A4, Bratislava (SK)
PRAHA, Brno (CZ)
Rhiz, Vienna (A)
Please email Touch for all enquiries – touch (at) touch33 (dot) net
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, and played with muscians/composers such as Gavin Bryars, Jah Wobble, Steve Lacy and David Sylvian as well as his solo concert work.
Double Vinyl + Download - 13 tracks
Barrow in Furness (open thy hand wide)
… bend the knee 1
… bend the knee 5
And Over Again
The Station View
Saint Pancras (the one that holds everything)
This album comes with a free download of Philip Jeck “Live in Caen”, recorded by Franck Dubois on 28th February 2015 at Impressions Multiples #4 (ésam Caen/Cherbourg) with thanks to Thierry Weyd.
“… and they sparkled like burnished brass”*
Out of the depths of our complaints, it could be all so simple. To be never fooled by the finesse of a long-yearned for solidity, but in the momentary aplomb of a sleepy walk threading through familiar streets we’d hum our way, alto, baritone and tenor toward some harmonious end. An effect like some wonderful recollection of one or other of those technicolour movies. Not real for sure, but if you are in the mood….
CD - 9 tracks
1. Pilot/Dark Blue Night
4. Dark Rehearsal
5. Thirtieth/Pilot Reprise
6. The All of Water
7. The Pilot (Among Our Shoals)
8. All That's Allowed (Released)
9. Chime, Chime (Re-rung)
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. 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.
CD - 7 tracks
3. Vienna Faults
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.