SUONI PER IL POPOLO Festival Montreal, Canada
Thursday, June 12, 2014 Sala Rossa 13$/15$ 20h30
Austrian video artist Michaela Grill together with Canadian filmmaker Karl Lemieux and British turntablist Philip Jeck, will present a unique and improvised audio-visual performance in which image and sound, analog and digital elements are synergistically interwoven.
michaela grill: laptop
philip jeck: turntables
karl lemieux: 16mm projectors
The Detroit Project (Bochum, Ruhr, Germany)
20:00-21.00. 15th, 16th and 17th May
at Turbinehalle, Jahrhunderthalle, Bochum, Germany
Heart Of Noise Festival
Music / Sunday, 17 November 2013 – 5:00pm / Hall Two
The legendary Norwegian vocalist Sidsel Endresen met revered British turntablist Philip Jeck at the Punkt Festival in Norway in 2011. In 2012 they performed together as improvisers for the first time in Oslo in the conexions series. This show brings Scene Norway 2 to an exciting conclusion.
Presented in collaboration with conexions.
‘To watch a woman sitting on a stool and share an […] unfathomable technique, with a voice which is warm yet dangerous, appealing yet untouchable is an experience we don’t find anywhere else.’ Fiona Talkington
Curated by Fiona Talkington and part of EFG London Jazz Festival Kings Place Residency
Thursday, March 14th, 21.00, Kunsthaus Graz, Space 04
The Austrian video artist Michaela Grill, together with Canadian filmmaker Karl Lemieux and British turntablist Philip Jeck, will present an audio-visual performance: a unique and improvised live-interaction in which image and sound, analog and digital elements are synergistically interwoven.
Michaela Grill: laptop
Philip Jeck: turntables
Karl Lemieux: 16mm projectors
FENNESZ SHOWCASES NEW MATERIAL • MASTERCLASS IN SOUND TECHNOLOGY AND DIGITAL MUSIC • PETER SAVILLE NAVIGATES THE BRIDGE BETWEEN DESIGN AND FINE ART • BRUCE GILBERT READING & MUCH MORE…
“SOME KIND OF WOODSTOCK WHERE YOU WOULD LEAST EXPECT IT…”
A two-day festival celebrating 30 years of Touch, with performances, installations and displays, and a full programme of workshops and masterclasses in design and music, recording, mastering and the digital realm. The full programme is now available to read below.
Venue: Beaconsfield, 22 Newport St, Vauxhall, London, SE11 6AY
Dates: 5-6 December 2012
The Festival Pass entitles you to access all events at this festival and is now onsale here:
Buy the Festival Pass in the TouchShop
Buy your ticket for 5th December 2012 (programme below)
Buy your ticket for 6th December 2012 (programme below)
Day tickets will be available on the door for £25 per night. Call on the day on 07958 984703 if you need to check on availability before you travel.
Atmospheres 4 – Touch.30 at Beaconsfield is the main UK event in a year-round programme of activities celebrating 30 years of existence.
Atmospheres 4 – Touch.30 at Beaconsfield is a two-day festival with performances, installations and displays, and a full programme of workshops and masterclasses. The Festival will explore all aspects of Touch: the music; the distinctive and influential design and photography; the process of recording and mastering; and the opportunities of the digital realm.
Participation in the event will extend well beyond Touch artists and creative team into the hinterland around the label: academics, industry professionals, other ground breaking music organisations etc.
Atmospheres will be curated by two of Touch’s founders and the current creative team, Mike Harding and Jon Wozencroft, and produced by them with along with Touch’s experienced digital and live production team already responsible this year for events in the UK, Germany, Belgium, USA and elsewhere detailed here.
Day One – Wednesday 5th December 2012
Afternoon events, 2pm-6pm:
• 2pm: Jon Wozencroft talks about the history of Touch, “Through the Digital Glass”
• 2:30pm: Denis Blackham (Skye Mastering) and Christian Fennesz on mastering for digital manufacture and the demands of the “Venice” project
• 3pm: “When did sound become music?” Sonic intervention from Panasonic.
Chaired by John Kieffer: Denis Blackham, Jason (Transition Mastering Studios) and Jon Wozencroft, a panel on digital and analogue sound, and how this determines listening outcomes
Sonic intervention from Ryoji Ikeda
• 4:15pm approx. Edwin Pouncey discusses his record collection…
• 4:30pm: Chaired by Tony Myatt (University of Surrey): Mike Harding, Seb Jouan (Aecom Acoustic Design & Arts & Culture) on multi-channel with Hildur Gudnadottir. This session reflects upon hi-audio formats, a specific example, and their future
(Followed by questions)
Screening Situations (upstairs), 6pm-7pm
• Coda-plus 47 (audio by Fennesz & Ryoji Ikeda)
• Liquid Music (audio by Fennesz)
Evening Performances, 8pm-11pm
• Hildur Gudnadottir – Leyfɗu Ljósinu (Beaconsfield version)
• audio intervention by David Toop, a presentation of “Yanomamo Shamanism”, released on ‘Touch Travel’ [T4] in 1984.
• Philip Jeck
• People Like Us – 4′ 33″
• audio intervention by BJNilsen, who plays a new piece recorded outside the School of Hygiene and Tropical Medicine, London, “The cackle of dogs and laughter of death”.
• Playback of a surround-sound rendition of his Touch.30 piece “Brussels Nord” by Chris Watson (in absentia)
Day Two – Thursday 6th December 2012
Afternoon events, 2pm-6pm:
• 2pm: Mike Harding introduces Touch’s digital presence on the web with Philip Marshall (websites) & Tim Medcalf (iOS devices) followed by at
• 2:45pm: Paul Wilson & Cheryl Tipp from The British Library on the TouchRadio archive
• 3pm: Jon Wozencroft & Garry Mouat – “Bromides and Spray Mount” – Touch design in the early years
• 3:45pm: Design Seminar by Jon Wozencroft – How Touch has responded to changing formats and download culture
•: 4:30pm Jon Wozencroft & Peter Saville discuss their parallel experience of visual culture, and the movement of graphic design to the art world (Followed by questions)
Screening Situations (upstairs), 6pm-7:15pm
• The Whitstable Symphony (audio by BJNilsen)
• The Suffolk Symphony (audio by Philip Jeck & BJNilsen)
Evening Performances, 8pm-11pm
• Thomas Köner
• followed by an audio intervention by Bruce Gilbert – “Sliding off the World”
• CM von Hausswolff
• Jon Wozencroft introduces Jon Savage’s and his pirate broadcast for Network 21 in 1987
• Biosphere – transfiguring Arnold Schoenberg’s “Verklärte Nacht”
Bar area: audio interventions by Simon Fisher Turner and others…
In the Bar: Photography by Jon Wozencroft: The Listening Eye
Dir. Georg Wilhelm Pabst, Germany 1929, 133 mins. Cert PG
Silent film with a new live score
Composed and performed by Jóhann Jóhannsson and Hildur Gudnadóttir… “…at that time a dangerously shocking film. It still remains an intensely sexy one.” [The Guardian]
“Supremely evocative compositions” [BBC music]
GW Pabst’s 1929 silent film follows the rise and fall of the captivating, amoral young prostitute Lulu and her various ill-fated relationships, brought to life by the inimitable Louise Brooks.
Part of an international renaissance of silent film, this special screening sees award-winning Icelandic composer Jóhann Jóhannsson (Fordlandia), cellist and composer Hildur Gudnadóttir (Múm/Throbbing Gristle), and turntablist Philip Jeck combine forces.
The brand new live soundtrack plays with the film’s volatile energy, Weimar-era recordings and the iconic figure of Louise Brooks.
Show 1: Islington Assembly Hall, London
Show 2: Howard Assembly Room, Leeds
Show 3: RNCM, Manchester
Show 4: Warwick Arts Centre, Warwick
Vinyl Requiem, Philip Jeck’s award-winning installation piece from 1993, celebrates its 20th anniversary next year.
An edited version of the 1993 UK premier at the Union Chapel, London. Winner of a Time Out Performance Award, this was an 80 minute sound and vision experience event I co-created with sound artist / composer Philip Jeck. Devised as a celebratory marker in time to the demise of the main stream production and use of the vinyl ‘record’ as the ‘CD’ began to take over… ‘download’ was not yet in the public’s audio vocabulary.
In September 2012 Touch in collaboration with ISSUE Project Room will present a series of events in Manhattan and Brooklyn (or across New York) celebrating the publisher’s 30th anniversary. Since its first release in 1982, Touch has created sonic and visual productions that combine innovation with a level of care and attention that has made it the most enduring of any independent music company of its time. The label has presented a wide range of artists from New Order to Thomas Köner, and now has a strong focus on artists such as Fennesz, Chris Watson, Philip Jeck, Jana Winderen, Hildur Gudnadottir, Oren Ambarchi and Biosphere.
How to buy tickets:
Festival pass includes admission to the following events (there will also be various afternoon events included in the price – to be announced soon):
Thu, September 13, 2012 8:00pm
Philip Jeck & Ted Riederer + Ken Montgomery at Our Lady of Lebanon – 113 Remsen Street, Brooklyn, NY 11201
Fri, September 14, 2012 8:00pm
Eleh + Lary 7 at Our Lady of Lebanon – 113 Remsen Street, Brooklyn, NY 11201
Sat, September 15, 2012 8:00pm
Chris Watson* & Marcus Davidson – “The Bee Symphony” & the world premier of the second part of the trilogy “Sea Polyphonies” at Our Lady of Lebanon – 113 Remsen Street, Brooklyn, NY 11201
[*unfortunately Chris Watson is unable to attend]
Door Times : 8pm
Tickets: £8 adv / £10 on the door
Elliott Sharp is a composer, multi-instrumentalist, and producer and central figure in the avant-garde music scene in New York City for over thirty years. He’s played OTO a few times before and this one promises something different but equally enchanting as he pairs up with Philip Jeck on record players and keyboards.
We have 40 free tickets available in the TouchShop for:
May 3rd Touch.30 live at Kingston University Improvisation and Digital Arts Festival
Market House, Kingston Upon Thames, Surrey UK
1500-1700 Touch Seminar: Mike Harding chairs a panel with the artists
2000-2200 Touch.30 Live
7.00pm-9.30pm (Installation by Marcus Davidson from 6.00pm)
Insight with Scott McMillan (The Liminal), Charles Matthews and Mike Harding
Programme to include:
Charles Camilleri – Sonata Semplice
JS Bach – Komm, Heiliger Geist
Ligeti – Harmonies
Diana Burrell – Lauds
Arvo Pärt – Pari Intervallo
Marcus Davidson – The Conscious Sky
You can book tickets here
Tickets: £12 unreserved/£5 Student tickets (further concessions available)
Series Tickets Offers: Discounts available when booking three or more concerts
From its earliest inception as the Hydraulis to the latest in organ technology, the organ has had incredible influence on the history of music and sound. Spire celebrates this ‘Emperor of Instruments’ with live performances for organ, electronics, piano and voice, contrasting digital and analogue to create a rich sonic journey unique to each performance location. See Spire in Spitalfields for the first time, visiting St Botolph without Aldgate and its newly restored Harris organ.
You can see a film of Philip Jeck performing live at Altmusic, May 23rd 2008 here
“I’d been reading The Wire casually for years before I actually got around to hearing Philip Jeck’s music (who’s name-checked in every issue). When I did finally hear it, I was blown away by its visceral aspects. Jeck’s turntablism can be as menacing as Wolf Eyes or as soothing as Popol Vuh, sometimes within the same piece. In terms of sampling, Jeck rarely borrows a whole melody or phrase; instead processing and breaking his source material down into its elemental form—basic building blocks for composition. And perhaps more than any DJ-centric genre, Jeck’s music could be the ultimate example of vinyl fetishism, with the actual music pressed in the grooves at times being less important than the crackles and noises of the wax itself. I guess Christian Marclay is usually credited with bringing turntablism to the avant garde, but it’s Jeck’s music that brings the, well, music.”
The resurgence of vinyl in recent years is a phenomenon which has not gone unnoticed; as CD declines sharply, its audio limitations exposed not only by advances in other technologies, but also by the myths propagated at the inception of digital exposed, so artists explore and demand other formats to express their work. Although a business model is still some way off the traditional artist » label » distribution » shop paradigm, it is clear this is being radically overhauled and replaced by online sales platforms set up by the artists themselves. But vinyl seems to have escaped this process, and continues to grow. Why is that?
ZKM – Karlsruhe, Germany, 21.04.12
Studio 672 – Köln, Germany 23.04.12
16th September – 21st November 2011
Never Records with Philip Jeck & Touch
This September, Never Records will open at 11 Southwark St. near London Bridge tube station, as part of Illuminate Production’s Merge festival, sponsored by the Tate Modern, and Better Bankside. Philip Jeck will be performing from 8pm The Bear Pit at on 24th September.
In the daytime, Touch will be recording at Never Records at 2pm for two hours. Two vinyl cuts will be made of the recording, one for display and listening in the shop and one, the other copy goes to the archives…
Never Records is a multi‐media multi‐artist project by New York artist/musician Ted Riederer. Exploring the potential of a record store and record label to unite, educate, and uplift a community through recorded sound, Riederer’s project began in an abandoned Tower Records near Union Square in New York City. In January 2010, Riederer, in collaboration with curators No Longer Empty, created what the Wall Street Journal described as a “mock shop” that served as a “love letter to the dying concept of the record store.”
In September 2010, Riederer brought Never Records to the Liverpool Biennial, and expanded upon his original idea by purchasing a vinyl record lathe. He then cut recordings of live performances, including Philip Jeck & Hildur Gudnadottir, inside of record store/performance space, and filled his record store with this library of on site performances.
Review in The Liminal:
But if the first two acts were uneven, and the third rock solid, the evening’s piece de resistance, Philip Jeck, was simply on another planet, to use an exhausted cliche (might not be the only one – Jeck’s music has the ability to make me lose my linguistic dexterity somewhat). In comparison to the videos, darting around and occasional posturing of the preceding trio, the Liverpool-based artist’s performance was understated, as he remained seated throughout in front of his mixing console, effects pedals and pair of battered-looking turntables. Eyes half-closed, seemingly lost in his music from the off, Jeck projected an aura of calmness and contemplation that had the audience, certainly me, rapt.
Comparisons to current The Wire cover star Christian Marclay are misleading but inevitable, given their common use of weathered vinyl to create avant-garde compositions, but for my money (and having seen both live), there is something so much more seductive and powerful about the Briton’s compositions, which is saying something. As the LPs wobbled and span on themselves, Jeck delicately twisted knobs and pressed buttons in front of him, creating an almost solid cloud of sound that poured into the room, filling every space around me, and inside me, unfathomable crackles, wooshes, haunting half-melodies and troubled drones engulfing me with every twist of his wrists or toggle of the stylus. This was sound not so much being played as sculpted, Jeck’s thoughtful manipulations smoothing out rough edges or creating unexpected jagged ones with an intuition worthy of Michelangelo faced with a slab of marble. Hyperbole? Maybe, but it’s hard not to when hearing and seeing Philip Jeck live.
Above all, where Philip Jeck elevates himself above the night’s other performers, and indeed over a great many modern British and international improvisers, is the unfettered emotion he brings to what could, in other hands, be overly cerebral, even cold, music. Part of this is surely down to the records he chooses, but more than that it’s Jeck’s apparently innate sense of flow, as he slowly builds up layers of sound, before dissipating them into waves of new, quieter ones, and so on.
As Jeck’s immaculate sounds rolled out of the speakers and over my senses, I found myself detaching my eyes from the stage to stare out of the window at the rapidly emptying square outside The Vortex. Something in the way the quiet, lamp-lit space glowed in the night, surrounded by darkened buildings and silent vehicles, seemed to reflect the stark, crepuscular music being sculpted in front of me: something melancholic, lonely and beautiful. When I later found myself wandering those streets, with the echoes of crumbling vinyl and quiet distortion still drifting through my head, I felt a strange sort of inchoate peace. Philip Jeck’s music will do that to you. It makes it hard to describe properly in words, which I guess should be your cue to track down his records or go to his next gig. Lucky you.