Release Date: Apr 1, 2016
Record label: Thrill Jockey
Genre(s): Electronic, Avant-Garde, Pop/Rock, Experimental Ambient, Experimental Electronic
The fourth volume in Jan St. Werner's Fiepblatter series of experimental works, Felder isn't merely an album, but a starting point for a series of public installations in which the participating artists can interpret the album however they wish. The sprawling, amorphous album gives the interpreters a lot to work with. Many of the album's pieces are lengthy, fluidly shifting through sections without any obvious beginning or ending.
As one half of Mouse on Mars, Jan St. Werner has spent the past decade exploring expansive, optimistic and dance floor-friendly electronic music.However, over the past few years, the Berlin-based artist has used his solo work to return to his multifarious, experimental side, culminating with last year's guest-heavy examination Miscontinuum Album (Fiepblatter Catalogue #3). On Felder (Fiepblatter Catalogue #4), St.
Jan St. Werner—whether working on his own, in Mouse on Mars, or as Lithops—is unpredictable. His Fiepblatter series of releases, which Felder is part of, is a complex set of recordings, from the scuffed, thorny experiments of Blaze Colour Burn to Miscontinuum Album, which was based on an operatic live performance, the releases themselves seem to have nothing to do with each other.
Both as a solo artist and as one half of offbeat German duo Mouse On Mars, Jan St Werner has been releasing electronic music since the early 90s. His recent albums have been dense, often dark, ambient works. Meaning “fields” in German, Felder is perhaps rather appropriately a little less claustrophobic than most, as the opener, Beardman, demonstrates.
Felder is the fourth installment in Jan St. Werner’s Fiepblatter series, which began with Blaze Colour Burn in 2013 and most recently featured Miscontinuum Album, which derived from an electronic opera and radio play. An auditory glass bead game that slips and skitters away when you try to put too heavy a finger on it, Felder examines and toys with process and structure without being bound by thesis.
Though best known as half of the German electronica act Mouse On Mars, Jan St. Werner has a thriving side business as a solo artist and constructor of art house installations. His third solo LP, Felder (“Fields”) soundtracks a museum piece that only St. Werner himself can see. The artist ….