From the discarded "memory pack" of another musical age, Philip Jack has shaped a new, memorable sound.
Dan rules into the groove.
There's a ghost in the Horn.
The sound rises gently at first;
The opera "mourning" is slow, soft and abstract;
Shrouded in the fog of time and atmosphere
White noise.
They rise one layer after another on a soft rolling static layer.
They break through the surface and become clear, but are soon pulled back and shrouded in dull opacity.
There are instruments too-
Fragments of songs, compositions and memories
But they are also out of context, obscured and cut off.
Lost in matter of time and distance, frequency and sound.
The work of British voice artist Philip Jack is woven in the fabric of time and history.
The Jeck uses more than just a batch of outdated '50' and '60' turntables, mixers and endless, worn-out, scratched and twisted vinyl materials, has created some of the most beautiful Mystique in the past 20 years, the music here is well received, the history is strange.
"Some people say that when they hear what I'm doing, time will change a little bit for them and I can understand," he said on the phone at his home in Liverpool.
"I can understand how a sound causes another sound, and how a sound stretches in a way that was not originally intended to produce that effect.
I know that if I don't have a clock on the table while I'm playing, I really don't know how long I 've been on the stage.
"While it is fair to argue that most of us think vinyl is an attractive but outdated means of music, 56-year-
The old interest is not necessarily in the recorded music itself.
He described the record as a "memory pack" filled with remnants of the touch --
Scratches, distortions, cracks and cracks-
Their past lives
Take any time to process the output recorded by Jeck and you will find that the so-called flaws in his source material are as prominent as their original music.
He said: "There are many different things stored in the grooves of each record . "
"It's not just music.
In a rather rough way, they have history everywhere because of scratches, damage and warping over time.
"They have all of this, even if you don't recognize the music on the actual original record, there will be some sounds there that evoke some memories or feelings from some point in the past.
I do feel like I'm playing memory and history when I play those records.
"But while the original material of Jeck may be out of date, the result of his work goes beyond nostalgia.
"It's like re-using and recycling these things to make new things," he said . ".
"But I have also revealed other things that may not have been heard before.
Because I put them in context, they are heard in a completely different way.
"As a composer of theater and dance companies, as well as solo and installation artists, Jeck reimagined what it meant to be a DJ. His best-
Known for his work, the 93-year vinyl Requiem, saw him arguing at the same time for 180 dilapidated record players, 12 slide projectors and two movie projectors and winning London
It also saw that he mentioned better in the same breath --
Famous American pioneer
Turnturn like Christian Marclay and David Shea.
Music was originally an exception to Jeck.
He was trained by visual artists at Darton College in Devon, and while he collected records from an early age, it was never the creative practice he thought.
The turning point is the first generation of stunt dance and hip hop.
Jump dj who appears in the middle
In their 70 s, like Master Flash, Walter Gibbons, and Larry Levan.
"When I met this kind of thing, I just liked it," he said . "
"These people are not just playing records, they are actually mixing them.
I just thought, 'Oh, I can do it, 'and I started copying these people in a way.
"JECK starts DJ-
At the London warehouse and art live party, record, mix, twist, and loop sounds of old equipment and dance with two spare turntables.
But until 1984, when he met the acclaimed choreographer Laurie Booth, he began to consider his strange, circular sound creation from an aesthetic or artistic point of view.
"Laurie invited me to make music for this show he did in Brighton, and it seems like it's OK," he said . ".
"Then, all of a sudden, he found an agent in the Netherlands, and all of a sudden, we had a lot of work to do throughout Europe.
"While on the road with him, I actually developed what I did and created my own identity.
It took me about six years to work and travel with him and I was basically paid to develop my own work.
My art training and background are becoming more and more prominent, and my hobby has become my job.
"The immersion, spectrum and deep emotional qualities represented by today's work are inseparable from the dance music it is inspired.
"It's all about my emotional and aesthetic responses to those tiny parts of the record that would otherwise be overlooked," he said . ".
"In a sculptural way, I'm trying to really send out these tiny sounds to make them stand out and try to find some clarity in them.
That's why I'm stuck with it.
But in another sense, Jeck's passion for his art is extremely simple.
"I like record and record players and what you see is what you get," he said . ".
"You put the needle on the record and that's the sound, you put your hand on the record and it slows down the sound.
You can see how this thing works, you can understand what this feature is and you can manipulate the sound directly.
"Nevertheless, it is not always Jeck to control the situation.
Sometimes ghosts have their way.
"Recording and recording players is more impromptu than I am," he said . ".
"They are all so old that things are just beginning to happen that I can't predict.
"They may run slowly or quickly, or skip, or something may appear.
It inspired my imagination of life again.
Philip Jack is playing Toff in Town tomorrow night.
Jeck's eighth album, sand, will be released in Australia this year through Touch/Fuse.