Artists have been using—and misusing—the turntable as a musical instrument for decades, but no one played it quite like Philip Jeck. He employed a battery of vintage monophonic record players to create otherworldly soundscapes out of thrift-store vinyl. He created loops by affixing stickers or bits of tape to his scuffed-up records, and he used delay pedals, a MiniDisc recorder, and a Casio sampling keyboard to build up his layers of sound. Frequently setting his turntables to their slowest speed—16 RPM, just half that of a conventional LP—Jeck wrung a thick, psychedelic syrup from his battered wax. Often, the omnipresent clicks and pops were the only recognizable element in his cavernous creations. It was as though he were spelunking in the crevasses of the grooves themselves, his headlamp throwing fantastical shapes on the rutted cave walls.