Giuseppe Ielasi, born in 1974, grew up in the south of Italy and now resides in the outskirts of Milano with his wife and kids (the kids also run Senufo Editions). He mostly plays solo, but also in Bellows (with Nicola Ratti), Oreledigneur (with Renato Rinaldi), and duos with Enrico Malatesta, Kassel Jaeger, Andrew Pekler and collaborates regularly with film maker and photographer Armin Linke (also editing his films). He has released his work on 12k, Entr'acte, Senufo Editions, Dekorder, Holidays, and a few others.

Jan Jelinek’s approach is about transformation of sound, about translating parameters of popular music into abstract, reduced and textural electronics. In 1998 he started to release his works under a number of pseudonyms (farben, gramm) adapting his primary sampling premise to a surprising range of different sounds. During the following years, Jan Jelinek collaborated with artists like Sarah Morris or German author Thomas Meinecke, played a range of laptop or gadget/modular-synth based live sets, worked with improvisation ensembles from Japanese trio Computer Soup to the Australian jazz formation Triosk, wrote and produced radio-plays/collages for the SWR, created a number of audio-visual performances with video artist Karl Kliem for the Centre Pompidou in Paris, among others and founded with Andrew Pekler and Hanno Leichtmann the improvisation trio Groupshow, which refuses any repertoire or standard performance durations. In 2008, Jelinek started the label faitiche as a platform for his own sound experiments and collaborations. To date, the label has released twelve works, including the oeuvre of the composer and artist Ursula Bogner.

Presented in collaboration by Care Of Editions and Skyapnea Records, this ongoing series aims to cultivate a dialogue between the popular and the experimental and to promote the effects of an era in which the most contemporary forms are arguably derivative (i.e mixes, remixes, playlists and shuffle), yet uniquely capable of supporting new insights and practices along the lines of curatorial authorship, exotica, ethnographic recording, field and field-like recording, the porousness of musical communities, and the breakdown of genres and lineages.