Audiopile Review: Berlin’s Jan Jelinek could easily coast on his reputation as a glitch legend. Seriously, he could just fucking coast. Jelinek’s 2001 classic ‘Loop-Finding-Jazz-Records’ was one of the most accessible albums of the original glitch scene. And his work as Farben and Gramm was among the grooviest music to emerge from that scene. But, in recent years, he has shown a relentless drive to move forward and challenge audiences with extraordinary new sounds. ‘Social Engineering’, for example, is based on synthesized voices speaking and singing text from phishing emails. Yes, it’s as weird as that sounds. But, like everything Jelinek does, it’s brilliantly realized and immediately compelling. It is a courageously satirical sound art concept the like of which Oneohtrix Point Never or James Ferraro wouldn’t quite have the guts to pull off. Musically, it exhibits a pristine beauty that only makes its alienating intent more disconcerting. It’s utterly alien but oddly familiar. Simultaneously Jan Jelinek’s most ambitious and least danceable album, it’s a head-scratcher in the best sense of the term. A must-have for fans of Jelinek’s music and of electronic sound’s outer reaches, generally.

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Social Engineering brings together thirteen text fragments from so-called phishing emails. Using speech synthesis, they are spoken, sung, and/or transformed into abstract textures. The result is a 36-minute language and sound collage devoted to the dark forces of phishing