| Philip Jeck |
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artista : Philip Jeck | |
| titolo : Sand | ||
| etichetta : Touch | ||
| formato : CD | ||
| packaging : digipak | ||
| cod. nr. to:67 | ||
 | 2008 | |
| _________________ | ||
| "... the Day I first surmised the Horses' Heads Were toward Eternity" (from "The Chariot" by Emily Dickinson) "Sand" was recorded live in Holland and England in 2006-7 and edited in Liverpool January, 2008 using Fidelity record-players, Casio SK keyboards, Behringer mixer and sony mini-disc recorders. In memory of Phyllis May Jeck (1920-2008). Artwork and photography by Jon Wozencroft. Mastered by Denis Blackham. |
| Prezzo : € 15,90 disponibilità immediata - in stock |
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Artist: Philip Jeck |
| Title: 7 | |
| Label: Touch | |
| Format: CD digipak | |
| Cod. nr. TO:57 |
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Philip Jeck, who lives and works in Liverpool, studied visual art at the Dartington College of Arts in Devon, England. During the early 1980s, he drifted from painting and sculpture to music, and began working with old and discarded turntables. Though he's roughly a contemporary of Christian Marclay, recognition for Jeck came much later, beginning in 1993 with his massive installation "Vinyl Requiem", which incorporated 180 record players and multiple film projections. This is Philip Jeck's 7th solo album, and 4th for Touch, after Loopholes (1996), Surf (1998) and Stoke (2002). He has also released a collaboration with Jacob Kirkegaard, Soaked (2002), and a recording of a live concert he gave in Japan, Live at ICC (2001). Philip Jeck writes: "All seven are edits of home and concert recordings (UK Germany & Belgium) using Bush, Ferguson, Fidelity & Philips recordplayers, Sony portable mini-disc and Casio keyboards. 'Bush Hum' was made from the amplified hum of a Bush record-player and delay pedal. 'Wipe' was originally made for a video by Marisa Zanotti." |
| Price: € 17,40 |
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artista : Henri Pousseur - Main - Philip Jeck - Oval | |
| titolo : 4 Parabolic Mixes | ||
| etichetta : Sub Rosa | ||
| formato : 2xCD | ||
| packaging : jewel case | ||
| cod. nr. sr199 | ||
| 2001 | |
| _________________ | ||
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In November 2001, Sub Rosa published Henri Pousseur's 8 Parabolic Studies in a box of 4 CDs -- these electronic pieces have been created in 1972 at the WDR studios in Cologne. The idea was to ask other musicians, of different generations, to attempt a new mix on the basis of these eight studies. The first mix (and not re-mix) was a re-interpretation by Henri Pousseur himself -- this laid the foundation stone of the edifice. Contrary to the mixes carried out thirty years ago, these were made digitally. The second mix was Robert Hampson's (aka Main) -- quite nervous of the master's reaction, who was present during the set. Robert, who holds an exhaustive knowledge of electronic music from its origins and of all its aspects -- even of the more obscure ones -- gave a personal but faithful interpretation of Pousseur's studies. Another degree of alteration was highlighted by Philip Jeck, who created a massive and powerful set, adding sounds from other sources (which is totally allowed according to Pousseur's original concept). And finally, Oval -- according to the process that is quintessential to his work, Markus Popp could only produce a piece far removed from its sources; since it is within sound itself that all sonorous source passes through the Oval-process, thus becoming Oval-music -- that is, music having its very own properties. |
| Prezzo : € 18,90 |
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artista : Philip Jeck & Claus Van Bebber | |
| titolo : Viny'l'isten | ||
| etichetta : Intermedium | ||
| formato : CD | ||
| packaging : jewel case | ||
| cod. nr. intermedium015 | ||
| 2002 | |
| _________________ | ||
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Recording of their performance at 'Intermedium 2', March 2002. Each of them solo for 15/20 minutes and as a duo for another 30 minutes. Great one! "On their prepared sound recording media Claus van Bebber (*1949) and Philip Jeck (*1952) decipher a vinyl requiem, a swan-song of incredible beauty using obsolete reproductive instruments. Many a single dies on their turntables undergoing strange torments. "After two or three revolutions these pointed fish-hooks have already scratched out fine elements, and the number grows with each new revolution, until the music has almost completely disappeared" (Claus van Bebber). Philip Jeck's record-players -- he has several hundred -- come from the flea market. They bear the names Pye, Bush, Philips, Ferguson, Fidelity or Dansette, they have built-in loudspeakers and four speeds. None of them cost more than five pounds. "These record-players -- nobody else wants them. I'm the only one who collects them all, as far as I know. I painted them and did things with them. They're now worth even less than when I bought them. I recycle these things and give them a different life." That's what the two have in common: they don't throw anything away. Claus van Bebber, who calls his performance Schallplattenkonzert (Record Concert), also has barns full of materials on his farm on the Lower Rhine: "I started early on to collect all possible kinds of objects and my favourite artists were always those who worked with found materials. Fluxus and Dadaism have strongly influenced me and my artistic work." Their common sound ideal is the opposite of high fidelity. Jeck's effect devices are cheap: a small echo pedal and a toy sampler which can store one and a half seconds of sound. They are used to blur the sound even more, to overlay the loops on the discs with additional layers of repetition. Van Bebber uses wah-wah and distortion pedals for electric guitarists to further modify the signals of his crystal pick-ups. In this first encounter between two broken music artists at the media art festival intermedium 2 a fusion of the medium and the message takes place: Low-tech becomes the moving obituary for the extinct world of vinyl, that material whose varied surface noises stood for an era of easier comprehensibilty. "Where are we going? .... Don't be so curious, little Piccolo! First to the other side of the record." (Andre Popp: Piccolo, Sax & Co)." --Ulrich Bassenge |
| Prezzo : € 17,10 |
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Artist: Philip Jeck & Jacob Kirkegaard |
| Title: Soaked | |
| Label: Touch | |
| Format: CD | |
| Cod. nr. TONE15 |
| "There are grains of truth in the suggestion that, in moving, you may find yourself in or out of some one's favour. But listen to the slow, delicate, even introspective background: some breeze, some chimes, some distant thunder as each focal point remains a lament." This blistering work was recorded live at the Moers Jazz Festival, Germany, in May 2002 and follows hot on the heels of Philip Jeck's highly acclaimed Stoke. Jacob Kirkegaard is a member of Danish combo Aerter who work in a mixed media context. He was born in Denmark, 1975 and is currently studying at the Academy of Media Arts, Cologne. Germany. He has taken part in numerous festivals throughout Europe, playing live, improvising with samplers and other electronics, as he does on this recording. Philip Jeck, meanwhile, sticks to his turntables. He started experimenting with record players back at school in the 1960s, later won the Time Out Performance Award for Vinyl Requiem [1993] and has released 3 solo albums for Touch - Loopholes, Surf and the abovementioned Stoke. He lives and works in Liverpool. |
| Price: € 17,40 |
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Artist: Philip Jeck |
| Title: Stoke | |
| Label: Touch | |
| Format: CD digipak | |
| Cod. nr. TO:56 |
| "This is his 3rd CD for Touch, after Loopholes and Surf. He has also released a CDR, Live in Tokyo at ICC. All tracks are edits of live performances recorded in Liverpool, Manchester, Osaka, Tokyo and Vienna except Lambing, which was recorded at home in part for a film by Lucy Baldwyn. Stoke was made using Bush, Fidelity and Philips record players, Casio keyboard and Alba portable CD player. The notion of turntablism may be associated with flashy, deck-hopping scratch gymnastics, but the use of the record player as an instrument harks back to a less ostentatious tradition of music making. John Cage, Karlheinz Stockhausen, Pierre Schaeffer, and James Tenney recognized records and turntable mechanisms as manipulable sound sources. In essence, sampling began with the real-time deployment of gramophones in performance by these artists and academics. Philip Jeck, like peers Christian Marclay, Otomo Yoshihide, and Martin Tetreault, legitimizes the turntable as a musical instrument." |
| Price: € 17,40 |
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artista : Philip Jeck | |
| titolo : Vinyl Coda IV | ||
| etichetta : Intermedium | ||
| formato : CD | ||
| packaging : jewel case | ||
| cod. nr. intermedium008 | ||
| 2001 | |
| _________________ | ||
| Prezzo : € 18,00 |
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