tag:,2010:/6 2010-01-14T17:33:37Z Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early '80's and has made soundtracks and toured with many dance and theatre companies as we as well as his solo concert work. His best kown work "Vinyl Requiem" (with Lol Sargent): a performance for 180 '50's/'60's record players won Time Out Performance Award for 1993. He has recently created "Vinyl Codas I-IV" for Bavarian Radio, "Coda II" winning a Karl Sczuka prize for Radio Art. He has also over the last few years returned to visual art making installations using from 6 to 80 record players including "Off The Record" for Sonic Boom at The Hayward Gallery, London. Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick. Movable Type 3.35 tag:www.philipjeck.com,2010://6.2424 2010-01-14T15:02:18Z 2010-01-14T17:33:37Z

Arctic Circle - The Resonance of Music with Water Kings Place, 80 York Way, London NW1 Wednesday 24th February 2010 Philip Jeck Time: 20:00 Venue: Hall One An Ark for the Listener, a new work inspired by Gerard Manley Hopkins’...

Field www.field.nu Wednesday 24th February 2010 Philip Jeck Time: 20:00 Venue: Hall One An Ark for the Listener, a new work inspired by Gerard Manley Hopkins’ poem The Wreck Of The Deutschland. "An aspiration in answer to an inspiration, out of music shaped by all the sea has claimed, as is the inevitable shipwreck of our existence. Salvaged out of vinyl, by way of ear, hand and electricity." "And I have asked to be... out of the swing of the sea." (G M Hopkins)
Thursday 25 February Time: 20:00 Venue: Hall One Hauschka with Hildur Guðnadóttir Haushka is the alias of Dusseldorf keyboardist Volker Bertelman. His critically-acclaimed albums on the 130701 imprint evince a playfully accessible approach to the often austere realm of the prepared piano. Haushka is joined tonight by gifted Icelandic cellist Hildur Guðnadóttir for a major new, aquatically-themed commission.
Friday 26th February Hildur Gudnadottir Time: 19:00 Venue: Hall One Tickets can be booked here]]> tag:www.philipjeck.com,2009://6.2379 2009-12-08T14:32:46Z 2009-12-08T14:36:20Z

© Dave Knapik...

© Dave Knapik]]> tag:www.philipjeck.com,2009://6.2356 2009-11-09T19:50:08Z 2009-11-10T01:54:24Z

Philip Jeck has won the Paul Hamlyn Foundation Award for Composers 2009. A presentation ceremony took place at The Royal Institute of British Architects, London, on 9th November 2009. Congratulations to Philip on a well-deserved and long overdue award. See...

Field www.field.nu Paul Hamlyn Foundation Award for Composers 2009. A presentation ceremony took place at The Royal Institute of British Architects, London, on 9th November 2009. Congratulations to Philip on a well-deserved and long overdue award. See Jeck live: Philip has two gigs scheduled in London in November and December at Café Oto. At “The Night of the Long Worms” Jeck plays a rare bass guitar plus effects set and at “Atmospheres 3” he plays a turntable set. For further information and tickets, visit the TouchShop. www.phf.org.uk www.philipjeck.com Philip Jeck in the TouchShop]]> tag:www.philipjeck.com,2009://6.2279 2009-09-21T15:05:36Z 2009-09-21T15:09:48Z

Published by Ashgate, this book by James Saunders features a chapter on Philip Jeck (and Phill Niblock). It is available from Amazon, but it is very pricey......

Field www.field.nu Published by Ashgate, this book by James Saunders features a chapter on Philip Jeck (and Phill Niblock). It is available from Amazon, but it is very pricey...]]> tag:www.philipjeck.com,2009://6.2265 2009-09-02T12:12:07Z 2009-09-21T11:39:45Z

6th Sept. Pestival QEH London 7.30 10th Sept. Nu music Stavanger Norway (and interview with the Wire) 11th. Sept Istanbul Biennial Opening. Istanbul Turkey Antrepo No.3: Meclis-i Mebusan Caddesi (Avenue) Liman Isletmeleri Sahasi – Tophane (just next to Istanbul Modern...

Field www.field.nu Pestival QEH London 7.30 10th Sept. Nu music Stavanger Norway (and interview with the Wire) 11th. Sept Istanbul Biennial Opening. Istanbul Turkey Antrepo No.3: Meclis-i Mebusan Caddesi (Avenue) Liman Isletmeleri Sahasi – Tophane (just next to Istanbul Modern Museum) at 2130 12th Sept. Nu Music Oslo Norway 26th Sept. Todaysart Den Haag Holland 3rd Oct. Listen to the World! ISCM World New Music Days Goteburg, Sweden 16th Oct Fylkingen Stockholm Sweden Solo Show 17th Oct. Fylkingen Stockholm Sweden. MARYLAND. A Dance/Theatre show with Mary Prestidge and visuals by Lucy Cash, sound by Philip Jeck 18th Oct. Fylkingen Stockholm Sweden, Performance with C M von Hausswolf 22nd-25th Oct. Akademie der Kunste, Berlin Germany. The International Turntable Orchestra with many, many Turntable players from around the Globe.]]> tag:www.philipjeck.com,2009://6.2258 2009-08-27T14:25:03Z 2009-08-27T14:26:31Z

Boomkat Using different media, both Philip Jeck and William Basinski explore the gradual decay and manipulation of recorded sound. Jeck, using turntables, is fascinated by the inherent flaws and sonic detritus amplified by his record players, each crackle and undulation...

Field www.field.nu Boomkat Using different media, both Philip Jeck and William Basinski explore the gradual decay and manipulation of recorded sound. Jeck, using turntables, is fascinated by the inherent flaws and sonic detritus amplified by his record players, each crackle and undulation woven into the very fabric of his work, imprinting a personal history into every layer of sound. Basinski, in turn, investigates the gradual and physical deterioration of material recorded to tape, most famously on his four-part 'Disintegration Loops' whereby recordings he made in the 80's were re-examined after years in storage, marking the passage of time and circumstance through every dilapidated moment. Although their work loosely falls into what Simon Reynolds has termed Hauntology, Jeck and Basinski stand apart from most of their contemporaries by working within a precise physical methodology, one that allows involuntary and gradual physical erosion to shape the material, rather than just formulating a revisionist re-enactment of the past. This 14 track selection offers an overview of their work, etching years of recorded sound through a kind of environmentally autobiographical bubble that's both endlessly fascinating and, often, emotionally overwhelming.]]> tag:www.philipjeck.com,2009://6.2209 2009-08-11T09:44:55Z 2009-08-11T09:45:31Z

From August 15th - 24th, Touch will be away on a residency at The Aldeburgh Music Festival [curated by Faster Than Sound]. We are working on a new project, The Suffolk Symphony. Details below… Faster Than Sound presents The Suffolk...

Field www.field.nu Faster Than Sound]. We are working on a new project, The Suffolk Symphony. Details below… Faster Than Sound presents The Suffolk Symphony by Touch, featuring Philip Jeck, BJNilsen, Jon Wozencroft, Mike Harding and Philip Marshall. 8pm – 11pm, Saturday 22 August Hoffmann Building: Britten Studio and Jerwood Kiln Studio, Snape Tickets: £10.00 Box Office: +44 (0)1728 687110 Book tickets online Faster Than Sound bring more imaginative experiments with sound and image to the Snape Proms with The Suffolk Symphony, a specially commissioned residency and new work by leading sonic and visual production company Touch. Inspired by the historic coastline of Aldeburgh and its surrounding area including Aldeburgh Music's Snape Proms and its history, Touch will create a new audio-visual symphony from scratch, using only locally sourced sounds and images. Beginning on 16 August, Philip Jeck, BJNilsen, Jon Wozencroft, Philip Marshall and Mike Harding will go on a week-long treasure hunt to unearth old records, field recordings, home-made sounds and images to create a new multimedia Suffolk Symphony, culminating in its first performance on the 22 August. Following the offer of an Aldeburgh Residency by Faster Than Sound’s creative producer Joana Seguro, Mike Harding responded with the idea of creating a new multimedia work purely from locally sourced sound and image. Mike and BJNilsen went on an exploratory field trip in May to make initial field recordings which are being made into vinyl to be used in the performance, plus to kick start the project website www.thesuffolksymphony.net. The artists are already busy exchanging ideas in preparation for the residency in August, with Jeck drawing inspiration from the work of Benjamin Britten, especially his Simple Symphony, and Jon Wozencroft planning to describe the special place of Aldeburgh on film, shot in real time during the residency. Directed by Mike Harding with sound by Philip Jeck and BJNilsen and images by Jon Wozencroft, the whole week will be documented for an interactive website by Philip Marshall. The residency will feature workshops and presentations by Philip Marshall and Mike Harding, including interviews with the other artists and a Touch showcase, culminating in the performance which will take place in the recently converted industrial space of the Hoffmann Building. The Suffolk Symphony will be subsequently released through Touch. The interviews by Mike Harding during the residency will include a discussion with his partner Jon Wozencroft about his vision for Touch, now nearly 30 years old, and an assessment of the changes which have occurred in that period. Philip Jeck will discuss his work, particularly the method behind his live and recorded output, which eschews conventional instrumentation. BJNilsen assesses how field recordings have developed as source material for his work, and Philip Marshall describes the way artists communicate their ideas online and how this affects the relationship between them and their audience. Each interview lasts for one hour, including a 15 minute Q & A session, and dates and times will be shortly be announced via the website. www.thesuffolksymphony.net www.fasterthansound.com www.aldeburgh.co.uk Book tickets online]]> tag:www.philipjeck.com,2009://6.2207 2009-08-11T09:42:13Z 2009-11-02T16:14:40Z

Hortense Ellis - I Am Just A Girl [Studio One, 1979] - designer unknown The Wire...

Field www.field.nu The Wire]]> tag:www.philipjeck.com,2009://6.2091 2009-04-30T12:24:10Z 2009-04-30T12:29:28Z

7th May The Logen Theatre, Bergen, Norway 16th May Touch Presents... with The Gavin Bryars Ensemble, performing The Sinking of the Titanic at The Roundhouse, London 23rd May Spire St. Saviour's Church, Riga...

Field www.field.nu Spire St. Saviour's Church, Riga]]> tag:www.philipjeck.com,2009://6.1766 2009-01-26T15:14:07Z 2009-01-26T15:14:24Z

Touch # TO:56, 2002 CD - 7 tracks - 53:32 CD in digipak Artwork and photography by Jon Wozencroft The Wire (UK): With its acrobatic athleticism and penchant for charming gimmicks, in all likelihood HipHop will indefinitely dominate the field...

Field www.field.nu The Wire (UK): With its acrobatic athleticism and penchant for charming gimmicks, in all likelihood HipHop will indefinitely dominate the field of turntablism. Even record-spinning abstractionists like Christian Marclay and Martin Tetrault, who may not always share HipHop's necessity for the beat, put on flashy demonstrations that engage the machismo of technique, alongside their critically minded recombinations of cultural readymades. While Philip Jeck's performances, installations, and recordings have centred around his arsenal of turntables (at last count, he was up to 180 antique Dansette record players, though more normally he performs on two or three, and a minidisc recorder), he isn't terribly interested in the contemporary discourse of turntablism, preferring to coax a haunted impressionism with those tools. However as a calculating improvisor, he shares affinities with the turntable community. Once he is in control of the overall context of the music, he leaves much to the spontaneous reaction towards sound at any given moment. A typical Jeck composition moves at an incredibly lethargic pace through a series of looped drone tracks caught in the infinities of multiple locked grooves. As he prefers to use old records on his antique turntables, the inevitable surface noise crackles into gossamer rhythms of pulsating hiss. Occasionally, Jeck intercedes in his ghostly bricolage with a slowly rotated foreground element - a disembodied voice, a melody, or simply a fragment of non-specific sound - which spirals out of focus through a warm bath of delay. For almost ten years now, Jeck has been developing this methodology, building up to Stoke, his strongest work to date. Its opening passages are on a par with his Vinyl Coda series, with Jeck effortlessly transforming grizzled surface noise into languid atmosphere.But Stoke really gets going with the breathtakingly simple construction of Pax, upon which Jeck overlays an aerated Ambient wash with the time-crawling repetition of a single crescendo from an unknown female blues singer. By downpitching her voice from the intended 78 rpm to 16 rpm, he amplifies its emotional tenor by making her drag out her impassioned declarations of misery far longer than is humanly possibly. The effect is just beautiful. Philip Jeck has always been good, but Stoke makes him great. [Jim Haynes] This reissue is now available from the TouchShop]]> tag:www.philipjeck.com,2008://6.1707 2008-12-16T12:49:10Z 2008-12-17T14:53:29Z

Philip Jeck's Sand [Touch # TO:67, 2008] was voted No. 2 in The Wire's Top Albums of 2008 Pitchfork Media (USA) - reviewed in 2008: Music built from found sounds is fascinating because it violates a traditional tenet of...

Field www.field.nu Philip Jeck's Sand [Touch # TO:67, 2008] was voted No. 2 in The Wire's Top Albums of 2008 Pitchfork Media (USA) - reviewed in 2008: Music built from found sounds is fascinating because it violates a traditional tenet of creativity - namely, that the artifact must be a pure expression of the artist's will and talent. But it can seem purely academic if the results aren't engaging. The best process-based art moves us intellectually if we're aware of the concept, but still moves us emotionally if we aren't, and that's what Philip Jeck achieves with Sand. He manipulates, layers, and loops the dead spaces of vinyl - run-out grooves and scratches - and breathes them full of life. That's awesome, but you don't need to know it in order to feel the surging power of the "Fanfares" trilogy (which emanates from scraps of Aaron Copland's wartime anthem "Fanfare for the Common Man"), or to become entangled in the fine-woven web of "Shining". You could write a dissertation on Jeck's rehabilitation of lost and damaged bits of cultural information, or you could just get lost in his strange world - as flat and sprawling and complexly shifting as its title implies. [Brian Howe]]]> tag:www.philipjeck.com,2008://6.1541 2008-08-12T14:52:22Z 2008-08-12T15:07:38Z

POWER PLANT Liverpool, Calderstones Park 8 – 12 October 2008 Deep in the park, as dusk falls, old gramophones spin glittering sounds whilst clicking insects cast vast moving shadows. Haunting whistles rise and fall and luminous balloons breathe gentle...

Field www.field.nu POWER PLANT Liverpool, Calderstones Park 8 – 12 October 2008 Deep in the park, as dusk falls, old gramophones spin glittering sounds whilst clicking insects cast vast moving shadows. Haunting whistles rise and fall and luminous balloons breathe gentle sighs. A Victorian glasshouse shudders, and sparkling flowerbeds dance to their own tune…. For five nights, the Victorian leisure gardens of CalderstonesPark, Liverpool will be transformed into a bewitching nocturnal world with one of the largest audio visual installations ever to come to Liverpool. Presented by the Liverpool Culture Company as part of the 2008 European Capital of Culture programme, Power Plant takes over the Park for some magical botanical activities in which sound and light are used to create glitchy insects, dramatic weather, mechanical plants and the sound of the earth’s energy. The gardens and greenhouses will be transformed by 20 different installations, and audiences are invited to wander around this mysterious world. Light Insectsclustered 20 feet up in trees utter cicada like sounds, their beautiful moving shadows cast on the ground below. Weather balloons implanted with single note harmonicas, breathe out and re-inflate to conjure a natural organ. Bang, a loud pyrotechnic crack of thunder coincides with a brilliant blaze of lightning that cuts through the trees and bushes. A Kinetic Flowerbed of 150 dainty mechanical flowers spin their rainbow of colours in the EnglishGarden. At the centre of this special botanical world, the glasshouse becomes a slowly pulsating beacon of light, casting monstrous shadows of foliage and vegetation coupled by deep rumblings from light synthesisers that conjure the subterranean movements of the earth’s crust. Power Plant was originally commissioned by Oxford Contemporary Music together with University of Oxford Botanic Gardens. It has been created by Mark Anderson, Anne Bean, Jony Easterby, Kirsten Reynolds, Roguewave and Philip Jeck – artists working at the forefront of creativity The installations heighten the audience’s awareness of sound and light, our primal receptors on high alert in this night time setting. The project finds inventive ways to use technology, both old and new. Gas jets triggered via electronic sequencing manipulate sound and flame, other more tranquil installations send images of rippling water reflecting onto garden walls. Power Plant is part of Liverpool’s European Capital of Culture celebrations, programme which has been running throughout 2008. It is the first project that has taken place in CalderstonesPark. DATES: Wed 8 - Sun 12 October        LIVERPOOLCalderstonesPark, Menlove Avenue, Mossley Hill, L18 3JD 7.30-10pm 8 Oct: Tickets £3. Family ticket £9 9-12 Oct: Tickets £5 / £3 concs & in advance Family ticket £12 / £9 concs & in advance On sale from 1 September 2008 from www.liverpool08.com Notes: Family ticket: 2 adults + 2 children OR 1 adult + 3 children No concessionary advance discount. Audiences are advised to bring warm waterproof clothes. Produced by Simon Chattertonfor Contemporary Music Network Useful websites:                                                                               www.powerplant.org.uk www.cmntours.org.uk www.simonchatterton.co.uk For further press information please contact: Polly Eldridge / sound uk, P: 020 7375 0025, E: polly@sounduk.net, www.sounduk.net]]> tag:www.philipjeck.com,2008://6.1533 2008-08-11T16:19:44Z 2008-08-11T16:26:53Z

There is a feature on Philip Jeck in US magazine XLR8R, which can be read here...

Field www.field.nu here]]> tag:www.philipjeck.com,2008://6.1502 2008-07-07T18:15:31Z 2008-07-07T18:38:29Z

There is a feature on Philip Jeck in UK magazine plan b, which can be read here page one page two [right click to download]...

Field www.field.nu plan b, which can be read here page one page two [right click to download]]]> tag:www.philipjeck.com,2007://6.150 2007-12-31T12:49:05Z 2008-04-21T15:44:35Z

Fennesz/Jeck/Matthews - Amoroso Touch # TS01 7" vinyl only Due in the week beginning 10th March 2008 Side a: Fennesz/Matthews 3' 34" Side b Jeck/Matthews 3' 24" cut by Jason @ Transition artwork and photography by Jon Wozencroft Am`o`ro´so...

Field www.field.nu Fennesz/Jeck/Matthews - Amoroso Touch # TS01 7" vinyl only Due in the week beginning 10th March 2008 Side a: Fennesz/Matthews 3' 34" Side b Jeck/Matthews 3' 24" cut by Jason @ Transition artwork and photography by Jon Wozencroft Am`o`ro´so n. 1. A lover; a man enamored. adv. 1. (Mus.) In a soft, tender, amatory style. For more information on this series of Touch Sevens, 7" vinyl only releases, please visit the TouchSevens website Charles Matthews plays the Grand Organ in York Minster, during Spire Live [http://www.spire.org.uk] on 20th January 2007. This release is a homage to Arvo Pärt... Arvo Pärt is often identified with the school of minimalism and more specifically, that of "mystic minimalism" or "sacred minimalism". He is considered a pioneer of this style, along with contemporaries Henryk Górecki and John Tavener. About the players: Charles Matthews: "I felt you were pure music, not human flesh, music through time, music played from the Universe, without boundaries." [an audience member, July 2007] Born in 1966, Charles Matthews studied at the Royal College of Music, London, and was an organ scholar at Trinity College, Cambridge. His teachers have included Beryl Tichbon, Gwilym Isaac, David Pettit, Patricia Carroll, Nicholas Danby, Charles Spinks and Dr Richard Marlow. Charles pursues a varied career as pianist, organist, composer and teacher, performing and broadcasting for radio and television within the UK and internationally. He has won numerous awards, perhaps most notably the first prize in the 1999 Franz Liszt Memorial Competition in Budapest. His recordings have been issued by Olympia, Priory, Guild and Touch; he is the organist for the Touch project, Spire, which also includes Christian Fennesz and Philip Jeck. Christian Fennesz: Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. “Imagine the electric guitar severed from cliché and all of its physical limitations, shaping a bold new musical language.” - (City Newspaper, USA). His lush and luminant compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece. He lives and works in Vienna and Paris. Philip Jeck: Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early '80's and has made soundtracks and toured with many dance and theatre companies as we as well as his solo concert work. His best kown work "Vinyl Requiem" (with Lol Sargent): a performance for 180 '50's/'60's record players won Time Out Performance Award for 1993. He has also over the last few years returned to visual art making installations using from 6 to 80 record players including "Off The Record" for Sonic Boom at The Hayward Gallery, London [2000]. Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick. 7" vinyl was the quintessential format for popular music. Today, it is an undervalued and mostly promotional medium, used as a fetishistic signpost to a time of musical authenticity and a "healthy" popular culture. It might seem like another retrograde step to launch a vinyl series just as the download format threatens to dominate, and indeed there is an element of "the rear view mirror"... the generation of Touch artists who grew up with vinyl [and cassette] still feeling a strong emotional attachment to it. This series is more than that... an overtly critical, non-digital statement is supported by treatments of audio work which cannot be applied to digital formats - the sonic texture, the use of a locked groove, the A & the B and the additional dimension of the visual counterpoint. As for the aspect of audience participation, we choose not to specify the RPM on the label, encouraging the listener to experiment with playback options and personal preferences. An attempt to make music that works at both speeds. The front cover might actually be the back cover...
Philip Jeck is putting the finishing touches to his new CD for Touch in the next couple of weeks. The album should be released sometime in the Spring of 2008. Here are the details: Philip Jeck - Sand [Touch # TO:67] CD digipak Artwork and photography by Jon Wozencroft Mastered by Denis Blackham 7 tracks - 44:50 Track Listing: 1. Unveiled 2. Chime Again 3. Fanfares 4. Shining 5. Fanfares Forward 6. Residue {to listen, click on the title] 7. Fanfares Over "... the Day I first surmised the Horses' Heads Were toward Eternity" [from 'The Chariot' by Emily Dickinson] 'Sand' was recorded live in Holland and England in 2006/7 and edited in Liverpool January, 2008 using Fidelity record-players, Casio SK keyboards, Behringer mixer and sony mini-disc recorders. In memory of Phyllis May Jeck (1920-2008)
The vinyl LP, Suite, is already recorded and is due for release on Autofact/Touch [USA] at the same time. Here are the details: Philip Jeck - Suite [Touch # Tone 29] Side A 1. Press 2. Intro Roll Side B 1. Live With Errors 2. All That's Allowed 3. Chime, Chime Recorded at Hive, FACT, Liverpool on 25th October 2006 as part of Touch 25, live to a M-Audio Mictrotrack 24/96. Edited by Philip Jeck April 2007. Cut by Jason at Transition 14th May 2007 on a Neumann VSM 70]]>