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Sand

Philip Jeck Audio CD
4.0 out of 5 stars  See all reviews (1 customer review)
Price: £20.49 & FREE Delivery in the UK. Details
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
 : Includes FREE MP3 version of this album.
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Product details

  • Audio CD (2 May 2008)
  • Number of Discs: 1
  • Label: IMPORT
  • ASIN: B0016ORQKG
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 279,983 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
Listen  1. Unveiled 9:15£0.79  Buy MP3 
Listen  2. Chime Again 5:06£0.79  Buy MP3 
Listen  3. Fanfares 5:01£0.79  Buy MP3 
Listen  4. Shining 6:33£0.79  Buy MP3 
Listen  5. Fanfares Forward 4:56£0.79  Buy MP3 
Listen  6. Residue 2:17£0.79  Buy MP3 
Listen  7. Fanfares Over11:22£0.79  Buy MP3 


Product Description

Product Description

This is Philip Jeck's fifth solo album for Touch. Sand was recorded live in Holland and England in 2006/2007 and edited in Liverpool in January 2008 using Fidelity record players, Casio SK keyboards, a Behringer mixer and Sony mini-disc recorders. Following Philip Jeck's acclaimed collaboration with Gavin Bryars and Alter Ego on a new version of The Sinking of the Titanic, Sand is a set of seven new compositions that highlight Jeck's mastery of vinyl manipulation and personal and collective memories. During the past year, Jeck has refined and consolidated his unique sound, playing superb sets at the Faster Than Sound festival and at York Minster for Spire. Sand is at once elegiac, celebrational, mournful and uplifting. Those who have followed Jeck's development since his first release, Loopholes, will observe his return to the industrial textures that colored that collection, though here they are fused with his symphonic grace and continued development as a composer and live performer. 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. His is genuinely moving and transfixing music, where we hear the art, not the gimmick.

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Most Helpful Customer Reviews
8 of 9 people found the following review helpful
4.0 out of 5 stars Philip Jeck- Sand LP Review (7/10) 20 April 2008
Format:Audio CD
Philip Jeck began exploring composition using record players and electronics in the early 1980's. His most famous release came with `The Sinking of the Titanic', an acclaimed collaboration with Gavin Bryars and Alter Ego. With `Sand', Jeck makes a returns to the industrial textures that coloured his first release `Loopholes', but fuses them with his symphonic grace and continued development as a composer and live performer. The seven tracks on `Sand' move deep into the realms of organic dark ambience, similar in vein to Windy & Carl's suffocating sheets of atmospheric drone but morphed within a sci-fi-esque 2001: A Space Odyssey aesthetic. Haunting textures of buzzing drone, harsh crackle and deep lucid bass bob ceremoniously like rippling waves in a bitterly cold Nordic bay, the elements joining forces in an attempt to hide the solace of semi-recognisable melodies that have become so frayed and distant.

Jeck works with old records and record players salvaged from junk shops turning them to his own purposes and playing them like musical instruments. `Sand' was recorded live in Holland and England and edited using relatively rudimentary audio equipment which may contribute to the (intended) harshness of some of the prickly, treble heavy skree that exudes from the speakers. Occasional, scathing attacks of Merzbowian white noise will root listeners to their chairs whilst, in his quieter moments, shades of Thomas Brinkmann's turntable experiments seep through. `Fanfares' sounds like a sunken orchestra that gets caught up in a subversive loop, its frayed melodics hypnotically shimmering from beyond the droney sludge like shafts of light attempting in vain to penetrate the surface.
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