http://www.philipjeck.com/ 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. en Copyright 2010 Sat, 04 Sep 2010 19:34:39 +0000 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss Track Listing 1. Pilot/Dark Blue Night 8:47 2. Ark 4:21 3. Twentyninth 2:36 4. Dark Rehearsal 7:36 5. Thirtieth/Pilot Reprise 2:56 6. The All of Water 8:29 7. The Pilot (Among Our Shoals) 4:33 coda: 8. All That's Allowed (Released) 3:24 9. Chime, Chime (Re-rung) 7:34 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. Philip Jeck writes: "A version of "An Ark For The Listener" was first performed at Kings Place London on 24/02/2010. It is a meditation on verse 33 of "The Wreck of the Deutschland", Gerard Manley Hopkins poem about the drowning on December 7th 1875 of five Franciscan nuns exiled from Germany. This CD version was recorded at home in Liverpool and used extracts from live performances over the last 12 months. The "coda:" tracks are remixes of 2 pieces from "Suite: Live in Liverpool". "Chime, Chime (Re-rung)" was originally made for Musicworks magazine (#104, Summer 09) and "All That's Allowed (Released)" is previously unreleased. All tracks were made using Fidelity record-players, Casio SK1 keyboards, Sony mini-disc recorders, Behringer mixers, Ibanez bass guitar, Boss delay pedal and Zoom bass effects pedal." An Ark... is Jeck's 6th solo album for touch since 'Loopholes' in 1995. The Wire reckoned it was 'Stoke' (Touch, 2002) which 'made him great, but his body of work and his achingly brilliant live sets are rapidly defining him as one of our best artists, and his recent award from The Paul Hamlyn Foundation confirms him as such. The cover shows Mirosław Bałka's installation at the Tate Modern's Turbine Hall, "How It Is", April 2010. 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 known 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). In 2010 he won one of The Paul Hamlyn Foundation Awards for Composition. Buy Philip Jeck "An Ark for the Listener" in the TouchShop www.philipjeck.com]]> http://www.philipjeck.com/to81_philip_jeck_an_ark_for_the_listener.html http://www.philipjeck.com/to81_philip_jeck_an_ark_for_the_listener.html left Sat, 04 Sep 2010 19:34:39 +0000 www.antidesignfestival.com The Anti-Design Festival’s Performance Programme presents a panoply of experimental music, sound, moving image, spoken word, performance and digital practice by some of the most exciting artists working in the UK. During each night of the festival, specially curated evenings will range from Mark Moore (S'Express) on Saturday 18 September, a daring sub cosplay event with sounds and performance curated by Emily Owusu (Grand Cos Play Ball) on Saturday 25 September and Resonance FM guest curating an event exploring negative space and anti-matter on Tuesday 21 September. On Monday 20 September, Cecilia Wee presents an evening of exploring electro-magnetism, data and ownership, Thursday 23 September sees Jon Wozencroft curating new work by Touch artist Philip Jeck and on Friday 24 September the Obsessive Classification Disorder (masterminded by Yomi Ayeni) takes over the Salon to re-order expectations and understandings of narrative a nd semiotics in a tableaux of story-telling and music. Other nights will feature a lecture about what art will look like in 50 years time by visual artist Tom Badley, new performance by the ever-provocative Mark McGowan, subliminal music by Jennifer Walshe, Rorschach flags made by Peter Lewis and Makiko Nagaya (Redux Projects), stroboscopic noise machines from Ryan Jordan, and new interactive work testing belief by Steven Ounanian Performances will take place on a specially commissioned stage/interactive audio-visual installation by artists Charlesworth, Lewandowski & Mann, in collaboration with BBC R&D.]]> http://www.philipjeck.com/philip_jeck_live_at_the_antidesign_festival_london_september_23rd_2010.html http://www.philipjeck.com/philip_jeck_live_at_the_antidesign_festival_london_september_23rd_2010.html left Fri, 03 Sep 2010 07:04:03 +0000 Inception brings the trend for slow music to the big screen Composer Hans Zimmer's ultra-slow manipulation of an Edith Piaf song displays the beauty in bringing the BPM right down Christopher Nolan's Inception. Christopher Nolan's Inception. Photograph: Stephen Vaughan/Warner Bros The malevolent, booming horns that sound throughout Inception are one of the film's finest features. Their power lies not just in volume and repetition, but also in rebuilding part of the film's architecture, just as Ellen Page and Leonardo DiCaprio's characters rebuild the architecture in their dreams. Without giving away the plot, Edith Piaf's Non, Je Ne Regrette Rien plays a crucial role in linking Inception's real and dream worlds. Now it's emerged that Hans Zimmer, who composed the music, extrapolated his entire score from the Piaf song. In keeping with the atmosphere of blurred consciousness, Zimmer slows down the brass sounds to a somnambulant trudge. What was once human, defiant and romantic is now lurching, formidable and unstable. Zimmer does something that numerous artists have also recently realised – that slowing music down dissolves and recasts it. Games, the duo featuring Joel Ford and Oneohtrix Point Never's Daniel Lopatin, have been releasing mixtapes of slowed-down 80s hits over the past year. For Lopatin, who has railed against the often limited sonic palette of underground music, these tapes are proof that slowing down music dismissed as cheesy reveals its weirdness, beauty and potential. Chopped and screwed is a form of hip-hop from Houston that slows tracks down to a crawl. Perhaps the sweltering heat of Texas encourages this lethargy? The muggy clarity of the weed and cough-syrup highs sought on the scene also heighten the music's sensuality. As Scott Wright noted on this blog, chopped and screwed has been influential on "drag" artists, while mainstream rappers often use a few bars of a screwed, ultra-deep vocal to push their masculinity into the red, a fast-track to thuggishness. Meanwhile Ciara's recent return to the sound is canny; set against the uptempo European house beats of chart rap, her slowness thrills. As much as I love Zimmer's music for Inception, I wondered what Philip Jeck, the master of the musical subconscious, would have done with it. Jeck resurrects battered vinyl classics, slowing down and looping the likes of Aaron Copeland to create fragments of songs echoing across time and sleep. In a hyperactive digital world, slowed-down music pushes you back into your chair and demands you sit still; it forces you to consider the structures built and choices made. As with Inception, it casts light on a potential world where music sounds different and life runs in an unfamiliar gear. http://www.philipjeck.com/discussion_on_the_soundtrack_of_the_film_inception.html http://www.philipjeck.com/discussion_on_the_soundtrack_of_the_film_inception.html left Thu, 12 Aug 2010 10:26:33 +0000 An evening of experimental music and live art Barkers House Farm, South West Campus, Lancaster University 8 July 2010 19.30 – 23.00 To mark the end of its year-long Experimentality programme, the Institute for Advanced Studies presents an evening of turntablism, electroacoustic music, live painting, ambient soundscapes, performance art and vj-ing. Find out how experiments end. Optional buffet dinner. Featuring: - Philip Jeck - Rodrigo Constanzo and Angela Guyton - Mary Oliver, Lois Klassen and Craig Vear - Claire Marshall - smO - Paul Morris - Matt Walch Experiments End can be attended as a separate event, but is also part of the international conference The Experimental Society (8-9 July), organised by the IAS in collaboration with the Centre for the Economic and Social Aspects of Genomics and Lancaster Institute for the Contemporary Arts. £5 – event only – pay on door £20 – event with buffet dinner and wine – book online by 1 July by following ‘online store’ link here]]> http://www.philipjeck.com/experiments_end_lancaster_university_8th_july_2010.html http://www.philipjeck.com/experiments_end_lancaster_university_8th_july_2010.html left Sun, 04 Jul 2010 12:03:23 +0000 Volga, Rotterdam | 17:15 - 18:15 Philip Jeck (turntables, electronics). Philip Jeck once made an installation with 180 turntables. The 58-year-old British sound artist called this prize-winning project Vinyl Requiem. In a more intimate setting, a performance by Philip Jeck is equally intriguing. Contrary to light-fingered turntable artists from the American hip-hop scene, Jeck only needs two rickety portable record players and a tiny keyboard to bring his "plunder phonics" to life. Using all kinds of fragments from records, the Englishman builds up new compositions of which imperfection appears to be the intrinsic beauty. At the Festival, Jeck is on the stage together with the Norwegian artist Hild Sofie Tafjord. As the daughter of a tuba player, Tafjord inherited a fascination for brass instruments. Her specialism is the elegant French horn. On her debut album Kama, from 2007, the musician from Norway proves that she doesn't shrink from manipulating her improvised notes electronically. More info here]]> http://www.philipjeck.com/hild_sofie_tafjord_philip_jeck_north_sea_jazz_festival_11th_july_2010.html http://www.philipjeck.com/hild_sofie_tafjord_philip_jeck_north_sea_jazz_festival_11th_july_2010.html left Tue, 29 Jun 2010 12:41:09 +0000 All Time Low Presents: Oren Ambarchi Philip Jeck Elite Barbarian Plus DJs Graham Erickson and Alex Jako July 1st 2010 Doors 7.30pm Corsica Studios, 4/5 Elephant Road London SE17 1LB Tickets £8 in advance from http://www.wegottickets.com/http://www.wegottickets.com/event/82786 or £10 on the door. www.corsicastudios.com www.alltimelowproductions.com]]> http://www.philipjeck.com/philip_jeck_live_in_london_1st_july_2010.html http://www.philipjeck.com/philip_jeck_live_in_london_1st_july_2010.html left Wed, 16 Jun 2010 12:51:07 +0000 Cappella di Sant’Uberto, Torino Philip Jeck è un compositore, coreografo e artista multimediale di origine inglese. Dopo aver studiato arti visive al Dartington College of Arts a Devon in Inghilterra ha iniziato a esplorare i territori della musica elettronica nei primi anni Ottanta componendo colonne sonore per numerosi spettacoli teatrali e di danza. Artista tra i più avventurosi della scena del Regno Unito, con Il passare del tempo Jeck è diventato una figura di riferimento prima nel panorama europeo poi in quello mondiale raccogliendo consensi soprattutto in Giappone e negli Stati Uniti. Jeck ha definito un mondo sonoro dalla particolare fisionomia: straordinario manipolatore di suoni e musiche preesistenti, l’artista crea la musica usando frammenti dai vecchi dischi di vinile che colleziona con passione ed ha definito una musicalità riconoscibile per il flusso avvolgente ed ininterrotto. Il suo interesse per i giradischi ed i dischi lo ha portato a creare alcune installazioni di grande rilievo nel mondo dell’arte contemporanea, come “Vinyl Requiem”, per la quale erano utilizzati contemporaneamente 180 giradischi degli anni ’50 e ’60 (e che ha vinto il Premio Time Out Performance del 1993), come “Off The Record”, realizzata usando da 6 a 80 giradischi nell’ambito di Sonic Boom alla Hayward Gallery a Londra nel 2000. Parallelamente alle sue installazioni ha proseguito il cammino interessandosi ai delay per chitarra, alle tastiere elettroniche ed ai giradischi approdando ad una musica visionaria ed onirica, in cui disegna con i suoni creazioni che si materializzano all’improvviso, che coinvolgono e spiazzano il pubblico dei suoi concerti. Dal vivo Jeck agisce come un artista visivo, plasmando i suoni in diretta versando colla sulla superficie dei dischi di vinile che utilizza, creando sequenze di loop, sussurri melodici infrante da percussioni violente.]]> http://www.philipjeck.com/philip_jeck_live_in_turin_22nd_may_2010.html http://www.philipjeck.com/philip_jeck_live_in_turin_22nd_may_2010.html left Tue, 18 May 2010 11:59:28 +0000 [pic: Mike Harding] GRAILS Philip Jeck, Invisible Bees Tickets available here]]> http://www.philipjeck.com/philip_jeck_live_in_london_the_luminaire_11th_may_2010.html http://www.philipjeck.com/philip_jeck_live_in_london_the_luminaire_11th_may_2010.html left Wed, 05 May 2010 10:12:57 +0000 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]]> http://www.philipjeck.com/arctic_circle_the_resonance.html http://www.philipjeck.com/arctic_circle_the_resonance.html left Thu, 14 Jan 2010 15:02:18 +0000 © Dave Knapik]]> http://www.philipjeck.com/photos_from_atmospheres_3.html http://www.philipjeck.com/photos_from_atmospheres_3.html left Tue, 08 Dec 2009 14:32:46 +0000 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 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]]> http://www.philipjeck.com/philip_jeck_wins_paul_hamlyn_foundation_award_for_composers.html http://www.philipjeck.com/philip_jeck_wins_paul_hamlyn_foundation_award_for_composers.html left Mon, 09 Nov 2009 19:50:08 +0000 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...]]> http://www.philipjeck.com/the_ashgate_research_companion_to_experimental_music.html http://www.philipjeck.com/the_ashgate_research_companion_to_experimental_music.html left Mon, 21 Sep 2009 16:05:36 +0000 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.]]> http://www.philipjeck.com/september_2009_live_dates.html http://www.philipjeck.com/september_2009_live_dates.html left Wed, 02 Sep 2009 13:12:07 +0000 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.]]> http://www.philipjeck.com/the_decayed_loops_of_jeck_and_basinski.html http://www.philipjeck.com/the_decayed_loops_of_jeck_and_basinski.html left Thu, 27 Aug 2009 15:25:03 +0000 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]]> http://www.philipjeck.com/the_suffolk_symphony_august_22nd_2009.html http://www.philipjeck.com/the_suffolk_symphony_august_22nd_2009.html left Tue, 11 Aug 2009 10:44:55 +0000