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Atlantic Waves 07dec10: China - Traditional (repeat)

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Atlantic Waves 13jul10: China

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Atlantic Waves 25may10: An Anthology Of Chinese Experimental Music 1992-2008 (pt 3/3)

This four-disc volume at first seems like a daunting, overwhelming prospect: in addition to being a vast and sprawling collection of works, it’s made up by a roster of artists whose work will (for the majority of Western listeners at least) be entirely unfamiliar. The Sub Rosa anthologies are unfailingly impressive collections of work, but this one more than most represents a deluge of new information and new sounds. Help is at hand thanks to the inclusion of two booklets: the first gives a full tracklist complete with artist biographies, while the second (penned by Zbigniew Karkowski and Yan Jun) offers some background context to this collection, with an essay on Chinese underground culture. Compiled by artist Li Chin Sung (aka Dickson Dee), the selection here draws new laptop and electroacoustic music from across not only mainland China, but Hong Kong, Taiwan, Singapore and Malaysia too, and while its impossible to give any kind of comprehensive or fully formed representation of a music scene as truly multi-faceted and subterranean as this, hopefully the collection will offer up a number of new avenues for you to pursue in discovering more about the intersecting cultural movements hinted at within. After an initial disc filled with glorious experimental sounds and cutting edge abstract electronics that border on the more academic end of digital musics, by the second CD slightly more pop-influenced sounds start to infiltrate the compilation: while the likes of Wang Jong-Kuen’s ‘Leaving’ and Dickson Dee’s own ‘Somewhere’ occupy a rigorous and uncompromising microsound approach, you can hear 4/4 dance music templates being utilised throughout Sun Dawei’s ‘Crawing State’. In addition to these extremes, sifting through the compilation reveals a particularly resonant affinity with noise music, with groups like Torturing Nurse and D!O!D!O!D! suggesting cross-pollinations of Japanese, American, and more European, industrial influences. Noise is truly a global language. In fact, one of the most striking things about the compilation, once you’ve worked your way through its full expanse, is that old notions of East and West don’t necessarily count for much within the context of music – at least not experimentally motivated music (for example, just compare the sense of forward-thinking post-digital innovation presiding over Dennis Wong’s ‘Para_Dot’ to Alva Noto’s hyper-minimal propulsions). In any case, there’s a abundance of revelatory moments and exciting, unfamiliar sounds spread across these four discs, and for any follower of experimental music, the anthology has to rank as essential listening. (boomkat.com)

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Atlantic Waves 04may10: An Anthology Of Chinese Experimental Music 1992-2008 (pt 2/3)

This four-disc volume at first seems like a daunting, overwhelming prospect: in addition to being a vast and sprawling collection of works, it’s made up by a roster of artists whose work will (for the majority of Western listeners at least) be entirely unfamiliar. The Sub Rosa anthologies are unfailingly impressive collections of work, but this one more than most represents a deluge of new information and new sounds. Help is at hand thanks to the inclusion of two booklets: the first gives a full tracklist complete with artist biographies, while the second (penned by Zbigniew Karkowski and Yan Jun) offers some background context to this collection, with an essay on Chinese underground culture. Compiled by artist Li Chin Sung (aka Dickson Dee), the selection here draws new laptop and electroacoustic music from across not only mainland China, but Hong Kong, Taiwan, Singapore and Malaysia too, and while its impossible to give any kind of comprehensive or fully formed representation of a music scene as truly multi-faceted and subterranean as this, hopefully the collection will offer up a number of new avenues for you to pursue in discovering more about the intersecting cultural movements hinted at within. After an initial disc filled with glorious experimental sounds and cutting edge abstract electronics that border on the more academic end of digital musics, by the second CD slightly more pop-influenced sounds start to infiltrate the compilation: while the likes of Wang Jong-Kuen’s ‘Leaving’ and Dickson Dee’s own ‘Somewhere’ occupy a rigorous and uncompromising microsound approach, you can hear 4/4 dance music templates being utilised throughout Sun Dawei’s ‘Crawing State’. In addition to these extremes, sifting through the compilation reveals a particularly resonant affinity with noise music, with groups like Torturing Nurse and D!O!D!O!D! suggesting cross-pollinations of Japanese, American, and more European, industrial influences. Noise is truly a global language. In fact, one of the most striking things about the compilation, once you’ve worked your way through its full expanse, is that old notions of East and West don’t necessarily count for much within the context of music – at least not experimentally motivated music (for example, just compare the sense of forward-thinking post-digital innovation presiding over Dennis Wong’s ‘Para_Dot’ to Alva Noto’s hyper-minimal propulsions). In any case, there’s a abundance of revelatory moments and exciting, unfamiliar sounds spread across these four discs, and for any follower of experimental music, the anthology has to rank as essential listening. (boomkat.com)

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Atlantic Waves 27apr10: An Anthology Of Chinese Experimental Music 1992-2008 (pt 1/3)

This four-disc volume at first seems like a daunting, overwhelming prospect: in addition to being a vast and sprawling collection of works, it’s made up by a roster of artists whose work will (for the majority of Western listeners at least) be entirely unfamiliar. The Sub Rosa anthologies are unfailingly impressive collections of work, but this one more than most represents a deluge of new information and new sounds. Help is at hand thanks to the inclusion of two booklets: the first gives a full tracklist complete with artist biographies, while the second (penned by Zbigniew Karkowski and Yan Jun) offers some background context to this collection, with an essay on Chinese underground culture. Compiled by artist Li Chin Sung (aka Dickson Dee), the selection here draws new laptop and electroacoustic music from across not only mainland China, but Hong Kong, Taiwan, Singapore and Malaysia too, and while its impossible to give any kind of comprehensive or fully formed representation of a music scene as truly multi-faceted and subterranean as this, hopefully the collection will offer up a number of new avenues for you to pursue in discovering more about the intersecting cultural movements hinted at within. After an initial disc filled with glorious experimental sounds and cutting edge abstract electronics that border on the more academic end of digital musics, by the second CD slightly more pop-influenced sounds start to infiltrate the compilation: while the likes of Wang Jong-Kuen’s ‘Leaving’ and Dickson Dee’s own ‘Somewhere’ occupy a rigorous and uncompromising microsound approach, you can hear 4/4 dance music templates being utilised throughout Sun Dawei’s ‘Crawing State’. In addition to these extremes, sifting through the compilation reveals a particularly resonant affinity with noise music, with groups like Torturing Nurse and D!O!D!O!D! suggesting cross-pollinations of Japanese, American, and more European, industrial influences. Noise is truly a global language. In fact, one of the most striking things about the compilation, once you’ve worked your way through its full expanse, is that old notions of East and West don’t necessarily count for much within the context of music – at least not experimentally motivated music (for example, just compare the sense of forward-thinking post-digital innovation presiding over Dennis Wong’s ‘Para_Dot’ to Alva Noto’s hyper-minimal propulsions). In any case, there’s a abundance of revelatory moments and exciting, unfamiliar sounds spread across these four discs, and for any follower of experimental music, the anthology has to rank as essential listening. (boomkat.com)

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Atlantic Waves 09Feb10: Background of Chinese Sound Art

This CD was compiled as accompaniment of Background of Chinese Sound Art, an article issued in magazine Avant-Garde Today no. 14. It was collected in 2006 while sound art started emerging from Chinese experimental and electronic music scene. The title Background means, there is no such reality as Chinese Sound Art but possibilities and explorations blooming in its background. it is end of 2008 when this CD has been published. Maybe people now define Music and Sound Art more consciously and clearly.

Curated and Edited by Yan Jun/KwanYin Records
Assisted by Shi Yang
Designed by Ruan Qianrui
Catalogue: kwanyin 018

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Atlantic Waves 13oct09: LIFEM 09

The very first London International Festival of Exploratory Music unites the myspace generation of musical explorers from the four corners of the globe.

Produced by Red Orange and presented in the perfect acoustics of Kings Place, LIFEM has truly exploited the incredible potential of the world-wide-web to seek the most exciting finds from the far East, the middle East, the Arctic Circle, south America and East and West Europe. LIFEM shows just what the internet can do for world music.

LIFEM has curated evenings which bring together a selection of artists from shared continents to reveal the commonality and differences between them.

The Old and New worlds touch on Friday 6 November. Opening with the raw intensity of sean-nós singer Lorcán Mac Mathúna. This young singer makes his first appearance outside Ireland, bringing with him the ancient language of sean-nós and its songs of lament and hardship. Formed by three members of the group Melike, Tri a Tolia brings together Turkish voice, an Iraqi qanun (lap-harp) and a Belgian cello to create spellbinding music that defies easy categorisation. Their debut album Zumurrude received critical acclaim and attracted an international fan base, with this UK debut their live shows should go the same way. Lonely China Day break out of the clichés of Chinese music (traditional, plastic pop or tacky karaoke) and bring to London a taste of China’s growing experimental rock scene.

Friday, 06 November 09

Old and new world music touching approaches
18:30 – 19:15 Lorcán Mac Mathúna (Ireland) [UK premiere] Kings Place – Hall 1 Buy Tickets Here
19:45 – 20:30 Tri a Tolia (Turkey/Iraq/Belgium) [UK premiere] Kings Place – Hall 1 Buy Tickets Here
21:00 – 21:45 Lonely China Day (China) [European premiere] Kings Place – Hall 1 Buy Tickets Here

86 Atlantic Waves 13oct09

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Atlantic Waves 28jul09: Experimental Music from China (part 4/4)

ZenLu is an active new artist of electronic music in Shenzhen (China) and also a member of the experimental group WEPLAY and P2P. In 2002, he formed the group Consciousness, where he served as the leading vocalist and rhythm guitarist. In 2004, he joined the group YOUNG CRAZY and was in charge of the rhythms, sampling and sound effects. The styles were mainly experimental ambient/IDM/noise. Half a year later, he withdrew from YOUNG CRAZY and started his independent creation, with styles as diverse as IDM/ambient/electronic/noise/avant-garde. Then, since the beginning of 2005, he has been actively involved with many different kinds of performances. His abstract kind of electronic music with outstanding picture effects has set up a new type of creative style in Mainland China, which receives much attention and is widely accepted. He has performed with sound artists Dickson Dee and C-Drik.

Our next step into exploration of Chinese music scene: Double Fish is a talented musician who not only creates his own music but also promotes his friends’ works in his own label. How can you call this music? Well, it’s breakcore…

On Chinese New Year’s Day, Feb 7, 2008, the record label Post-Concrete started ARCHIVAL VINYL, a brand-new line of releases of sound art, experimental electronic, laptop Max/MSP/Jitter/SuperCollider, algorithmic piano, noise, not-in-the-field recordings, live bootlegs, etc., featuring mostly artists from China, Taiwan and Hong Kong. 2RqP5k, aka Wang Changcun, a well known Chinese sound artist. “Antechre Live in Shanghai” was recorded at the LIVE BAR, in Shanghai, on May 27, 2007, as part of the NOISHANGHAI 2nd Anniversary event. “Live 2.0? is an audience bootleg recording.

78 AW radio show - 28jul09

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Atlantic Waves 21jul09: Experimental Music from China (part 3/4)

Wolfenstein, also known as Xie Zhongqi, is a sound artist from Taipei. He is a member of the sound artists collective Taipei Sound Unit. “Movement 4” is taken from “Live at Nanhai 2007”, recorded live at Nanhai Gallery, in Taipei. This performance is part of the Lacking Sound Festival series.

Recorded live October 23, 2007, at Harbin Concert Hall and November 8, 2007 at Daqing Opera Theatre, Heilongjiang Province, China. Wang Changcun is a sound artist currently based in Shanghai. Born in 1981, he’s one of the earliest sound art practitioners in Mainland China. In 2003, six of Wang’s works were included in “China: the Sonic Avant-Garde”, the first compilation of Chinese sound art, released by the California-based label Post-Concrete. In November 2003, Wang performed on Sounding Beijing 2003, the first-ever large-scale experimental music festival in China. In October 2004, he toured in Europe (France, Netherlands, Belgium) for one month.

Yao Dajuin is a sound artist, web artist, radio DJ, and music producer based in Berkeley, California. Dajuin holds a doctoral degree in art history from the University of California, Berkeley, and is the co-founder of the Chinese Computer Music Association. A pioneer in Chinese concrete poetry and web art, Dajuin’s artistic interests have always been multi-dimensional. Dajuin’s music works focus on cultural listening. In recent years he has worked on the deconstruction of the Chinese language (sound, script, and meaning), software modulation of traditional music and opera, and emotional sound art. “Cursive Calligraphy”, is made from a two syllables of Mandarin recitation, reading poems generated algorithmically. No singing, no other sound sources, samples, or electronic sound generation were used. The “Singles Edition” was selected from the out-of-print album “Dream Reverberations” (Juxiang, 1997).

Zhou Risheng is a sound artist born and based in Datong, Shanxi. He taught himself painting and music, setted up an experimental music band, wrote art criticism and poetry, did behavior arts and drew pictures.

Beijing Sound Unit is another project of Yao Dajuin. This track was recorded in Beijing during 1998-99 and the language listened to is Mandarin with Beijing and other regional accents.

Jiang Liwei is from Taipei.

77 AW radio show - 21jul09

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Atlantic Waves 14jul09: Experimental Music from China (part 2/4)

Walnut Room is a experimental band from Beijing, China. This is their first Album. Founded in 2007 in Beijing by Feng Hao and Li Zeng Hui:
Feng Hao:guitars, laptop, effects, percussion, voice, keyboard.
Li Zeng Hui:alto saxophone, baritone saxophone, voice, percussion, effects.

Genre: Experimental, Industrial, Dark Ambient, Noise.

Performance:
May 2007,MIDI Festival (Beijing)
Nov 2007,2Pi Experimental Music Festival 2007(Hangzhou)

Zafka: “YongHe” 2007. All sounds recorded June – August 2007, in the Yonghe Lama Temple area, in Beijing, China.

“Caged” was recorded live @ Knitting Factory, in New York City, in 2006.

76 AW radio show - 14jul09

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Atlantic Waves 07jul09: Experimental Music from China (part 1/4)

White began life one night in the winter of 2005 at Dos Kolegas, a small independently-minded club on the outskirts of Beijing. Shenggy and Shou Wang took to the stage only with the idea to break free of the song forms that had begun to constrict them in their regular bands, and to have some fun making music together. Working with a drum machine, an old analogue synth, a guitar, and a handful of pedals, they opened their improvisation by using the four-note Close Encounters theme as a jumping off point, and then proceeded to map a barbed and deeply psychedelic landscape that left the audience that night, including an exiled Blixa Bargeld, and indeed the duo themselves, completely floored. Three years later – having recorded their debut album in Berlin with Bargeld in the producer’s chair and toured Europe with Einstürzende Neubauten – and White is ready to reclaim their crown as the most important band yet to emerge from Beijing…

Wang Changcun is a sound artist, website designer and Flash coder currently based in Shanghai, China. Born in 1981, He’s one of the earliest sound art practioners in Mainland China.

Zen Lu, experimental musician and sound artist from China, hosted and founded We Play!Records and is the founder of Neo Sound group, now working and living in Shenzhen, China.

Zhu Jianhui aka Double Fish comes from mainland China and makes some nice electronica. His releases so far includes some EPs on Polish and Chinese labels as well as some contributions to compilation albums.

75 AW radio show - 07jul09

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Sleeping Dogs Lie 98: Red

redSet up in 2003, Lona Records is an independent label in Hong Kong preoccupied with producing alternative/experimental music. In December 2005, they launched a series of 3″ CDR singles as an attempt to explore the aesthetic boundaries of experimental sound. Each 3″ CDR or 3″ DVDR features musical/multi-media works by independent artists from across the world, including the U.K., U.S., Italy, Sweden, mainland China, and Hong Kong etc. Each volume is released in a limited numbered edition of 50. From droning to clicks n’ cuts, from glitch to avant-garde, from ambient to extreme noise, they venture off the beaten path and bring all sorts of exciting sounds to a worldwide audience. Their 3″ series has attracted more and more great artists/bands, both new and established, from near and afar, to lay in Lona’s hands the products of their sonic experiments. Open-ended and ever-evolving, this series is rolling on and on—breaking new ground, transcending more boundaries. Alongside the 3″ series they also release CDs in larger size and quantity, which include the official album Hou Guan Yin of FM3 + Dou Wei from Beijing , the first official album She Traded Her Leg of Jeffrey Bützer from the United States, and the debut EP and album of The Yours from Hong Kong.

RED is the first compilation of Lona Records’ Color Series. RED is a massive 3-CD compilation (including 28 pages A5 size booklet) that goes beyond genre and pigeon holes. In RED, Lona Records invited 16 pioneering Chinese sound artists and musicians from China, Hong Kong and overseas to present their interpretation on the color red. The result is a radical and eclectic mix of experimental sounds, extreme noises, and atmospheric instrumentations.

01 Li Jianhong: “Red” (00:39) from “Red” (2009)
02 Yan Jun: “Re(a)d Garden, Sound Forks in the Rain” (09:53) from “Red” (2009)
03 ZenLu: “Sunset” (04:21) from “Red” (2009)
04 Wilson Tsang: “black FLIGHT AT red NIGHT” (03:39) from “Red” (2009)
05 Kim Tak Building: “The Man Who Sprayed into the Forest” (06:05) from “Red” (2009)
06 Vsop: “Noble Savage” (04:53) from “Red” (2009)
07 Bai Tian: “Red” (06:40) from “Red” (2009)
08 KWC: “Hometone” (19:31) from “Red” (2009)
09 Wang Changcun: “Dream Receiver” (04:38) from “Red” (2009)
10 Fathmount: “Part 1” (21:15) from “Red” (2009)
11 Torturing Nurse: “Spoken Word” (00:36) from “Red” (2009)

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Atlantic Waves 05may09: Southwest China Field Recordings from Yunnan, Sichuan and Tibet

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Sleeping Dogs Lie 89: Laurent Jeanneau

soundscape-chinaLaurent Jeanneau, Frenchman currently living in China, is a specialist in field recordings who spent a lot of time in Asia and a bit in Africa to develop his concept. This album was made of materials recorded on VCD, CD, field recordings [In the Yunnan province, China] then electronically treated. The result is a mix of traditional music, field recordings, electronic atmospheres, free form experimentations.

A crazy quilt of sounds from mainland China. A mix of original field recordings, ethnic minorities in Yannun, TV, scratched Chineses CDs, often long, unbroken chunks, processed in 2001 and 2002 by Laurent Jeanneau, also known as Kink Gong.

Laurent Jeanneau is a long time practitioner of ethnic field recordings. He made this album with materials of VCD, CD, field recording (Yunnan, China) which were setting into electronic/ambient noise textures. Simple and beautiful soundscapes, it makes people fall into visionary reality.

01 Laurent Jeanneau: “Soundscape China” (01:01:39) from “Soundscape China” (2007)

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Sleeping Dogs Lie 88: 718

Sun Lei (aka 71718---an8)  – musician, producer, composer, multi-media, synthesizer designer, sound artist. An important member of China’s new music. Lives and works in Beijing. Member of the group “Tian + 7 “

Born in Urumqi, Xinjiang, China, 1982. 718 graduated from North China Univ. of Technology with a major in electronic engineering. His background explains his identities as both a synthesizer-maker and laptop musician. A very prolific artist, 718’s styles range from folk music to mysterious, epic-like electroacoustic compositions to even organ music; most of these works have never been released. Leek’s Assault. PEI’s Box were released by Subjam Records. Highlights of his unreleased major works include Bu Yu, Bei Qi, Mei Zhan (for organ) and Pi (read as ‘Pea’ not ‘Pie’, for orchestra and pre-recorded tapes). He also participated in two compilations: The Sound of Silence (Reconfiguration Records) & Landscape. In 2004, 718 played in several festivals including the “798 Festival”, “Who’s Singing in Spring?” Festival and a concert organized by Kwanyin records. Besides his own compositions, 718 occasionally does mastering for other musicians. He is also an associate designer and developer of an audio-related website. In 2005, 718 releases two albums at Subjam Music and KwanYin Label. One is characterized by rhythm and ambient in “Nowise Assault” and whereas the other one, called “An” (Serenity), plays with the transformed sound of made of brain waves.

01 718: “An” (55:55) from “An” (2005)

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Atlantic Waves 17mar09: China - Field Recordings

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Sleeping Dogs Lie 86: Huan Qing, Bi-aleatory (Sonicbrat + Hong Qile)

huan-qingHuan Qin’s Field Recordings… a compilation of recordings of minority folk musics from rural China, originally recorded and released by Huan Qing, from Sichuan in a hand lettered and packaged 8 CD set in China… Perhaps the most remarkable purchase I have made whilst in Beijing is a collection of 8 CDs by Sichuan folk music archivist and musician Huan Qing who is currently living in Dali, Yunnan. Compiled by Huan over several years there’s Yangtze River Workers’ Folk Songs, Ancient Songs of the Hani People, Sichuan Folk Artists, Yunnan Nu and Wa Minority, Yunnan Lisu, Yunnan Naxi Bamboo Flute, Yunnan Yi People, and Tibet Street Musicians…

anatomySonicbrat (Singapore) and Hong Qile (China). An online sound art collaboration via the internet. Bi-a = Bi-aleatory. Where chance, accidentals and improvisations are the guiding concepts. A sound/noise/synthesis based work. Chance, conversation, improvisation… ’sonicbrat’ is the ambisonic brainchild of Darren Ng. As a believer in poetic imperfection, most of his music are performed and recorded on the fly without multi-tracking.

Darren is a Singapore based sound artist and music composer whose electro-acoustic sound-bites have established him as one of the most sought after sound and music composer in the local theatre and international film and art scene. His works have been compared to Erik Satie, Ryuichi Sakamoto and Martin Denny by international music reviewers from U.K. (WIRE: Ken Hollings), U.S.A. (The Silent Ballet and Bluesbunny) and Hong Kong (Hompy). Trained in classical piano, he has been exploring re-interpretive playing and improvisations on various music instruments, using processed “found sounds” to fuse with his acoustic and electronic compositions. He has also ventured into unconventional live looping and sampling with instruments and object sounds to create textured audiographies. His sound art expositions employ digital and analogue synthesis, field recordings, musique concrète, acousmatic music, live sampling, audio processing and programming; exploring minimalist sounds and psychoacoustics performances and installations. He has also worked and collaborated with many international sound artists and musicians from Spain, Sweden, France, Italy, UK, USA, Canada, Japan, China and Thailand. He was chosen to participate in the 2008 Red Bull Music Academy (Barcelona) under his solo ambisonic brainchild “sonicbrat” and has been invited to perform solo as sonicbrat in Hanoi Sound Stuff Festival 2009 (Vietnam), Wiener Festwochen 2009 (Vienna) and A Change of Heart International Music Concert 2009 (Sweden).

He graduated from the National University of Singapore with a Bachelor of Arts in Philosophy and Theatre Studies. He has been active in the theatre and sound art scene for almost a decade. To date, he has had 8 nominations in total for his works and had won the coveted award of Best Sound Designer at the 6th and 8th Straits Times Life! Theatre Awards 2006 and 2008 respectively. He has also received an Honourable Mention for Special Achievement, for Best Sound in the 5th Straits Times Life! Theatre Awards 2005.

Darren is the first sound artist to be commissioned by Asian Civilisation Museum (Empress Place) to sound design for the closure of Journey of Faith, Art & History from the Vatican Collections (2005). He was also commissioned to design a permanent sound art installation for the new National Museum of Singapore (NMS) in 2006 – which is now a key feature exhibition in the living galleries for the next five years (food gallery). Subsequently, he was commissioned to design sound installations for NMS seasonal exhibitions. He has also performed with Singapore Symphony Orchestra (SSO) and Singapore Chinese Orchestra (SCO) as a synthesizer player and had sound designed for National Day Parade 2007.

He is currently an Associate Sound Designer for The Finger Players and Resident Sound Artist and Music Composer for ECNAD.

01 Huan Qing: “untitled 01” (03:57) from “Fire”
02 Huan Qing: “untitled 02” (04:02) from “Fire”
03 Huan Qing: “untitled 03” (05:52) from “Fire”
04 Huan Qing: “untitled 04” (07:21) from “Fire”
05 Huan Qing: “untitled 05” (09:27) from “Fire”
06 Bi-aleatory (Sonicbrat + Hong Qile): “Tear Film” (09:08) from “Anatomy” (2008)
07 Bi-aleatory (Sonicbrat + Hong Qile): “Parasympethetic” (09:21) from “Anatomy” (2008)
08 Bi-aleatory (Sonicbrat + Hong Qile): “Capillaries” (06:40) from “Anatomy” (2008)
09 Bi-aleatory (Sonicbrat + Hong Qile): “Memory System” (07:27) from “Anatomy” (2008)

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Atlantic Waves 10mar09: China Today

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Sleeping Dogs Lie 85: Pei

pei-ShowLetterThis is an album of soundscape, mostly recorded in the summer time of Taipei . What do we see ‘normality’ from a different scale? And how does it differ to a series of paranormal view from a same distance? What do we shared? There are two groups of pictures enhanced my questions as a habitant of Taipei and there has nothing fancy or chic within recording images. By isolating the actual recording locations to the represent pictures, I try to understand what had I been asking while head in cloud and feet on ground.

Pei has dabbled in a variety of digital domains, but has concentrated on sound design, composition and streaming video art since 1999. Her work has been influenced by neo-dada, freeform jazz as well as avant-garde electronic musicians and minimalist painter/composers. She has composed pieces for radio, animation, dance, theatre projects and installations as well organising and performing at experimental electronic music events. One of her radio piece >un, canny< received Honorary Mention of Digital Music in Ars Electronic 2007.

01 Pei: “Changing Root” (01:00) from “Normality Envision” (2007)
02 Pei: “Normality Envision” (07:45) from “Normality Envision” (2007)
03 Pei: “Tw Ambience” (02:42) from “Normality Envision” (2007)
04 Pei: “Summer Sunset Ept1” (07:43) from “Normality Envision” (2007)
05 Pei: “Summer Nite Ept2” (18:34) from “Normality Envision” (2007)
06 Pei: “Summer Nite Ept3” (04:11) from “Normality Envision” (2007)
07 Pei: “Taifun Low” (03:41) from “Normality Envision” (2007)
08 Pei: “Yang Ming Shan/Hidden Grass Bugs” (01:11) from “Normality Envision” (2007)
09 Pei: “Typhoon” (10:39) from “Normality Envision” (2007)

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Atlantic Waves 03mar09: China - Sonic Avant-Garde

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Atlantic Waves: 24feb09 - China - Modern

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Atlantic Waves 17feb09: China - Traditional

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Sleeping Dogs Lie 67: FM3, Robin Guthrie

On Hou Guan Yin, the team that brought you the now seminal Buddha Machine have expanded upon the looping microsound aesthetic that established their name internationally and have made a welcome return to a more conventional format. The group’s founding members, Zhang Jian and Christiaan Virant are joined by Chinese experimental artist, Yan Jun and the rock singer/musician, Dou Wei, who provide additional electronics and drums, respectively. The idea of FM3 incorporating drums into their sound might sound entirely at odds with the ambient minimalism the Buddha Machine is associated with, but while that contraption’s technology made economy and reduction a necessity – constricting FM3’s sound palette into thirty-second loops – the CD facilitates a conceptually very different side of their work, allowing for an altogether freer, more ornate music. The eleven sound pieces that make up Hou Guan Yin function as a series of heavily layered vignettes composed from environmental sound materials, treated live instruments and digital synthesis. FM3 have produced an album that not only follows up on the Buddha Machine’s promise as a calling card for an innovative sound design team, but successfully marries Western pop structures with Eastern harmony and ambience. Brian Eno would do well to buy eight of these too.

Limited edition of 3000 in digipak. 3:19 is the title of the original soundtrack recording by Robin Guthrie for the acclaimed Spanish film of the same name. This is the former Cocteau Twins Guitarist’s second soundtrack following Mysterious Skin and it features all the trademark Guthrie, ethereal soundscape you’d expect. This time, however, Robin has added piano, just a bit a strings and a few sound effects that nicely communicate the film’s mood.

01 FM3: “?” (2:25) from “Hou Guan Yin” (2006)
02 FM3: “? ?” (5:23) from “Hou Guan Yin” (2006)
03 FM3: “?: (4:37) from “Hou Guan Yin” (2006)
04 FM3: “?” (2:05) from “Hou Guan Yin” (2006)
05 FM3: “? ?” (2:53) from “Hou Guan Yin” (2006)
06 FM3: “?” (3:47) from “Hou Guan Yin” (2006)
07 FM3: “?” (3:36) from “Hou Guan Yin” (2006)
08 FM3: “?” (2:32) from “Hou Guan Yin” (2006)
09 FM3: “? ?” (3:15) from “Hou Guan Yin” (2006)
10 FM3: “?” (3:26) from “Hou Guan Yin” (2006)
11 FM3: “?? ?” (2:23) from “Hou Guan Yin” (2006)
12 Robin Guthrie: “3:19 Intro” (03:34) from “3:19 Bande Originale Du Film” (2008)
13 Robin Guthrie: “Comprensión” (03:14) from “3:19 Bande Originale Du Film” (2008)
14 Robin Guthrie: “Cuanto Tiempo?” (03:44) from “3:19 Bande Originale Du Film” (2008)
15 Robin Guthrie: “Lisa@Dixo.Com” (04:14) from “3:19 Bande Originale Du Film” (2008)
16 Robin Guthrie: “Lucia’s Lament” (03:31) from “3:19 Bande Originale Du Film” (2008)
17 Robin Guthrie: “A La Eternidad….” (02:53) from “3:19 Bande Originale Du Film” (2008)
18 Robin Guthrie: “3:19 Outro” (04:47) from “3:19 Bande Originale Du Film” (2008)

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Sleeping Dogs Lie 64: Yoshiaki Nagumo, 21 Floor

Yoshiaki Nagumo is a Japanese experimental musician based in Narita, Japan.

21 Floor is a Chinese experimental art project feat. Lin Zhiying, Justin Zhong Minjie, Zhang Anding & video artist Thom Chin. Based in Guangzhou the group performs in alternative spaces like offices, KTV or Internet cafes.

01 Yoshiaki Nagumo: “Shadow Was Stolen” (14:33) from “Summer Wired The Shadow” (2006)
02 Yoshiaki Nagumo: “Space Without Distance” (08:29) from “Summer Wired The Shadow” (2006)
03 21 Floor: “Room 01_01” (16:20) from “Room 01” (2005)
04 21 Floor: “Room 01_02” (12:34) from “Room 01” (2005)
05 21 Floor: “Room 01_03” (13:38) from “Room 01” (2005)

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Atlantic Waves 16sep08: China - noise

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