TS13 Mike Harding: Repaired/Replaced
A: Broken Window 3:25
B: Broken Rain 0:30
Cut by Jason @ Transition
Artwork and photography by Jon Wozencroft
TS13 - the next in the series of vinyl-only Touch Sevens is Mysterieur by Mike Harding. Recorded in West Wittering in Balham using DPA 4060s onto a Nagra Ares P-ll digital recorder
"Broken Window" first appeared in a slightly different form on the CD compilation "Saiwala - enquete sur l'esthetique musicale du vent" [60 page booklet + CD FEAR DROP 15]
TS12 Bruce Gilbert: Monad
A: Ingress 2:42
B: Re-Exit 2:42
Cut by Jason @ Transition
Artwork and photography by Jon Wozencroft
TS12 - the next in the series of vinyl-only Touch Sevens [TS11 and TS13 to follow in 2011] - is Monad by Bruce Gilbert, whose career stretches back to late 1960's British avant garde art & music scenes, and has since played an important and influential role with his involvement in various rock based formations, work for choreographic projects and art installations...
Instruments: Korg Monotron Analogue Ribbon synth, Zoom RFX-200, Korg Kaos Pad 2, Apple GarageBand
Coruscating | Metallic | Hard | Structured Chaos | Loud
TS11 Biosphere: Mysterieur
A: Fluvialmorfologi 4:24
B: Feber 5:50
Cut by Jason @ Transition
Artwork and photography by Jon Wozencroft
TS11 - the next in the series of vinyl-only Touch Sevens is Mysterieur by Biosphere. Two tracks originally recorded for Hågogaland Teater, Tromsø, Norway in 2006 and remastered in 2011.
TS10 Philip Jeck & Marcus Davidson: Spliced
A: London Tenderberry 4' 09"
B: Tenderberries Version 4' 22"
Cut by Jason @ Transition
Artwork and photography by Jon Wozencroft
Live at the The Museum of Garden History, London, 8 May 2009.
Keyboards: Marcus Davidson. Record players, editing & overdubbed bass: Philip Jeck
"Trains of blossom, trains of music."
Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early '80's 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. His latest album for Touch is due in the summer of 2010.
Marcus Davidson was a chorister at Worcester Cathedral. He read Music at Birmingham University, studying composition with Vic Hoyland, and later received a masters degree in composition at City University, London, studying with Rhian Samuel. Marcus has worked particularly in the fields of music for dance and music-comedy, arranging and writing for stage, radio, video and television. He specialises in playing for Ballet and Contemporary Dance at London professional schools, and is a member of Spire, the Organ based project by Touch. Spire has performed at the Hardingtonar Festival 2008, York Minster in 2007, the Festival of Holland 2006, the Fuse Leeds 2006 contemporary music festival, the Gas Festival 2005 in Stockholm, La Batie Festival 2004 in Geneva, and has been broadcast on BBC Radio 3. He has recorded an album of Celtic-inspired music, Ribbon of Time, with Rob Millner, and is also writing a ballet.
Here the two artists collaborate on vinyl for the first time...
TS09 Lawrence English: Incongruous Harmonies
A: Without Sanctuary 4' 59"
B: One Thousand Miles of White 4' 24"
Cut by Jason @ Transition
Artwork and photography by Jon Wozencroft
These pieces were composed for Circa's Regarding the Joy of Others. Recorded and produced at 158, Brisbane, 09/09-01/10
Lawrence English is media artist, composer and curator based in Australia. Working across an eclectic array of aesthetic investigations, English's work prompts questions of field, perception and memory. He utilises a variety of mediums including live performance, audio/visual environments, found sound/vision to create his work that typifies his interests in creating experiences that create subtle transformation of space and ask audiences to become aware of that which exists at the edge of perception. English's work over the past decade, both in performative and gallery settings, has earned him a strong reputation as one of the unique voices producing sound artworks from within Australia. He has presented concerts and installed pieces for numerous festivals including Huddersfield Contemporary Music Festival (UK), Observatori (Spain), Outro_Rio (Brazil), Unsound (Poland) and AltMusic (New Zealand) amongst others. He also curates the burgeoning ROOM40 imprint, the Someone Good label and organises numerous events and festival throughout Oceania. His solo album, Kiri No Oto [Touch # Tone 31] was released in 2009 and has been described variously as "gorgeous", "A great piece of subconscious architecture" and "sublime".
TS08 People Like Us & Ergo Phizmiz: Withers In The Waking
Side A: In the Waking 5:55 [Locked groove]
Side B: Withers in the Whist 4:27
The 8th in the series of Touch Sevens, and the first to introduce melodic narrative. Both songs are results of the WFMU podcast series "Codpaste", in which Vicki & Ergo publicly composed a series of collage compositions, deconstructing their respective practices, and a live soundtrack to Christian Marclay's "ScreenPlay". The series and soundtrack resulted in the online only album "Rhapsody in Glue", from which these two songs are alternative versions.
"Withers in the Whist" takes one of Vicki & Ergo's current staple obsessions: the melody line of Prokofiev's 'Troika' from the Lieutenant Kije soundtrack (originally used in V & E's work during a particularly snowy sequence of the Marclay film). This treatment dispenses with sampling entirely, instead using instruments to create variations on Prokofiev's deceptively simple melody-line, tied together with impressionistic, stream-of-consciousness lyrics. It is playing with Prokofiev like a bad child who loves it's toys.
"In The Waking" began with Ergo replaying with multitracked guitars the main melodic motifs Vicki collaged in the composition "Carmic Waltz", with Vicki then ornamenting the guitars with splashes of colour like a real painter of sound, all blended into a pot of carnival steam with Ergo's wordplay. It is a fantasy for the dream the fairground has when the world is sleeping, but only takes place five minutes before the carousel wakes up.
TS07 Jim O'Rourke: Despite the Water Supply
Side A: Despite the Water Supply Part 1 4:12
Side B: Despite the Water Supply Part 2 4:05
Recorded at Steamroom Tokyo, May 2008. Thanks to Makino Takashi and Takayama Yumiko.
TS06 Mika Vainio: Behind the Radiators
Side A: Behind the Radiators 1 2:52
Side B: Behind the Radiators 2 2:58
Recorded in Berlin, February 2008. Special thank you for Lary 7
TS05 Oren Ambarchi: Destinationless Desire
Side A: Highway of Diamonds 5:55
Side B: Bleeding Shadow 6:38
Electric guitars, organ, samples, bells, percussion and motorised cymbal recorded at BJB Studios, Sydney with additional overdubs made at home 2005-2007. Gratitude to Fairport Convention and Boris D Hegenbart.
TS04 Fennesz: Transition
Side A: On a desolate shore 5:14
Side B: A shadow passes by 3:21
These three tracks [including the download-only track, "On a desolate shore a shadow passes by"] are based on 8 different guitar recordings made at Amann Studios, Vienna, between 2005-07. The acoustic guitar was recorded with an AK c12 microphone. Other sounds were made using a Fender Stratocaster and a Vox ac15 amp.
