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JECK, PHILIP - Suite. Live in Liverpool

Format: LP
Label & Cat.Number: Autofact Records FACT11 / Touch Tone 29
Release Year: 2008
Note: rec. live in Liverpool 26.Oct. 2006 as part of Touch 25
Price (incl. 19% VAT): €16.00


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Live-Aufnahme aus Liverpool vom Oktober 2006! Auflage 500 Stck, 5 lange Stcke, typische TOUCH-Artwork von JON WOZENCROFT.

"Recorded at Hive, FACT, Liverpool on 25th October 2006 as part of Touch 25, Live to a M-Audio Mictrotrack 24-96. Edited by Philip Jeck April 2007. Cut by Jason at Transition 14th May 2007 on a Neumann VSM 70. Design and photography by Jon Wozencroft. Suite: Live in Liverpool follows Philip Jeck's acclaimed collaboration with Gavin Bryars and Alter Ego on a new version of 'The Sinking of the Titanic' (Touch Tone 34). It is the companion release to his latest solo album, 'Sand'; a set of five new compositions that highlight Jeck's mastery of vinyl manipulation, personal and collective memories. During the past year Jeck has refined and consolidated his unique sound, playing superb sets at last summer's Faster than Sound festival and at York Minster for Spire. He has recently released 'Amoroso' [Touch # TS01, 7 vinyl only with Fennesz] where he responds to Charles Matthews's homage to Arvo Prt. 'Suite' is at once elegiac, celebrational, mournful and uplifting. Those who have followed Jeck's development since his first release, Loopholes (Touch TO:26) will observe his return to the industrial textures that coloured that collection, though here they are fused with his symphonic grace and continued development as a composer and Live performer . 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 as we as well as his solo concert work. His best kown work Vinyl Requiem (with Lol Sargent): a performance for 180 '50's-'60's record players won Time Out Performance Award for 1993. He has also over the last few years returned to visual art making installations using from 6 to 80 record players including Off The Record for Sonic Boom at The Hayward Gallery, London [2000]. 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. Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick. This is Philip Jeck's 6th solo album for Touch after 'Loopholes' [Touch # TO:27, 1995], Surf [TO:36, 1998], Stoke [TO:56, 2002], '7' [TO:57, 2004] and 'Sand' [Touch # TO:67, 2008]. He recently performed on The Sinking of the Titanic with Gavin Bryars in Rome, about which Boomkat (UK) said: The most noticeable addition is Jeck, whose expertise and unique style seems to fit like the final piece of the puzzle as his crackles and motifs melt into the architecture of the recording as if they had always been there. This additional layer of nostalgia brought forth by these found sounds adds a significant sense of history, forcing the mind back into hazy film footage and decomposed photos, a perfect match for the subject matter."
[label info]

"... a live recording from 2006, just Jeck, a roomful of turntables, a handful of effects, and a box of old records. We've yet to actually see Jeck perform live, but it must be mesmerizing, an act of not just creativity, but also agility, 5 turntables, 10, 20, more, each locked into it's own loop, all the various loops overlapping, creating rhythms, melodies, textures, SONGS. The five lengthy tracks here, all woven together into one ever evolving whole, are masterful exercises in sound manipulation, so deftly managed, that it's nearly impossible to recognize these sounds as records on turntables. Take the opener Press, with it's swirling sea of effected shimmer, and rain-like record crackle, the warm whirs and deep soft swells, minor key melodies surfacing from minimal background drones, all manner of reverbed percussion, like the echo of water droplets in a shower, shuffling rhythms, distant keening high end tones, snippets of voices, brief squalls of barely restrained chaos, building to a noisy finale, before slipping into a minimal hushed pulse. Totally breathtaking. Intro Roll takes up where Press left off, taking those same sounds but moving in a different direction, opting for something more ominous, darker, more textured, more rough, the crackle and hiss even more prominent, but this time rife with buried high end melodies giving the whole track a distinctly haunting vibe. Live With Errors adds a strange looped marimba like melody over the top, and an off kilter shuffling rhythm, which slips from murky and muted, to blown out and distorted, before slipping into All That's Allowed, which begins with a low end pulse, that is soon surrounded by dramatic soaring strings, and streaks of shimmering crackle, very dramatic and emotive, before finishing off with Chime Chime, which seems to be a version of Chime Again from Jeck's Sand album, and like the title suggests, is a sea of processed and looped chimes, glimmering, tinkling, bell like tones drifting all sun dappled over a looped abstract rhythm, bass soon drifts in, a bit of metallic percussion, some steel string fragments, before fading out, laving just a very soft, minimal drift, all the sounds muted and right beneath the surface, growing quieter and quieter until they disappear completely. So totally gorgeous, mesmerizing, and again, breathtaking. Vinyl only, beautiful Jon Wozencroft photos and layout as always, LIMITED TO ONLY 500 COPIES, some on clear vinyl, some on colored, it's random so please don't ask for a particular color." [Aquarius Records review]


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