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FENNESZ / JECK / MATTHEWS - Amoroso

Format: 7
Label & Cat.Number: Touch Seven TS 01
Release Year: 2007
Note: first in the nice new 7"-series by TOUCH; CHARLES MATTHEWS plays the grand organ at York Minster for Spire Live, 20th January 2007; CHRISTIAN FENNESZ plays CHARLES MATTHEWS; PHILIP JECK plays CHARLES MATTHEWS
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Der Organist fr das "SPIRE LIVE"-Projekt, CHARLES MATTHEWS, erffnet eine neue 7"-Reihe von TOUCH, eines seiner Stcke (aufgenommen live am 20.01.2007 in York) wird von CHRISTIAN FENNESZ und PHILIP JECK auf ihre unnachahmliche Art & Weise bearbeitet... kommt im schnen matten Vollfarb-Cover, lim. 500.

"Charles Matthews plays the Grand Organ in York Minster, during Spire Live on 20th January 2007. This release is a homage to Arvo Prt... Arvo Prt is often identified with the school of minimalism and more specifically, that of mystic minimalism or sacred minimalism. He is considered a pioneer of this style, along with contemporaries Henryk Grecki and John Tavener.
Charles Matthews: I felt you were pure music, not human flesh, music through time, music played from the Universe, without boundaries. Born in 1966, Charles Matthews studied at the Royal College of Music, London, and was an organ scholar at Trinity College, Cambridge. His teachers have included Beryl Tichbon, Gwilym Isaac, David Pettit, Patricia Carroll, Nicholas Danby, Charles Spinks and Dr Richard Marlow. Charles pursues a varied career as pianist, organist, composer and teacher, performing and broadcasting for radio and television within the UK and internationally. He has won numerous awards, perhaps most notably the first prize in the 1999 Franz Liszt Memorial Competition in Budapest. His recordings have been issued by Olympia, Priory, Guild and Touch; he is the organist for the Touch project, Spire, which also includes Christian Fennesz and Philip Jeck.
Christian Fennesz: Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. Imagine the electric guitar severed from clich and all of its physical limitations, shaping a bold new musical language. - (City Newspaper, USA). His lush and luminant compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece. He lives and works in Vienna and Paris.
Philip Jeck: Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early 80s 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. Philip Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick." [label info]

"...Fennesz turns the sound of the organ into a minimal whir, gentle washes of grit and whispery buzz, long tones subtly pulsing,
deep rich chords, soft swells, gently effected and transformed into haunting alien drones. Those drones infused with melancholic melodies
and deep metallic reverberations. Truly mystical and minimal.
Jeck however is much less reverent. Choosing much like he did on the original Spire recording to try something more aggressive,
more dark, more noisy, and much less soothing, his side is an almost industrial soundscape or crunch and buzz, the organs notes
transformed into bell like tones, chopped up into jagged melodies, almost like someone is flipping stations, the melody lurching
suddenly from note to note, jarring and uneasy, but at the same time hauntingly compelling. The tones are dense and distorted, lots of
smeared feedback, thick clouds of pixilated grit and deep droning walls of whir, a super intense and extraordinarily noisy approach
from Jeck, something were definitely interested in hearing much more
of in the future.
As always, comes houses in an immediately recognizable Touch style sleeve, with gorgeous Jon Wozencroft photos and design." [Aquarius Records review]



www.touchmusic.org.uk