Wringing alternative harmonies, and hidden gestures from over-used vinyl is Jeck’s speciality, and with a clutch of notable releases on Touch so far, his reputation as the enfant terrible of turntablism is without doubt, and still remains unchallenged for this listener.
Recorded in Liverpool, and Holland, SAND sees Jeck drawing from an impressive collection of obscure vinyl, twisted and permutated via his idiosyncratic inventory of Fidelity record players, filtered and distilled through effects, mixers and mini disc recorders. Jeck’s surreal hall of mirrors technique effortlessly generates a hybridised, lo-fi skrim, where one can occasionally pick out the source material, and witness it being subjected to all manner of distortions and deformations, generating an active fabric that is at once alive and constantly mutating.
Here, Jeck appears to have plundered his archive for old recordings of Emerson, Lake and Palmer, as their “Fanfare for the Common Man” emerges as a common theme, particularly on track 3, aptly entitled “Fanfares”. Sometimes, as on Fanfares Forward, the source material is xeroxed away into pure drones and texture, all detail has been erased, whereas Residue flips between perspectives, dropping in oddly paced sequences, creating a disorientating swirl of tones and overlays. Overall, fairly standard fare for Jeck adherents, and a worthy entry point to his work for the neophyte. Recommended. BGN.