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During 'Saint Pancras', he seems to shake sleigh bells in the distance pitted against the neon whirr of his electronics, the addition is strangely disconcerting, like a threat voiced from the lips of a longtime ally. There are jarring moments, as during the menacing 'Brief' or the lurid 'Called In', that suggest Jeck has suddenly slammed his palm against a distortion pedal, like some much younger noise lord gunning for the set’s climax. These 13 tracks, however, often feel powered more by their accessories-'Casio keyboards, Ibanez bass guitar, Sony MiniDisc players, Ibanez and Zoom effects pedals, assorted percussion, a Behringer mixer,' he lists-than the source records. Jeck indeed created Cardinal with turntables, a technique best heard here through the fractured loop that anchors 'Broke Up' or the sunbaked wobble that defines 'The Station View'. Brittle dins and soft tones, beautiful drones and static shocks participate in a theater of revolving reality and intentional violence. The voices and instruments Jeck once built around slink into the background here, ceding instead to an unexpectedly discomfiting vision. The edges of his sources and samples have hardened, as though he’s confronting the harsh exigencies of the moment rather than escaping to the drift and peace of fantasy. You, the listener, went away with Jeck and his record-store finds for a pleasant spell.īut on Cardinal, Jeck’s first new album in five years, that motion and those feelings have calcified a bit. The process seemed to break linear time by giving a universe of lost voices and performances new life at once. Jeck merged the audio on the records with the essence of the records, creating new music that popped and cracked beneath the charm of vinyl antiquity. Released between 20, a triptych of records- Stoke, 7, and Sand-turned his tests into solo turntable symphonies, fully formed compositions meant to be inhabited and analyzed. Jeck had been at this for decades when, 13 years ago, he seemed to find an enviable stride. If hip-hop’s architects sampled aging sounds to create their own modern world, Jeck uses many of the same tools to create an alternate, individual one that he then invites you to enter. Though he uses little but effects pedals and processors to transmogrify the music, it can seem at times that Jeck physically warps the grooves themselves, turning concentric circles into Catherine wheels or paisley vectors or interconnected figure eights. He processes the static sounds archived on forgotten LPs, sampling and obfuscating the source material until it yields and blurs into new pieces. For most of his career, Jeck has used the record and the record player as both primary inspiration and chief instrument. At their best, the records of experimental British composer and producer Philip Jeck can make you reimagine the way you hear the world.

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