Monthly Archives: September 2010

Touch Live at Berghain, Berlin | 6th October 2010

For the first time in Germany, Touch presents, as part of Berghain’s Elektroakustischer Salon series…

Hildur Guðnadóttir
Achim Mohné
Kaj Aune

Doors: 8pm. Please check Berghain’s website for venue details, or visit to purchase tickets.

Am Wriezener Bahnhof
10243 Berlin – Friedrichshain

Purchase tickets online at

T-Phone 3 – Jana Winderen “nightwater”

.m4v video for iPod/iPhone
Seoul, Korea
20th September 2010

Track listing:

1. nightwater 12:49

Gaspar Noe – “Enter the Void”

This film has received a 5 star review in The Guardian, with music by BJNilsen & Stillupsteypa featuring on the soundtrack…

Maxim Bashevoy’s Food for spies

Make pancakes (not blinis, they are too thick)
Fry some minced beef
Make parcels out of pancakes and put minced beef in it with some spy stuff like poison capsule, tracking chip etc. (surprise!)
Fry parcels for a bit to seal

Serve immediately

Edwin Pouncey’s Mediaeval Ales

Strong Ale

8 lbs. Hugh Baird brand English Pale malt
1 1/3 lbs. Baird) Pale malt, roasted.

For darker ale, roast to amber: 30 mins. at 225 F. followed by 30 mins. at 300 F. For lighter, roast an hour at 225 F.
around 3 lbs. rolled oats
14 to 16 qts. water (main batch)
14 will produce 1 1/2 gallons of ale; 16 will produce 2 gallons
6 to 8 qts. water (second runnings)
1 pkt, Danstar brand Nottingham ale yeast
1 pkt, Danstar brand Windsor ale yeast

Pre-heat the oven to 225 degrees F. Measure out 1 1/3 lbs. of pale malt, and place it in an e.g. 9 x 13 inch baking pan. When the oven is hot, place the malt in the oven and bake for 30 mins. Then increase the heat and bake another 30 mins. Or, for a lighter colored ale, simply bake 60 mins. at 225 F. Remove and set out to cool.

Sanitize an insulated tun and two fermentation vessels (two 3-gal. food-grade plastic buckets with lids).

Boil water for first runnings (14 to 16 qts.). Crush the malt, mixing the amber (baked) malt with the pale malt. Then mix the oats with the crushed malt well.

If your tun has a false bottom or other similar device, pour in enough boiling water to cover it. Then pour in all of the grain. Finally, slowly ladle the remaining water over the grain, pouring from some height.

Cover the mash tun and let sit 30 mins. Open and stir well, then close and let sit another 3 1/2 to 4 hours. This is a hot mash, so it will need this long period of time to mash (convert the starches into sugars).

Put the water for the second running on to boil. Set up the first fermentation vessel under the drain valve or tube of the insulated tun, and slowly run the liquor from the first mash into the first vessel. Close and set aside to cool.

After the first liquor has been drained out, and when the water for the second running has reached a boil, pour it into the damp grain. Allow to sit for 30 mins, then set up the second fermentation vessel and run this liquor into it. Close the second fermenter, and allow both to cool overnight.

In the morning, sanitize a smaller pan or ladle, a Pyrex measuring cup, and a spoon. Also boil about a cup of water and cool it, covered. Rehydrate the packets of yeast into 3/4 cup of the boiled water. Pour this yeast mixture into the two fermenters, 2/3 into the strong main batch, 1/3 into the second runnings. Use the sanitized ladle to aerate each of the batches (by picking up liquor and pouring it back in turbulently).

Close the fermenters (filling the water locks, if any) and allow to ferment.

Weak Ale

For 2 1/2 gallons of ale:
4 2/3 lbs. Hugh Baird brand English Pale malt
1 1/2 lbs. rolled oats
13 qts water
1 pkt Danstar brand Nottingham ale yeast
1 pkt Danstar brand Windsor ale yeast
1/4 oz. Light Oak chips

Boil water. Crush the malt, then mix it well, while still dry, with the oats.

Open up the insulated tun and place it on the floor near the stove (where the boiling water is). Pour 2 quarts of water into the tun from a reasonable height, moderately slowly.

Pour all the dry grain into the lauter tun.

Slowly pour 3 more quarts of boiling water over the grain. Don’t stir. Put the cover on the tun and let it stand for 10 mins. Then add 1 more quart of boiling water. At this point, there should be a very small amount of visible liquid. Put the lid back on and wait 20 more mins.
Now take the lid off and stir it all up. It should be about the consistency of fairly thick porridge. Put the lid back on and do something else for a while – at least an hour and a half. (I went out for a beer with some friends for 3 1/2 hours.)

Open up the tun and stir in 3 more quarts of boiling water, and stir. Close up again and wait 25 more mins.

Finally, add remaining boiling water (4 quarts)

Stir well.

Set up the sanitized fermenter. Open the mash tun valve (or otherwise start straining out the wort, that is the liquid part, from the grain. (Unlike modern methods, I did not recirculate the liquid in any way.) The first gallon should go quickly; straining the last gallon should be done somewhat more slowly in order to get most of the liquid out.
Close the fermenter and let the wort cool overnight.

Rehydrate both packages of yeast according to the package instructions (being careful to use water that has been boiled and cooled, and a glass that has been sanitized in some way). Pitch the yeast into the wort, and shake, stir, and otherwise agitate the wort in order to aerate it.

Let the ale ferment for a day; the yeast should have started, and activity should be well under way. Boil the oak chips in approx. 1 cup water. When the water is the color of a cup of tea, take off heat and allow to cool some. Pour off water, then add approx. 1/2 cup of water back into chips. Raise this to a boil again, then allow to cool; it should be just barely darker in color than normal water. Add this oak-water to the wort.

Let the ale ferment for a couple more days. Draw off and serve.

TO:81 – Philip Jeck “An Ark for the Listener”

CD in jewel case
Photography & Design: Jon Wozencroft

TouchShop exclusive – this CD is released elsewhere on 20th September 2010

Mastered by Denis Blackham
The cover shows Mirosław Bałka’s installation at the Tate Modern’s Turbine Hall, “How It Is”, April 2010.

Plus bonus 320kbps .mp3 download – 1 track – 30:59
TO:81DL – Philip Jeck “Live at Corsica Studios”, recorded on 1st July 2010.
This performance was recorded straight to digital from the main desk.

Track listing:

1. Pilot/Dark Blue Night 8:47
2. Ark 4:21
3. Twentyninth 2:36
4. Dark Rehearsal 7:36
5. Thirtieth/Pilot Reprise 2:56
6. The All of Water 8:29
7. The Pilot (Among Our Shoals) 4:33

8. All That’s Allowed (Released) 3:24
9. Chime, Chime (Re-rung) 7:34

Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes genuinely moving and transfixing music, where we hear the art not the gimmick.

Philip Jeck writes: “A version of “An Ark For The Listener” was first performed at Kings Place London on 24/02/2010. It is a meditation on verse 33 of “The Wreck of the Deutschland”, Gerard Manley Hopkins poem about the drowning on December 7th 1875 of five Franciscan nuns exiled from Germany. This CD version was recorded at home in Liverpool and used extracts from live performances over the last 12 months. The “coda:” tracks are remixes of 2 pieces from “Suite: Live in Liverpool”. “Chime, Chime (Re-rung)” was originally made for Musicworks magazine (#104, Summer 09) and “All That’s Allowed (Released)” is previously unreleased. All tracks were made using Fidelity record-players, Casio SK1 keyboards, Sony mini-disc recorders, Behringer mixers, Ibanez bass guitar, Boss delay pedal and Zoom bass effects pedal.”

An Ark… is Jeck’s 6th solo album for touch since ‘Loopholes’ in 1995. The Wire reckoned it was ‘Stoke’ (Touch, 2002) which ‘made him great, but his body of work and his achingly brilliant live sets are rapidly defining him as one of our best artists, and his recent award from The Paul Hamlyn Foundation confirms him as such.

Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early ’80’s and has made soundtracks and toured with many dance and theatre companies as we as well as his solo concert work. His best known work “Vinyl Requiem” (with Lol Sargent): a performance for 180 ’50’s/’60’s record players won Time Out Performance Award for 1993. He has also over the last few years returned to visual art making installations using from 6 to 80 record players including “Off The Record” for Sonic Boom at The Hayward Gallery, London [2000). In 2010 he won one of The Paul Hamlyn Foundation Awards for Composition.

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The Anti-Design Festival | September 2010

Timed to coincide and in partnership with the London Design Festival, the Anti-Design Festival is an initiative of Neville Brody, designer, Director of Research Studios and incoming Head of Communication Art & Design at the Royal College of Art, London.

Londonewcastle Project Space
28 Redchurch Street, London E2 7DP
18-26 September 2010
Exhibitions: 11am – 7pm
Performances: 7 – 10pm
FREE entry

The Anti-Design Festival’s Performance Programme presents a panoply of experimental music, sound, moving image, spoken word, performance and digital practice by some of the most exciting artists working in the UK.

During each night of the festival, specially curated evenings will range from Mark Moore (S’Express) on Saturday 18 September, a daring sub cosplay event with sounds and performance curated by Emily Owusu (Grand Cos Play Ball) on Saturday 25 September and Resonance FM guest curating an event exploring negative space and anti-matter on Tuesday 21 September. On Monday 20 September, Cecilia Wee presents an evening of exploring electro-magnetism, data and ownership, Thursday 23 September sees Jon Wozencroft curating new work by Touch artist Philip Jeck and on Friday 24 September the Obsessive Classification Disorder (masterminded by Yomi Ayeni) takes over the Salon to re-order expectations and understandings of narrative and semiotics in a tableaux of story-telling and music. Other nights will feature a lecture about what art will look like in 50 years time by visual artist Tom Badley, new performance by the ever-provocative Mark McGowan, subliminal music by Jennifer Walshe, Rorschach flags made by Peter Lewis and Makiko Nagaya (Redux Projects), stroboscopic noise machines from Ryan Jordan, and new interactive work testing belief by Steven Ounanian

Performances will take place on a specially commissioned stage/interactive audio-visual installation by artists Charlesworth, Lewandowski & Mann, in collaboration with BBC R&D.
You can read a review at mapsadaisical
You can see photos from the night here


BJNilsen’s Sea Leopard

Frank Hurley, Shackleton Expedition
Thursday, 30th March, 1916. N33, 8:32pm.

Abundance of bird life,
Temp. 35, Wind in North East.

A day of activity. The watchman called an alarm at 5 am to the effect that our flow was cracking up and all hands turned out immediately. All equipage was removed to safety but shortly before breakfast, a recurrence took place, the floe breaking up into a smaller section about 100 yards square. One crack passed under the runners of our large boat, ‘the james caird’ and opened so rapidly that we just saved her from falling in. A pronounced undulating swell is noticeable over the surface of the ice, apparently coming from the north west. All the large floes are breaking up under its influence, and in order to avoid a contretemps, the party is halved, taking a four hour watch.

A huge sea leopard, was secured during the morning, which enables us to increase the meat daily ration; and essential expedient to preserve the strength of all, under the present uncertain circumstances. In the stomach of the leopard, were found some 50 predigested fish, in excellent condition, their stomachs in turn crammed full with amphipods. The fish is reserved for tomorrow´s breakfast. The remainer of the dogs shot and skinned, and some steaks cut of the young dogs born in Antartica were fried, and proved exquisitely tender and flavoursome, especially Nelson, who tasted like veal.