Constructed entirely out of samples from old jazz records. While most might take that mission statement as an excuse to make loopy filter house, Jelinek’s metallurgic approach extracts grooves at a molecular level and reconstructs them; properly stripped-down techno in finest 2001 style. It’s an idealistic departure from the prevailing minimal techno sound of the new millenium, borne from the banality and existential pointlessness of Clicks & Cuts-style electronic music. We love Jan's Dieter Rams-esque doctrine: “Loop-finding-jazz-records follows one certain production idea. This probably made it successful. All the pieces are like well-designed objects: no random, accidental moments, all focused on a harmony. This makes it enjoyable as functional music—music to work to, write emails to, etc.” Towards the end of “Moire - Piano & Organ,” you can almost make out the transients of a vibraphone ringing out, before “Rock In The Video Age” washes up on the shore and you lose the plot entirely. “Tendency” is the lone joint I could see slipping into an afterhours set, but the rest of it is pure headphone business for planes, trains & automobiles - in the best possible way, like a faceless / wordless Vespertine. “Drift,” “They, Them” and “Do Dekor” are delectably crunchy microhouse snacks, but best to listen from start to finish. 2017 2LP reissue on Jelinek’s own Faitiche imprint,