Artist : Philip Jeck
Title : Sand
Genre : Avantgarde
Year : 2008
Date : 04/21/2008
Bitrate : VBR kbps
Tracks : 07
Label : Touch
Source : CDDA
Encoder : Lame 3.97
Length : 44:39 min
Size : 36,6 MB
Tracklist:
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01.Unveiled 09:16
02.Chime Again 05:07
03.Fanfares 05:01
04.Shining 06:33
05.Fanfares Forward 04:56
06.Residue 02:23
07.Fanfares Over 11:23
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44:39 min
From Boomkat:
When we last heard from experimental turntablist Philip Jeck he was performing alongside Alter Ego as
part of their fresh take on Gavin Bryars' The Sinking Of The Titanic, casting a sepia-tinged crackle over the
recording. Sand is a return to Jeck's solo work, further exploring the quite unexpected emotional resonance
stirred up by old records and their dismantled sonic properties. As ever, Jeck uses old vinyl and decayed
audio as a portal into memories, and like the machinations of remembrance, his audio is hazy, obscured
and coloured by distortions. 'Unveiled' is an apt re-introduction to Jeck's universe, constructed from waves
of pure texture and mist, phasing out of control at first only to permit some recognisable streams of piano
to permeate the deep, cavernous crackle. Following directly on, 'Chime Again' manipulates recordings of
bells, sounding like some psychedelic campanologist's nightmare. Suddenly the tone shifts for 'Fanfares',
a piece assembled from recognisable elements of Emerson Lake & Palmer's recording 'Fanfare For The
Common Man' looped and detuned into a clamorous haze. This is a theme that persists over the course of
much of this album's remainder, with 'Fanfares Forward' further making a mockery of this most grandiose
of musical forms: the overwhelming, brassy qualities of the previous 'Fanfares' have been pared down to a
more sedate, distorted loop format, before the lengthy album closer 'Fanfares Over' devours an escalating
mass of anthemic sounds, coloured by the same spiralling phase effects that commenced the record via
'Unveiled'. "Sand" is one of Jeck's most beautiful and approachable releases to date: his source material is
so thoroughly dissolved that the music enters the domain of outright ambience more comprehensively than
on records like Surf or Stoke - albums that explicitly made use of old gospel and bluegrass 78s. Instead,
Sand is more about the processes themselves than the content, forging music from raw texture and
effects-driven manipulation. The result is, predictably enough for a Philip Jeck record, quite breathtaking.
Highly Recommended.
http://www.touchmusic.org.uk/