Back in the early Eighties, when major labels still accommodated experimentation, Jah Wobble released a couple of EPs on which he collaborated with the former Can members Holger Czukay and Jaki Liebezeit - and, less expectedly, The Edge. Live in Leuven is, in effect, an extension of those collaborations, with turntablist Philip Jeck an able substitute for Czukay and Edge - less demonstrative than the latter, maybe, but with a wider range of sonic strategies at his disposal. It features four meditative, unhurried tone-poems of between 14 and 17 minutes apiece, the most satisfying of which is "One". As a turntable artist, Jeck is like a more laid-back, minimalist DJ Shadow, not so much obsessed with the rhythmic possibilities of scratching as with creating absorbing textures. Here, he opens the piece with a lowering orchestral chord sequence, with echoing fragments of strings, vinyl static crackle, music-box chimes, and little zippy noises of uncertain provenance whipped to the consistency of mis
Back in the early Eighties, when major labels still accommodated experimentation, Jah Wobble released a couple of EPs on which he collaborated with the former Can members Holger Czukay and Jaki Liebezeit - and, less expectedly, The Edge. Live in Leuven is, in effect, an extension of those collaborations, with turntablist Philip Jeck an able substitute for Czukay and Edge - less demonstrative than the latter, maybe, but with a wider range of sonic strategies at his disposal. It features four meditative, unhurried tone-poems of between 14 and 17 minutes apiece, the most satisfying of which is "One". As a turntable artist, Jeck is like a more laid-back, minimalist DJ Shadow, not so much obsessed with the rhythmic possibilities of scratching as with creating absorbing textures. Here, he opens the piece with a lowering orchestral chord sequence, with echoing fragments of strings, vinyl static crackle, music-box chimes, and little zippy noises of uncertain provenance whipped to the consistency of mist, before Wobble and Liebezeit join in about seven minutes in, setting up a curious push/pull rhythmic figure over Jeck's shifting sound-bed. It's perfect chill-out music, though some may find parts of the album (especially the pedestrian "Two") a little lacking in narrative drive.
Subscribe to Independent Premium to bookmark this article
Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies