***THIS CONCERT HAS BEEN POSTPONED. WE WILL LET YOU KNOW THE REARRANGED DATE***
***THIS CONCERT HAS BEEN POSTPONED. WE WILL LET YOU KNOW THE REARRANGED DATE***
Philip Jeck + Avsluta
Concert with film makers Michaela Grill and Karl Limieux
performing in Montreal and Philip Jeck in Liverpool.
Philip Jeck / Michaela Grill / Karl Lemieux
June 5th 2021
0:30 (Montreal Time)
SUONI PER IL POPOLO
Philip Jeck – Spool, the very first cassette released by The Tapeworm in 2013, is now available digitally as part of a new series, DAT – Digital Audio Tapeworm – is launching on 12th February 2021 on Bandcamp and Spool is available to pre-order
TTW#01 – Philip Jeck – Spool
Edition #1: cassette only – limited edition of 250 copies.
Edition #2: cassette only – at the request of Philip Jeck, a limited edition of 100 copies only, to celebrate “The Night of the Long Worms”, Café Oto, 19.xi.09. Different inlay design and cassette shell to the first edition.
Edition #3: digital only
PRE-ORDER ON BANDCAMP
A1: A4.30 – 4m30s
A2: D4.48 – 4m36s
B1: D1.20 – 4m42s
B2. A7.87 – 4m34s
We are really chuffed to have Philip Jeck as our first release! Recorded in June 2009, at home in Liverpool. On “Spool”, Jeck eschews his usual prepared vinyl technique, instead playing bass guitar through various effects boxes.
“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.
20+ new and exclusive tracks recorded by Touch artists. A photographic counterpoint,
the view from Hampstead Heath during the London lockdown. Touch: Isolation is a subscription project that will evolve over the coming weeks. Click here to subscribe.
A time to support independent music while it still exists!
“Please keep your distance, the trail leads from here…”
The cancellation of gigs and festivals has already severely impacted our artists creatively and financially. In addition it has denied you, our audience, the opportunity to see them play and support them. The notion of ‘independent music’ might, in effect, be pushed deeper into the self-isolation mode it is already struggling to break free from. We don’t need studios to the same extent, but we do need a stage, a physical reference and if not, a mental space with which to question the drive to online existence.
We set out to respond to these challenging times in a creative and helpful way. The idea is to present Touch: Isolation whereby a new exclusive track from one of our artists, each with a bespoke photograph/cover image, is presented on a regular basis over the coming weeks. All the income received is collected from your subscriptions and put in a kitty, the proceeds of which are then divided up between the contributing artists.
These new and exclusive interventions will include works by Oren Ambarchi, Richard Chartier, ELEH, farmersmanual, Fennesz, fennesz sakamoto, Bana Haffar, Howlround, Philip Jeck, Bethan Kellough, Daniel Menche, Anthony Moore, Yann Novak, Zachary Paul, Claire M Singer, Geneva Skeen, UnicaZürn, Mark Van Hoen, CM von Hausswolff, Chris Watson, Jana Winderen and others to be confirmed – all expertly mastered by Denis Blackham.
We invite you to take this unique opportunity to support the artists, without whom there would be no alternative to corporate art… support the industries which realise the artists’ creation – the uncredited producers, designers, software developers, distributors, vinyl cutters, mastering engineers, friends and family etc., who all symbiotically depend on the other to bring their works to fruition…
The subscription costs £20 for 20 (or more) tracks – please support the artists by investing in the Touch: Isolation project, and expect surprises – good ones for a change.
Social distancing. Actual space. If you can get out, you have to get out. Escape velocity – from Brexit, then somehow prevent institutional meltdown? The UK shows the way, in a method that beggars belief.
The photographs were taken on Hampstead Heath during the early days of the UK/London lockdown, 25 March 2020, primarily in West Heath and the area around Golders Hill whose open space minimises the problems of social distancing. The weather, being superb after weeks of high winds and heavy rain, seemed a metaphor for regeneration and recovery, with the trees coming into bloom – in defiance of the scene we witnessed 33 years earlier after the Great Storm of October 1987 when, in the days that followed, the Heath looked like an arboreal graveyard.
The objective is to find a sense of quiet celebration, to look at the balance between the detail and the scaling force of open spaces. Let’s hope they can remain open.
To make 20 (or more) record covers in less than a week for sound and music we had yet to hear, and to then match the photography to each artist’s contribution… If this seems somewhat in the style of the children’s game, ‘Pin the tail on the donkey’, then perhaps that’s more apt than pretending we know how everything fits together at this juncture.
This might also be seen an opportunity to give an early documentation to the mental state of 2020, remembering the year 2000 and the threat of the ‘millennium bug’, this may well become known as the year when x melted into y, to avoid z.
Roughly a dozen years ago, life went broadband. Today we see our reliance on digital systems like never before.
‘As a dwindling member of the generation that lived through and served in the Second World War I think in some ways this is much worse. It was possible to live in a country area and apart from rationing see little of the war. Bombing was spasmodic and haphazard, and our defences were really good. After a year, there was very little chance of an invasion and much of life – sport, theatres and radio, continued as before. Restaurants and hotels remained largely open, rationed according to turnover.’ David John Harding, b. 1925.
Esoteric German musician and composer Manuel Göttsching performs his 1976 Ash Ra Tempel record New Age of Earth for the first time ever in its entirety.
As the leader of the groups Ash Ra Tempel and Ashra in the 1970s and 80s, as well as solo, Manuel Göttsching’s experimental style has been hugely influential worldwide. His extensive body of work traverses krautrock, electronic, ambient, new age, minimalism, psychedelic rock and experimental.
New Age of Earth has been ranked among the greatest ambient albums of all time. This is space music: clean, crisp electronics awash with dreamy synths that feels like floating through a slowly shifting atmosphere as the melodies gently unfurl.
Presented by RE-TEXTURED, a multi venue, multi-sensory festival for London and the UK. The festival combines experimental electronic music, modernist and industrial architecture and innovative lighting installations for an arresting visual and sonic experience.
Multimedia composer Philip Jeck opens the show.
Gavin Bryars’ The Sinking of the Titanic first materialised in 1969 in the form of sketches and text – the musical equivalent of conceptual art – exploring the now well-known tragedy of the ‘unsinkable’ ship. Bryars’ initial inspiration came from a report that the ship’s band was playing a hymn as it went down on 14 April 1912. The ship’s junior radio operator reported that the band never stopped playing, and the piece primarily poses the question of what happened to the music as it was submerged in the ocean.
It wasn’t until 1972 that Bryars created a performance version, which has subsequently been heard around the world. This special production includes archival film images cued to live music by artists Bill Morrison and Laurie Olinder, and vinyl-based samples by turntablist Philip Jeck. The result is a poignant and direct work that still resonates 50 years on.
First performance: Music Now Ensemble conducted by Gavin Bryars, December 1972, Queen Elizabeth Hall, London
Watch the documentary ‘Sounds for The Sinking of the Titanic’.
On Sunday 29 September, The Tapeworm celebrates its tenth birthday at Cafe OTO — debuting his ‘Devotional Songs for Spacemen 3 in the Style of Love Inc.’, Jay Glass Dubs will be playing live. Philip Jeck x Jana Winderen will perform as a duo for the first time ever. Splendid saxophonist Laura Agnusdei premieres her forthcoming album on The Wormhole, ‘Laurisilva’. Marta de Pascalis will blow your mind, while Stefan Goldmann is gonna go all acousmatic. Simon Fisher Turner is playing piano and life-sounds. The interim minstrel will be Zerocrop.
FIRST COLLABORATION WITH JANA WINDEREN EVER!!!
Philip Jeck studied visual arts at Dartington College of Arts in the 1970’s and has been creating sound with record-players since the early 80’s. He has worked with many dance and theatre companies and played with musicians/composers such as Jah Wobble, Steve Lacy, Gavin Bryars, Jaki Liebezeit, David Sylvian, Sidsel Endresen and Bernhard Lang.
Bill Thompson is a video and sound artist living in the UK. He is a self-described throwback to the 60s and enjoys breaking things to hear what they sound like.
Mark Van Hoen (born 1966, London, England) is an electronic music composer and producer.. He has released seminal and influential recordings under his own name as
well as Locust, in additional to a multitude of collaborations with other artists. Pitchfork said, “Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre’s glitch and Boards of Canada’s pastoral IDM.” His relationship with Touch stretches back over 25 years and his recent release “Invisible Threads” has been universally praised, and shows a new approach in a spectral, submersive, almost neo-Classical composition style.
Jana Winderen is an artist educated in Fine Art at Goldsmiths, University of London
with a background in mathematics, chemistry and fish ecology from the University of Oslo. Jana focuses her work around audio environments and ecosystems which are hard
for humans to access, both physically and aurally.
eine audiovisuelle Performance an der Schnittstelle zwischen analog und digital
Wien: VIS Vienna Shorts Festival
Hamburgerstraße 18, 1050 Wien,
Sa, 1. Juni 2019
Innsbruck: Heart of Noise Festival
Haus der Musik
Universitätsstraße 1, 6020 Innsbruck
Sa, 7. Juni 2019
Organ Reframed: Visions in Meditation
12th October, Union Chapel, London
Doors: 1830 Book here
A special screening of Visions in Meditation by Stan Brakhage with new works composed and performed by Philip Jeck, Sarah Davachi and Dark star plus James McVinnie, London Contemporary Orchestra
Visions in meditation is a culmination of many of Brakhage’s ideas and techniques. Across four films he explores the open landscapes of North America, its open vistas, makeshift shelters and desert landscapes. He also explores autobiographical themes and a non-hierarchical view of mankind in the world. Films one, two and four will be screened in silence as intended each followed by one of our new commissions written in response. The third film will be screened with its original electronic score by Rick Corrigan.
The three artists (with Sarah Davachi and Dark star plus James McVinnie) will each bring their own unique voice to the evening:
Philip Jeck studied visual arts at Dartington College of Arts in the 1970’s and has been creating sound with record-players since the early 80’s. He has released 11 solo albums, including the most recent “Cardinal”, a double vinyl release on Touch and his 2008 record “Sand” which was second in The Wire’s top 50 albums of the year.
Philip also still works as a visual artist, usually incorporating sound and has shown installations at The Bluecoat, Liverpool, Hayward Gallery, London, The Hamburger Bahnhof Gallery, Berlin, ZKM in Karlsruhe and The Shanghai and Liverpool Bienalles. He won the Paul Hamlyn Foundation Award for Composers 2009.
“…The impact Jeck makes with his limited means is hugely, billowingly poignant … it evokes a simultaneous sense of persistence and decay, both a profound sadness and a sense of joy.” – The Wire
Kuroshio – Philip Jeck with Karl Lemieux and Michaela Grill
Tuesday, June 12, at 21.30
Teatro Franco Parenti, Milan.
Kuroshio – Philip Jeck with Karl Lemieux and Michaela Grill
5th Feb 2018, 8:00pm
The Arts Centre
Edge Hill University
St Helens Road
Philip Jeck and Jonathan Raisin are revisiting the BBC commission “The Long Wave” previously performed at The Music Room, Philharmonic Hall last year and presenting a new piece they have been working on this year.
76pp full colour book + CD
33 tracks – 78:59
Limited edition of 1000
Release date: 11th December 2017
Into the Open
Mika Vainio – Behind the Radiators
AER – Just Before Dawn
Bethan Kellough – Twelve
Wire – A Year A Second [For BCG]
London in a Week
Carl Michael Von Hausswolff – Sine Missing One
Chris Watson – Deepcar
Jana Winderen – Bronx Tunnel
The Magical Land of the North
Claire M Singer – Storr
Hildur Gudnadottir – Death 200AD
Three 20 – Four Twelve
Philip Jeck – Deed of Gift
Walking on Water
Simon Scott – Storm of the Fens
Eleh – Overt One
The Love Train
Russell Haswell – Demons
Heitor Alvelos – Expectant
I’m a Schoolteacher on Holiday
Johann Johannsson – Mingyun
Mark Van Hoen – Prescient
Fennesz – Paint It Black (remastered)
Sohrab – JV Dream
It’s Enough to Make You Weep
Strafe FR – Virgin
Before The Sea @ Falasarna
Jim O’Rourke – Despite The Water Supply
Situation Stabilised / BJ Nilsen – Atom Mother
Peter Rehberg – Cinecom
Gateway to the Garden
Oren Ambarchi – Testify
The Sound of Eleven
In a 24/7 world there is no greater challenge than “to be in command of one’s own time”. Is it true that the ability to download anything, at any moment, constitutes freedom? Has the ‘value’ of music, art and design been stripped bare? “I Google, therefore I am”…
Touch MOVEMENTS has been compiled over the course of 3 years. It is a response to many requests for Touch to publish a fuller account of Jon Wozencroft’s photography for the cover art of the project. The book follows the music, which was compiled step-by-step, like a jigsaw – there was not an “open call” to the artists, rather a sequential development which gives the CD a special narrative quality. And since our last Touch 30 compilation in 2012, the accuracy of the music has grown and rises to the challenge of what sound can do to transform perceptions about the immediate emotion of musical work and its more difficult, longer term evolution.
Following Touch Folio 001 in 2015, this series is a dedication to finding new ways of audiovisual publishing, somewhere between the twin peaks of a jewel-cased CD and a lavish box-set. The two elements of sound and the visual work in parallel to create the idea of an “Ear-book”, whose interdependency reveals itself over time, and allows the richest of listening and viewing experiences. The music and the photography is fully annotated, alongside a rarely-seen manifesto by the Surrealist film-maker Jan Švankmajer which celebrates the spirit of the creative act.
On the 18th November, 5pm at the Huddersfield New Music Festival
I am playing live with Michaela Grill, a video artist from Austria
and Karl Limieux, an analogue film maker from Canada both projecting
and manipulating their work live.
we are also at Cafe Oto, London on the 20th November
and on the 22nd November, 9pm in The Box at FACT, Liverpool
It’s worth booking if you are attending as The Box has a limited capacity.
And on the 30th November, 7.30pm at The Capstone Theatre, Liverpool L6
I am playing some pieces with the wonderful Merseyside Improvisers Orchestra.
CD and download – 1 track
Release date: 22nd September 2017
Artwork and photography by Jon Wozencroft
Recorded and mastered by Jeff Ardron of St. Austral Sound
The 6th in the series of limited edition compact disc live recordings (after Thomas Köner & Jana Winderen, Simon Scott, Bethan Kellough, Yann Novak, Robert Crouch) brings Philip Jeck live at Iklectik, London.
Philip Jeck studied visual arts at Dartington College of Arts in the 1970’s and has been creating sound with record-players since the early 80’s. He has worked with many dance and theatre companies and played with muscians/composers such as Jah Wobble, Steve Lacy, Gavin Bryars, Jaki Liebezeit, David Sylvian, Sidsel Endresen and Bernhard Lang.
He has released 11 solo albums, the most recent “Cardinal”, a double vinyl release on Touch. “Suite”, another vinyl-only release, won a Distinction at The Prix Ars Electronica, and a cassette release on The Tapeworm, “Spool”, playing only bass guitar. His CD “Sand” (2008) was 2nd in The Wire’s top 50 of the year. His largest work made with Lol Sargent, “Vinyl Requiem” was for 180 record-players, 9 slide-projectors and 2 16mm movie-projectors. It received a Time Out Performance Award. Vinyl Coda I-III, a commission from Bavarian Radio in 1999 won the Karl Sczuka Foderpreis for Radio Art.
Philip also still works as a visual artist, usually incorporating sound and has shown installations at The Bluecoat, Liverpool, Hayward Gallery, London, The Hamburger Bahnhof Gallery, Berlin, ZKM in Karlsruhe and The Shanghai and Liverpool Bienalles.
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.
He has toured in an Opera North production playing live to the silent movie Pandora’s Box (composed by Hildur Gudnadottir and Johann Johannson).He has also worked again with Gavin Bryars on a composition “Pneuma” for a ballet choreographed by Carolyn Carlson for The Opera de Bordeaux and has recently made and performed the sound for “The Ballad of Ray & Julie” at the Everyman Theatre, Liverpool.