Philip Jeck is perhaps best known for his highly subversive work 'Vinyl Requiem' with Lol Sargent (a performance for 180 dansette record players, 12 slide- projectors and 2 movie-projectors), which won the ‘Time Out Performance Award’ in 1993. He has also worked extensively with the choreographer Laurie Booth, is a member of Slant and has had tracks released by Blast First (on the Deconstruct compilation) and The Soundworks Exchange (First Edition). His solo work almost exclusively appears on Touch: Surf, for example, [Touch # TO:36, reissued in 2005] further explores his experimentation with loops and scratching. His methods leave much to chance; nothing is pre-planned or calculated. His CDs are surprisingly accessible: rhythms unfold from the miasma. Whilst highly original, there is a surprisingly antique feel to his sound: many of the samples, loops and scratches are taken from old vinyl records. Against nostalgia, his work proves there to be vast potential in analogue recording processes, and by utilising seemingly outmoded sources, Philip Jeck shows that you don't need a 24 track digital console and an enormous hard disk to make music that is both innovative and involving. Philip Jeck (b.1952) 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 recently created "Vinyl Codas I-IV" for Bavarian Radio, "Coda II" winning a Karl Sczuka prize for Radio Art. 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. 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.