In territory much like Christian Marclay and David Shea, Philip Jeck can be an British avant-garde turntablist, plunderphonic test terrorist, and performance designer whose most well-known installation, Vinyl fabric Requiem, included a minimum of 180 turntables. After learning the visible arts at Dartington University in Devon, Jeck started a performance profession that discovered him at free galleries in addition to warehouse celebrations, where he emulated the turntable techniques of American hip-hop DJs like Grandmaster Adobe flash. It was throughout a five-year cooperation with modern dancer Laurie Booth, though, that Jeck created a far more personal and experimental design of music-making allied with Canadian John Oswald’s design of plunderphonics sampling. Jeck’s 1993 Vinyl fabric Requiem set up with Lol Sargent used 180 turntables in addition to 12 slip projectors and two film projectors, and earned a Performance Honor from PERIODS magazine. The next yr, he appeared within the Blast First! compilation Deconstruct alongside Christian Marclay, John Oswald, Bruce Gilbert and Share, Hausen & Walkman and in 1995, Jeck released his debut recording, Loopholes, for Contact. Surf adopted four years later on. Vinyl fabric Coda I-III, a dual CD comprising live radio broadcasts and shows, made an appearance on Intermedium Information in 2000, with Vinyl fabric Coda IV showing up the following calendar year. Also in 2001, Jeck added to 4 Parabolic Mixes, a dual Compact disc on Sub Rosa filled with works predicated on 8 Études Paraboliques by Henri Pousseur, offering mixes by Pousseur in addition to Primary and Oval. In 2002, Jeck collaborated with fellow turntablist Claus truck Bebber for the live performance that was released as Viny’l’isten by Intermedium Information. Another collaborative work called Invisible Structures #1, a record of a live show with Otomo Yoshihide and Martin Tétreault, premiered by Audiosphere. Jeck also released Stoke (one of is own most critically acclaimed single albums) and Soaked (a cooperation with Jacob Kirkegaard), both on Contact. 2003 saw the discharge of two single albums by Jeck: 7 (Contact) and Host (Sub Rosa). 2004 brought two even more collaborative albums: Music for European countries (Piosenki Dla Europy) (Asphodel) with Janek Schaefer and Reside in Leuven (30 Hertz Information) with Jah Wobble and Jaki Liebezeit. In 2007, Contact released a documenting of the 2005 functionality of Gavin Bryars’ The Sinking from the Titanic by Italian ensemble Alter Ego that highlighted Jeck on turntables. Fine sand, Jeck’s first single record in five years, premiered by Contact in 2008, as was Amoroso, a divide 7″ with Fennesz where both performers manipulated a documenting of organ participant Charles Matthews. A restricted vinyl-only solo discharge titled Suite: Reside in Liverpool was released by Contact and Autofact Information in ’09 2009, as well as the Tapeworm released a Jeck cassette known as Spool exactly the same calendar year. This year 2010, Contact released Spliced, a collaborative 7″ between Jeck and Marcus Davidson. Jeck’s following solo record, An Ark for the Listener, was also released by Contact that calendar year. TablesAreTurned, a double-LP cooperation between Jeck, Alter Ego, and Bernhard Lang, and predicated on a music by Amon Düül 2, premiered by God Information in 2011. Carrying out a few digital-only produces of live shows, Jeck came back to record shops in 2015 with Cardinal, a dual LP released by Touch.