Today Lampo announces its WS20 season, which begins in late February with new work from Chicago artist Whitney Johnson (aka Matchess) and concludes in June with a special performance by the Jessica Pavone String Ensemble, as we also celebrate 10 years of Lampo at the Graham Foundation. In between, we bring you new projects from … Continued
Lampo celebrates its 100th concert with British turntablist Philip Jeck, whose music explores the play of memory, nostalgia and time.
Jeck, like peers Christian Marclay, Otomo Yoshihide and Martin Tétreault, cares less for beat and scratch, instead massing sound, looping drones and layering old vinyl fragments. He uses vintage turntables, a Casio keyboard and effects. His slow-evolving improvisations are plaintive, taciturn and remarkably beautiful. Constant circles of voice and music repeat and fade in a kind of haunted impressionism.
Philip Jeck (b.1952, Liverpool, U.K.) studied visual art at Dartington College of Arts. He started working with record players and electronics in the early 1980s. In addition to his solo work, he has made soundtracks and toured with many dance and theater companies. His best known project, Vinyl Requiem with Lol Sargent—a performance for 180 Dansette record players, won the Time Out Performance Award for 1993. Notable releases include Loopholes (Touch, 1995), Surf (Touch, 1999), Vinyl Coda I-III (Intermedium Records, 2000) and Vinyl Coda IV (Intermedium Records, 2001).
Philip Jeck appeared at Lampo in June 2004, in his first U.S. solo performance.