Philip_Jeck-Stoke-(Touch)-CD-2002-BCC
- Section
-
MP3/FLAC
- Group
- BCC
- Size
- 73,47 MB
- Files
- 7
- Date
- 2003-08-14
NFO
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Philip_Jeck-Stoke-(Touch)-CD-2002-BCC
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Title : Stoke
Artist : Philip Jeck
Genre : Electronic
Year : 2002
BCC Rel Date : 02/08/2003
Audio Bitrate : MP3 192 kb/s
Sample Rate : 44100 Hz Stereo
Encoder : Lame
Tracks : 7
Label : Touch
Ripped By : Milky Way
Source : CD
Length : 53 mins 27 secs
Size : 77,0 MB
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█▀▀█ ░▄▓▓▄ ░░ TRACK.LiSTiNG...:
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█▄▄ ░░ Tracks
01-philip_jeck-above
02-philip_jeck-lambing
03-philip_jeck-vienna_faults
04-philip_jeck-pax
05-philip_jeck-below
06-philip_jeck-open
07-philip_jeck-close
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.
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Files
| Path | Size |
|---|
| 01-philip_jeck-above-bcc.mp3 | 8,22 MB |
| 02-philip_jeck-lambing-bcc.mp3 | 6,61 MB |
| 03-philip_jeck-vienna_faults-bcc.mp3 | 8,43 MB |
| 04-philip_jeck-pax-bcc.mp3 | 11,21 MB |
| 05-philip_jeck-below-bcc.mp3 | 10,36 MB |
| 06-philip_jeck-open-bcc.mp3 | 8,18 MB |
| 07-philip_jeck-close-bcc.mp3 | 20,46 MB |