“Tables Are Turned” (Composed by Bernhard Lang)
Performed by Philip Jeck and Alter Ego
MaerzMusik, Berlin at 20.00 hr on 22/03/2011
Tel: +49 (0) 30 254 88 0
Bold St., Liverpool
Thur 24th March – from 8pm – free entry
We’re pleased to announce the first HIVE session at Leaf starting on Thur 24 March. Free, themed and dj led, they offer a refreshing take on city centre listening from the outer limits. Quality guests and the occasional live act from across the electronic music spectrum join the HIVE residents and visual artists, all for free. For the first, we’ve asked Philip Jeck to dig into his crates and put together a dj set spanning the range of his influences. As someone who first became interested in the creative potential of vinyl after a sojourn in NYC in the golden era of the late seventies, we’re sure this will be unique and inspirational, a great way to kick off what is shaping up to be a pretty special run of guests.
On Thursday, Philip Jeck appears live at Liverpool’s the Bluecoat, with support from Ex-Easter Island Head and DJ Alextronic (Hive)
During the lead-up to Ted Riederer’s Never Records installation at the recent Liverpool Biennial, Mugstar, Hot Club de Paris, Philip Jeck and others were recorded live and cut direct to vinyl, capturing the heart and soul of the current Liverpool leftfield music scene. For this special event Jeck, renowned for his soaring soundscapes using predominantly with turntables and electronics, returns to the Bluecoat to create a unique composition from these records. Ex-Easter Island Head’s piece for mallet guitars opens the proceedings.
A collaboration between Samizdat and the Bluecoat as part of PRS for Music Foundation’s New Music Plus. North West scheme.
For further information and tickets: www.thebluecoat.org.uk
Announcing a special evening of performances at London’s Café Oto in December…
London Town’s finest tape-only label, The Tapeworm, presents its second night at Dalston’s Café Oto. Fine performances are to be expected from a splendid line-up of the label’s favourites.
Taking the train from Liverpool, just for you, the one and only Mr Philip Jeck. Flying red-eye from Brooklyn, Randy Gibson. Stretching their Oyster cards to the limits, London’s Zerocrop and Cathi Unsworth. From the other side of the planet we welcome New Zealand’s Adam Hayward. And playing the piano, Mr Andrew Poppy.
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. Most of Jeck’s audio work is released on Touch. Tonight for The Tapeworm, Jeck plays the Bass. Expect a performance of wall-destroying stature.
Andrew Poppy is a London based composer who makes acoustic and electronic music and has recordings on a number of labels including Touch, Crépuscule and Zang Tuum Tumb. Minimal classical patterns collide with the textures of experimental pop music in an unusual body of work that actively seeks different contexts. There are collaborations with Impact Theatre co-op, Psychic TV, Liverpool Philharmonic, Erasure, Nitzer Ebb, the Royal Opera House, Claudia Brücken and Bernardo Devlin. Since 1989 he has developed a collaborative partnership with visual and theatre artist Julia Bardsley. Andrew performs solo or with his ensemble, which recently completed UK tour dates with ‘…and the Shuffle of Things’. Last month Philip Marshall asked Andrew to make two short piano pieces for a sound installation in Utrecht, each based on only four notes. The first live performance of Number Crunch 1 and 2 will be at Café Oto. “Bewitching, beautifully crafted and highly addictive.” – The Wire. www.myspace.com/andrewpoppy
Cathi Unsworth is a writer and editor who lives and works in London. She is the author of three pop-cultural crime novels, Bad Penny Blues, The Singer and The Not Knowing, and the editor of the short story collection London Noir, all published by Serpent’s Tail. Cathi has written on music, film, art, fashion and culture for Sounds, Bizarre, BFI Flipside, Mojo and Nude, amongst many others. Her collaborator on this release is Pete Woodhead, an electronic composer who cut his musical teeth as part of O Yuki Conjugate and The Sons of Silence and is now best known for his soundtrack contribution to the hit British zombie movie Shaun of the Dead. Pete and Cathi previously collaborated on the Transmissions Series that are available for free download on www.cathiunsworth.co.uk and continue to conspire on new projects. Tonight, Cathi will be doing a special reading for you all: www.cathiunsworth.co.uk
Zerocrop is the pseudonym of London based musician Parker, an independent artist who has been releasing albums through the website www.zerocrop.com since 2000. The music is hypnotic mix of complex vocal melodies and spoken word sequences on unsettling themes, set against a rich backwash of pedal steel, guitars and electronics. Zerocrop has remixed, written songs for and performed with the incomparable Billie Ray Martin and regularly creates the show music for award winning milliner Justin Smith. Zerocrop’s top pop performance for The Tapeworm – Unleashed in the East will see him and his band bring to life these songs with an affectionate punch. www.zerocrop.com
Randy Gibson is a Brooklyn-based composer and a student of seminal minimalist La Monte Young. He works with structure, evolutionary compositional models, and improvisation to create enveloping and ritualistic works in just intonation. His tape for The Tapeworm is titled Analog Apparitions – a pair of 30-minute compositions designed specifically to be recorded and released on cassette tape. Gibson follows in the tradition of prime harmonic just intonation pioneered by Young in the 60’s. Apparitions of The Four Pillars, the underlying composition on this tape, explores the depth of the harmonic series through standard just intonation methods and the use of higher prime harmonic relationships. In the 18 hours of recordings layered onto the two sides of the cassette you can hear the mechanism of the tape itself, the evolution of improvisations over seven recording sessions, and the purity of sine waves in complex prime-harmonic relationships. Tonight Randy will recreate his tape using a just intonation toy organ and boomboxes. This work was funded in part by the Composer Assistance Program of the American Music Center. www.randy-gibson.com
On 4 September 2010, a 7.0-magnitude earthquake struck off New Zealand’s South Island. The epicentre was 55km (35 miles) north-west of Christchurch, at a depth of 12 km (7.5 miles). There was widespread damage to buildings and roads as well as power cuts. A state of emergency was later declared in Christchurch, New Zealand’s second largest city with a 386,000 population. Adam Hayward is director at South Island Dance Network and at The Body Festival of Dance and Physical Theatre. On 4 September 2010, Adam watched the earthquake destroy his home. Tonight at The Tapeworm – Unleashed in the East, Adam will talk about the event and its aftershocks…
Pools of Voices (installation)
At Phase 5, 15-21 Seel Street, Liverpool L1
18/09/10 to 02/10/10 14.00 – 18.00
Curated by No Longer Empty
Chime, chime… (film version)
at International Gallery, 34a Slater Street, Liverpool L1
18/09/10 to 02/10/10 12.00 – 18.00
Curated by High Tide
Timed to coincide and in partnership with the London Design Festival, the Anti-Design Festival is an initiative of Neville Brody, designer, Director of Research Studios and incoming Head of Communication Art & Design at the Royal College of Art, London.
Londonewcastle Project Space
28 Redchurch Street, London E2 7DP
18-26 September 2010
Exhibitions: 11am – 7pm
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.
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.
– Philip Jeck
– Rodrigo Constanzo and Angela Guyton
– Mary Oliver, Lois Klassen and Craig Vear
– Claire Marshall
– Paul Morris
– Matt Walch
Experiments End Lancaster University 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’.
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
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.
[pic: Mike Harding]
Philip Jeck, Invisible Bees
Tickets available here
Arctic Circle – The Resonance of Music with Water
Kings Place, 80 York Way, London NW1
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
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.
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 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.
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
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.
The Logen Theatre, Bergen, Norway
with The Gavin Bryars Ensemble, performing The Sinking of the Titanic at The Roundhouse, London
St. Saviour’s Church, Riga
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.
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
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
For further press information please contact:
Polly Eldridge / sound uk, P: 020 7375 0025, E: firstname.lastname@example.org, www.sounduk.net