduction serves as a synopsis of the journey ahead, mashing environmental sounds drenched in reverb under their careful guitar plucks. "Antha" brings out a more synthesized approach to néel's overall intention, yet still sounds like electronica indulged in nature. "Softly Pushed" and "Restlessness" stand out as songs with city origins - recordings of mindless chatter and flailing metal coincide with the franticness of modern drum 'n' bass. The two are split by "Sagittarius," a ravishing track that effortlessly demands attention like an unforgettable live solo. "0011" allows the project to fade out with rustic trip-hop wielding an undeniable groove - it concludes with a captivating guitar piece that softly tops off the soil blend.

"Soft Soil EP" tells the story of an artist searching for their footing, breaking the tender ground beneath them with each cautious step toward the vast ecosystem of experimental electronic music. In néel's case, the allegory digs deeper as it unearths their harmonious roots and intertwines them with the tangible world. The mixture is equal parts personal as it is musical, paving the way for what will surely be a thrilling sonic adventure. 

Written & produced by néel
Mastered by Amir Mashayekhi
Designed by y3000w & Nic Juister

Set free by Satellite Era

BUY / STREAM

néel - Sagittarius

Elements Chord Mode

Artist: Masayoshi Fujita & Jan Jelinek
Album Title: Schaum
Format: 12" LP/CD/DL
Label#: Faitiche13/Faitiche13cd 
Release Date: September 9th 2016

Masayoshi Fujita & Jan Jelinek: Schaum

Faitiche is very pleased to announce the release of a new album by Masayoshi Fujita & Jan Jelinek (faitiche13). Since their debut (Bird, Lake, Objects, faitiche03, 2010) they have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth, foam) is the duo’s second album.
The river, forcing its way through veins between the outposts of the forest, was a great heart. Placidly as it flowed, gently as its descent beat against its vague banks, it brought and gathered sustenance for the busily mediating humus that swelled sunwards in the strangest cell configurations, trees, plants, animals. The silence all round was uncanny and stuck on the ear. Spasmodic squelches, a gurgling in the muddy hollows of the bank beneath overhanging shagginess, the slurping of ominous cavities, that shot out now and again between the long-spun threads of time, like something detonating, testified to the steady monotony of the process. From the forest itself came a crackling rhythm. There the mighty Pan could still be heard to rumble.
from the novel Tropics by Robert Müller (translated by N. Grindell)

Dear Masayoshi Fujita,
Many thanks for the audio files. Your additional vibraphone recordings go wonderfully with the material we have already. Preparing the vibraphone with more percussion instruments was the right decision. Combined with my tightly woven synthesizer and sample loops, the result is a fragmented sense of space. I have taken the liberty of manipulating certain recordings. One might now say that our joint recordings are both a basis for further processing and new pieces in their own right.
While listening through our improvisations, I noticed a tendency towards atmospheric sounds. I am almost tempted to call them tropical. This has strengthened my resolve to work with dense background textures – among others, I’m using material produced in connection with my radio pieces Kennen Sie Otahiti? (Do you know Otahiti? SWR2, 2012) and Dialoge zur Anthropologie (Dialogs on Anthropology, SWR2, 2013): artificial field recordings, jungle and rain forest settings that do not hide their staged, fictional character. They are synthetic and speculative. As you know, I have long been obsessed with the tropics. This obsession involves a mental image of a specific quality of landscape: deliriously extravagant unstructuredness, hostile to life but also excessively productive. I am fascinated by the idea of installing clear minimalist forms amid such luxuriant tropical growth. Perhaps my image of the city of Brasilia is a good example: the utopia of elegant and ascetic modernism, surrounded by rampant vegetation. Lianas and concrete: that’s exactly how our music should be!
Corresponding to this, I would like to expand our liner notes to include a quotation from Robert Müller’s novel Tropics – an expressionist travelogue published in Germany in 1915. It goes without saying that this work cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its “master race” posturing, characteristic of that time and place, are, of course, intolerable. Please excuse my casually dismissing this, but it is not what I am interested in here. Tropics is fascinating as a nervous jungle phantasm that openly indulges in exoticism at the same time as deconstructing it. In this way, the main character’s adventure becomes a journey into the subjective. It resembles a feverish inner delirium, exposing exoticism as a simulated, utopian perspective. What it boils down to is insubstantial, nothing but foam and froth.
With best regards, Jan Jelinek, Berlin 2016

Masayoshi Fujita & Jan Jelinek: Vague, yet

Artist: Jan Jelinek & Computer Soup
Album: Improvisations And Edits, Tokyo 26.09.2001
Label#: Faitback10
Release date: May 4th 2018

Faitiche is happy to be releasing the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.
 

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

The mind-blowing first track "Straight Life" is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer; images of what jazz was manage to interact with a real-time demonstration of all it could be.
pitchfork.com
“Improvisations and Edits” is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks.
ambientexotica.com
Often deliciously dreamy and hazy, “Improvisations and Edits” is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music.
exclaim.ca

Jan Jelinek & Computer Soup: Straight Life

Learn more: http://smarturl.it/rvngnl47-2

©2018 RVNG Intl. // www.igetrvng.com

Lucrecia Dalt - Tar (Jan Jelinek Remix)

Moon Wheel — རྡོ་རྗེ་རྣལ་འབྱོར་མ་

Artist: ASUNA & Jan Jelinek
Album: Signals Bulletin
Label#: Faitiche18
 
Faitiche is delighted to announce the release of a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

-

Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ...
Jan Jelinek, Berlin 2018

ASUNA & Jan Jelinek: Relief, Pt.1

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

Jan Jelinek - They, Them

by Masayoshi Fujita & Jan Jelinek 
"Bird, Lake, Objects" (2010 Faitiche)

I'll change your life / Masayoshi Fujita & Jan Jelinek

Factish (french / german faitiche) "(...) is a combination of facts and fetishes, and makes it obvious that the two have a common element of fabrication." Bruno Latour, 1999.

Faitiche is a label by Jan Jelinek.

Jan Jelinek & Computer Soup: Straight Life

faitiche

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