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.
Philip Jeck began his artistic life in the visual arts but then was diverted by explorations into using turntables to compose music in the early 1980s. The phrase ‘turntablist’ doesn’t seem quite right for Jeck’s approach to vinyl appropriation though and insight into his technique and its sublime lightness of touch may come from merely examining his table top. Vintage Dansette turntables (he has a store room full of hundreds of them), primitive sampling keyboards and minidisc recorders reveal an artist who’s found the perfect tools for this work – and hearing his compositions really is like being given the keys to a secret garden. The nearest comparisons to the world he creates are possibly the work of Ekkehard Ehlers, Fennesz or Tom Recchion but Jeck’s sound has a tender sumptuousness that’s all his.
In 1993, Philip Jeck and Lol Sargent won the Time Out Performance Award for their Vinyl Requiem, a performance involving 180 Dansettes and numerous projectors. Since then he’s released a raft of great recordings, largely via the Touch label, and developed a great reputation as an unmissable live performer. At TUSK in 2914, Philip Jeck performed a piece specially commissioned by the festival.
A fascinating personal guided tour of the avant multi-media composer’s extensive vinyl collection… including reggae housed in cream cracker packets [John Doran]
Julia Dempsey of The Art Assembly travelled up to his house in Liverpool and talked to him about his roots playing disco in clubs in the late 70s and early 80s, the joys of the rough DJ mix, discovering Arthur Russell’s music in New York, reggae album sleeves printed on Jacobs Cream Cracker packets and the power of Frank Sinatra’s bossa nova influenced work.
Thanks to Julia Dempsey for presenting and producing and to editor, Robin The Fog.
Minute of Listening is an exciting and innovative project that has the potential to provide all primary-aged children with the opportunity to experience sixty seconds of creative listening each day of the school year. By downloading a simple application to their laptops, desktops or interactive whiteboards, teachers can bring a wealth of sonic resources into their classrooms.
For a full list of contributors:
PHILIP JECK ON HIS LANDMARK TURNTABLE PIECE VINYL REQUIEM
Anyone with an interest in the historical moment where vinyl tilted from mainstream format to collector’s concern should spend time with Philip Jeck’s 1993 audiovisual piece Vinyl Requiem.
Philip Jeck & Mike Harding (Touch 30th Anniversary Special)
Saturday, September 15th, 9pm – Midnight
on Daniel Blumin’s show on WFMU
Premier UK experimental label Touch turns 30 this year. To celebrate, Touch has been organizing events in Europe, and from September 13th to the 16th the celebration lands in New York City with a series of events at Issue Project Room, Anthology Film Archives, and Experimental Intermedia. Afraid of leaving home? Not to worry – the festivities also hit WFMU as label co-owner Mike Harding and composer Philip Jeck drop in for a visit!
Tune in as Harding discusses the label’s history and spins tracks from the imprint’s long out-of-print cassettes, recordings from the label’s roster of hit makers (e.g. Fennesz, Mika Vainio, Oren Ambarchi), and music that served to inspire the founding of the label!
Then, Philip Jeck, a Touch mainstay and artist primarily known for his mesmerizing work with prepared vinyl, performs live! Layers of creaky loops, hints of long-forgotten melodies, and echo-chamber strings meld with crackle, bass hum, and recombinant wormholes of sound. A Saturday night to remember. Do not miss!
You can hear the show archived here
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.”
You can read an interview with Philip Jeck in UK-based publication The Liminal