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Locd25r
- No One Pulse - Tele (limited
50 cdr)
Bio:
no one pulse is an audio project
between two hong kong artists, wong chung-fai and chau kin-wai.
wong chung-fai has been working both as a writer and sound artist under the
persona “sin:ned” for quite some time. he first appeared in the legendary hong
kong alternative music magazine mcb (music colony bi-weekly) as a controversial
“music critic”, re-visioning others’ cd and music art work as the source code
for his own literary imagineering. later, he turned to the world of software and
strange electronics device and started making his own “source code”. some of his
early sound works can be found in compilations such as “music for your beautiful
boy”, “mondisk”, “mcb200” and various cd released by the tapegerm collective.
his first two solo works, “uroborus: a study on no-input device” and “60
seconds: a schizophrenic manual for eternity” were both released by lona
records.
chau kin-wai is the mastermind behind sleepatwork, a multi-media design
collective founded in may 2002 with interest ranging widely from graphic design
to animation, web design to music. his artworks had appeared in quite a number
of exhibitions and publications. he was also the curator of various art projects
such as “media jam”, “60 seconds”, and “a2 exhibition”. his prolific portfolio
can be found on www.sleepatwork.com. beside sleepatwork, he had also worked
under the name ok_static, releasing homemade cd of static and noise not unlike
those from raster-noton.
the collaboration between wong chung-fai and chau kin-wai first started when the
former was invited by the latter to contribute for the audio/visual internet
project “60 seconds”. in 03 hk sound & vision festival, the two worked together
again for the multi-media live event “media jam”, as two of the audio
improvisers. in 2006, they started to explore the concept of pure internet
collaboration through a new project named no one pulse. “tele” is the result of
their first experimentation.
“tele”, a greek prefix meaning “distant”, is not only the short for television
and telephone, but also the nick name of fender telecaster (wikipedia, http://en.wikipedia.org).
it can even point to telepathic nature of no one pulse.
“tele” symbolizes both the tool and methodology of no one pulse. collaborating
in “distant” via the internet, audio sources were created out of improvisation.
the two tracks presented in “tele” are closer to meaningful coincident than
traditional song making. slow burning noises and deep diving drone. broken hits
and phantom melodies. unusual twist and turn. returning bits and pieces of
shattered particles derived from unknown sources, revealing an inner world of
subtle structure and shifting movement.
Wong Chung-Fai (aka Sin:Ned):
Computer
Chau Kin-Wai: Computer
Recorded in Hong
Kong March 2006
Mixed and Mastered by
Alok at bitMet Studio in Hong Kong Jun 2006
Cover photo by James Greenfield
(http://www.gradiate.co.uk)
no one pulse是一個不尋常的電子製樂實驗。關於兩位來自香港的實驗樂人。黃仲輝。巢健威。
黃仲輝長久以來以sin:ned名義扮演著樂評人及聲響製作人的角色。sin:ned最早出現於香港另類音樂雜誌mcb，借樂評文字構建自身偏險的生活理論及世界觀，以別人的音樂當作其文字實驗之源碼，一直備受爭議。其後，更進一步沉迷以電腦軟體及各種非正統發聲工具自造源碼。早期聲響創作可見於“music
for your beautiful boy”, “mondisk”, “mcb200”及tapegerm共同體的多款合輯。他的首兩張個人作品“uroborus:
a study on no-input device” 及 “60 seconds: a schizophrenic manual for
eternity”，均發表於lona records名下。
巢健威，多媒體設計共同體sleepatwork之幕後主腦。成立於2002年，sleepatwork之創作極其廣泛，曾指涉之範疇包括平面設計、插畫、動畫、網頁設計以至藝術項目策劃及音樂製作。其作品不但可見於不少展覽項目及書刊，他亦曾策劃多個藝術項目如”media
jam”, “60 seconds”, “a2 exhibition”等。其作品一覽，可詳見於www.sleepatwork.com。 與此同時，他亦曾以ok_static名義自家製作raster-noton式的電子雜音專輯。
黃仲輝與巢健威首次合作於由後者策劃之網路項目”60 seconds”。於2003香港視野音樂節，黃仲輝再度參與由巢健威策劃之多媒體現場演出”media
jam”。2006年，兩人開始研究一種遙距合作的可行性。no one pulse就是在這樣的情況下𧩙生。而”tele” 正是首個實驗成品。
tele於希臘文解作遙距; 同時間，亦是電視 (tele-vision) 及電話 (tele-phone) 之簡稱，又是fender
telecaster結他之別名 (wikipedia, http://en.wikipedia.org)。於no one pulse
而言，更意味著那近乎精神感應的合作模式。
“tele” 指向著no one pulse
的製樂途徑及造聲法則。透過即興演奏及互聯網遙距合作，”tele”中的兩首作品，可被理解為「有意義的巧合」多於傳統的音樂合奏。緩燃的電子雜音與深潛的濃重騷音。支離的節拍碎片與幽浮的聲像旋律。不尋常的轉向變奏。去而復返的衍生自不明音源的聲響粒子，透露著一個屬於內在的世界，關於意態微妙的結構，及以冥想式表情流竄的動態變化。
TRACKLISTING:
01. #2 (10:00)
02. #4 (10:00)
Review:
情緒，依舊是沙礫翻滾一樣湧動的情緒，在電流的共振中傳達漫無邊際的焦慮。簡約的反復中醞釀著未知的危險，直線型的訊號成為變化的轉折，暗，沉的泥濘覆蓋過來，耳朵開始鼓脹，在音頻的威壓下痙攣。後部穿越的細碎雜音，如同冬季裏的落葉，漫無方向的飄散。
NO ONE
PULSE在音樂中塑造出的緊張感抓住了存在的空隙，現代的迷惘與心靈的喪失在背負著十字架的天穹中閃爍莫名。當聲音彈珠一樣在室內滾動，經緯交錯的構思如同抽象的油畫，任線條穿梭。實驗音樂中的情感，往往需要用認真的頭腦才能夠準確的捕捉，而在這個無風的春季裏，當恐懼和符號漫天飛舞，當生命中的輪渡失去了停泊的消息，聲音進入我的腦體，帶我走向另一場關於靈魂的朝聖之旅。
--- 阿白
blog.sina.com.cn/u/4a9d59910100089a
When you notice the words ‘sound
artist,' ‘Raster-noton’ and ‘no-input device’ on the same promo sheet, you
almost certainly can expect mini-crackles, micro-pops, lots of hiss and the
whole gamut of lowercase electronics. The No One Pulse duo from Hong Kong does
anything but disappoint those expectations.
Though far from original the two tracks on this 3” cd, both exactly ten minutes
long and blessed with the entirely nondescript titles "#2" and "#4," are
nonetheless fascinating exercises in creating a lot of atmosphere with the most
minimal of means. Doubtlessly emanating from the laptop it never becomes really
clear whether the sound sources have been pre-recorded and treated later on, or
created from scratch. White noise and distortion are avoided, though, and No One
Pulse let their machines gently purr and drone in a seemingly improvising way.
With this kind of music references are bound to be legion. The aforementioned
Raster-noton and the motionless sine wave mindscapes of Sachiko M and the
no-input philosophy of Toshimaru Nakamura indeed seem major influences, but
reminiscences of the endless subaqueous repetition of Cranioclast and the
fragmentary dub of Chain Reaction cannot be chased away either.
This way too short teaser will not change your world and chances are you may
have heard this kind of meandering soundscaping a thousand times before. But its
insistence on uncovering beautiful sounds certainly makes you beg for more. 7/10
-- Vincent Romain (Foxy Digitalis - USA) (29 August, 2007)
www.digitalisindustries.com/foxyd/reviews.php?which=2688
No One Pulse，香港樂評人Sin:ned和他的朋友KWC的雙筆記本組合。這兩張3寸CDR，是一個概念下的雙生兒，聯合發表的方式，讓我想起90年代的作家和詩人，那些牛掰且高產的，常常在同樣厚度的雙月刊上同時發表一個系列的不同部分。對，這是借用廠牌網路的背景，將作品背後的概念推到更深處。
Tele這張，比較含蓄一些，但又暗藏千頭萬緒的殺機，好象潛水的動物心情乖張，隨時放電；Pathic這張，緊張且快速，整體卻更統一，信息量大但不紛擾。都是用筆記本做的，不能分辨那條線索是誰，那些素材是誰。但我們可以知道，這兩位喜歡鋪設多條脈絡，同時迴圈著向前奔走（或者不如說就地旋轉）。低的聲音慢，高的聲音碎，仿佛有形，更高的不易辨別，更低的彌漫得無形，中間或許有像是旋律的東西，也迴圈著，但也變化著。就好象說，所有就地旋轉的東西，都其實是在就地變化，別說河流，就是loop，也都沒有可以重複的。
這兩張，像我們常聽的長音。但其實不是長音延伸，不是山河，不是旅行。對電腦來說，loop作為最基本的技術，也作為20世紀最基本的音樂概念，可以將音樂的時間感改寫為無限，把時間當成空間來用。不loop的部分反倒成了幫襯——這兩位是在用聲音再現資訊哲學，其中的變化和不變，相互對照，讓人哪頭都不敢錯過，最後就錯過了午飯。---
顏峻
www.yanjun.org/blog/2007/09/06/%e6%bb%9a%e7%9f%b3%e5%b0%8f%e8%af%8407/#more-1323
www.no-one-pulse.com
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