Touch, January 2009
Touch Radio 38 | Philip Marshall
02.01.09 - Ost – 14:21 - 192 kpbs
An edited version of the track "Ghost", commissioned as part of "The Space Between Seeing and Knowing is Haunted," an exhibition curated by D–L Alvarez at Exile and Arratia, Beer, Berlin [07.02.2009 – 04.04.2009]. Arranged and produced by Philip Marshall. Voices sourced from "The Ghost Orchid – an Introduction to EVP" [PARC, 1999]. Rain recordings courtesy of Dale Cornish.
The unedited version of "Ghost", can be found on the cassette-only release, Three Questions and an Answer [Ash International # Ash 7.5]
An Epiphany Unearthed
Jon Wozencroft writes: "Came across this text whilst we were preparing a display of adverts made for The Wire. It was commissioned by Rob Young/Chris Bohn for the magazine's Epiphanies column (at the back of the magazine) in March 2001. The text was a tiny bit too long so an important section got chopped. Here is the full text.
Amazingly, I eventually met the man who had been sitting next to me, Duncan Haysom. We met up in Waterloo in the August of 2007 following an internet quest of dedicated JD fans. The master recording of Joy Division's ULU concert became the bonus disc for the reissue of Closer by Warner Bros in November that year. There is thus a strange intertwining between this account and the outcomes of the two films, Control and Joy Division, six and seven years later, ie. 29 years after the fact."
Text: Jon Wozencroft. Click here to read the text.
Couverture: J-F JAMOUL
Tone 29 - Philip Jeck "Suite: Live in Liverpool"
Autofact / Touch # FACT 11 / Tone 29
Limited Edition Vinyl LP - 5 tracks
An Autofact/Touch co-release
Design and photography by 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.
A2. Intro Roll
B1. Live With Errors
B2. All That's Allowed
B3. Chime, Chime
Finally, after a painful gestation period... 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. It is the companion release to his latest solo album, Sand, which was voted number two Album of the Year 2008 in The Wire; a set of five new compositions that highlight Jeck's mastery of vinyl manipulation, personal and collective memories.
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.
Tone 36 - Jana Winderen "Heated: Live in Japan"
Touch # Tone 36
Limited Edition CD - 2 tracks - 27:54
CD in full colour wallet
Artwork and photography by Jon Wozencroft
1. Tetsuro Yasunaga 1:25
2. Jana Winderen 26:29
Live performance at Super Deluxe, Tokyo, 24th October 2008. Source material recorded with 2 x 8011 DPA hydrophones, 2 x DolphinEAR/PRO hydrophones and 2 x 4060 DPA microphones on a Sound Devices 744T recorder in Greenland, Iceland and Norway.
Following Tetsuro Yasunaga's spoken word introduction, here unfolds Jana Winderen's blistering live set from her recent trip to Japan as part of 'Norwegian Music Today'. Her first CD, Heated follows her only other release to date, a 7" vinyl limited edition, Surface Runoff, on Autofact [USA, 2008]. Improvising from recordings taken on field research trips, she forces the power of the hidden to the surface, making the unheard audible. Its a strange world down there; a world of which we know little, replete with its own instrumentation and orchestras. Tapping into these, Jana's vision encourages us to explore the fertility of the oceans...
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Tickets on sale for Touch Live at The Roundhouse
The Roundhouse, 16th May 2009 - Touch presents, as part of The Short Circuit Festival, London:
Philip Jeck [UK] and the Gavin Bryars Ensemble [UK/FR] - "The Sinking of the Titanic"
Hildur Gudnadóttir [IS] & BJNilsen [SE]
+ a multi-channel installation by Chris Watson
+ in the bar, Sheikh Ahmed selecting sounds from the Touch catalogue
You can now buy tickets for Touch Presents. This promises to be one of the highlights of the year. Do come if you can. It would be great to see you there.
The Wire advert archive
A collection of ads designed by Jon Wozencroft for The Wire magazine, showing the chronology of Touch releases over the past few years, have been added to the Archive section of this site.
Reissue of Philip Jeck - 'Stoke'
Touch # TO:56, 2002
CD - 7 tracks - 53:32
CD in digipak
Artwork and photography by Jon Wozencroft
The Wire (UK):
With its acrobatic athleticism and penchant for charming gimmicks, in all likelihood HipHop will indefinitely dominate the field of turntablism. Even record-spinning abstractionists like Christian Marclay and Martin Tetrault, who may not always share HipHop's necessity for the beat, put on flashy demonstrations that engage the machismo of technique, alongside their critically minded recombinations of cultural readymades. While Philip Jeck's performances, installations, and recordings have centred around his arsenal of turntables (at last count, he was up to 180 antique Dansette record players, though more normally he performs on two or three, and a minidisc recorder), he isn't terribly interested in the contemporary discourse of turntablism, preferring to coax a haunted impressionism with those tools. However as a calculating improvisor, he shares affinities with the turntable community. Once he is in control of the overall context of the music, he leaves much to the spontaneous reaction towards sound at any given moment.
A typical Jeck composition moves at an incredibly lethargic pace through a series of looped drone tracks caught in the infinities of multiple locked grooves. As he prefers to use old records on his antique turntables, the inevitable surface noise crackles into gossamer rhythms of pulsating hiss. Occasionally, Jeck intercedes in his ghostly bricolage with a slowly rotated foreground element - a disembodied voice, a melody, or simply a fragment of non-specific sound - which spirals out of focus through a warm bath of delay. For almost ten years now, Jeck has been developing this methodology, building up to Stoke, his strongest work to date. Its opening passages are on a par with his Vinyl Coda series, with Jeck effortlessly transforming grizzled surface noise into languid atmosphere.But Stoke really gets going with the breathtakingly simple construction of Pax, upon which Jeck overlays an aerated Ambient wash with the time-crawling repetition of a single crescendo from an unknown female blues singer. By downpitching her voice from the intended 78 rpm to 16 rpm, he amplifies its emotional tenor by making her drag out her impassioned declarations of misery far longer than is humanly possibly. The effect is just beautiful. Philip Jeck has always been good, but Stoke makes him great. [Jim Haynes]
This reissue is now available from the TouchShop
Fennesz interview in The Wall Street Journal
Click here to read Paul Sharma's interview with Fennesz in The Wall Street Journal.