Born 1981 in Pilsen, Czech Republic, Jan Vysocky (wysozky) moved to Austria with his family as political refugees in 1988, before the fall of Iron Curtain. growing up in a rural setting in northern Burgenland, jan began to explore sound through an old tape recorder that he used for sampling and composing. After moving to Vienna in 1997, he began using computers, discovering possibilities of electronic sound processing, new sounds, micro structures and sound fields, which led him further into the field of electroacoustic music. Jan delved into sampling and modular systems through workshops held by Wolfgang Schloegl of the Sofa Surfers and Wolfgang Musil at the local electroacoustic institute ELAK and with Thomas Grill at the university of applied arts, Angewante.
In 2003 Jan initiated a compilation with young Viennese artists of electronic music, called Beta Jar. The project was presented in Vienna’s Rhiz bar modern, which became an international platform for many of the artists involved. For Jan, the experience led to a fruitful collaboration with Davor Mikan in the form of live concerts and an album release on Cronica.
In 2005 Jan set up in France. During this period he worked with musicians in Nice and Reims, experimenting new sounds with acoustic instruments and computer music. A frequent exchange with experimental filmmakers in Toulouse led to compositions and sound design for movies and animation-films. During the last years collaborations with international filmmakers and visual artists in France and Austria led to a body of work for cinema; feature fiction movies, shorts, documentaries and experimental video art. (link Film)
In terms of music Jan is in collaboration with Arden Day since 2010 experimenting the symbiotic fields of electroacoustic, prepared grand piano and other instruments, like the motorized “Boîte à Bourdon” made by Leo Maurel. Under the name “Unbehagen” the duo released a double album on the label nocords in 2016. In the same year they have formed along with Prune Becheau, Leo Maurel and Julien Desailly an improvising quintet called PANCRACE. Their first album was released on Penultimate Press, London and garnered attention in the international improv music scene and press. Their double LP was voted as one of the best releases of 2017 by the Wire Magazine, The Chicago Reader and on Soundohm.
As composer and live-performer Jan also collaborates regularly in contemporary art, dance and theatre scene; exploring the creative crux where the human body, voice and sound creation may (em)merge. (link Arts)
In 2003 Jan initiated a compilation with young Viennese artists of electronic music, called Beta Jar. The project was presented in Vienna’s Rhiz bar modern, which became an international platform for many of the artists involved. For Jan, the experience led to a fruitful collaboration with Davor Mikan in the form of live concerts and an album release on Cronica.
In 2005 Jan set up in France. During this period he worked with musicians in Nice and Reims, experimenting new sounds with acoustic instruments and computer music. A frequent exchange with experimental filmmakers in Toulouse led to compositions and sound design for movies and animation-films. During the last years collaborations with international filmmakers and visual artists in France and Austria led to a body of work for cinema; feature fiction movies, shorts, documentaries and experimental video art. (link Film)
In terms of music Jan is in collaboration with Arden Day since 2010 experimenting the symbiotic fields of electroacoustic, prepared grand piano and other instruments, like the motorized “Boîte à Bourdon” made by Leo Maurel. Under the name “Unbehagen” the duo released a double album on the label nocords in 2016. In the same year they have formed along with Prune Becheau, Leo Maurel and Julien Desailly an improvising quintet called PANCRACE. Their first album was released on Penultimate Press, London and garnered attention in the international improv music scene and press. Their double LP was voted as one of the best releases of 2017 by the Wire Magazine, The Chicago Reader and on Soundohm.
As composer and live-performer Jan also collaborates regularly in contemporary art, dance and theatre scene; exploring the creative crux where the human body, voice and sound creation may (em)merge. (link Arts)