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Review on Yan Jun - 20 For Lona on Heathen Harvest (US)

This 3inch CD-r release is limited to 100 copies and is a companion to a video and sound art installation from the 4th annual Seoul International Media Art Biennale in 2006. The concept or motive behind the release is quite unique, while concurrently incorporating what by now has become a fairly standard practise amongst those working under the experimental or industrial banner. Yan Jun chose 20 pirate DVDs from his collection, sampled, modulated and edited parts of the audio, and ran them simultaneously. The result is an interesting tapestry of recognisable (and unrecognisable) snippets of dialogue and original film scores interlaced with buzzing static, low-end rumbles, and generally calming drones. The title of the installation was ¡¥I Bought 3000 DVDs,¡¦ and could certainly stand as a statement on the boundaries of what can be considered ¡¥fair use¡¦ at a time when the mainstream media giants are struggling to adapt and survive in a quickly changing digital rights climate.

From an aural standpoint, the overall experience of listening to the disc is a pleasant one, and I found myself smirking or smiling often throughout the nearly 20-minute long piece, as familiar voices and themes surfaced from within the sonic stream, and then dove back down.

When I am listening to a piece of sample-based music with a non-initiate of industrial/experimental music, I find it a source of irritation when that person finds it necessary to identify the source of a sample, or asks me where it came from. This has also happened with industrial music enthusiasts, and it can certainly be a fun game to play (particularly when you force someone to take guesses), but it can also detract from the overall listening experience.

From my personal perspective, as someone who has spent over a decade constructing largely sample-based music, the appropriation and recontextualisation of dialogue, music and sounds has become something of a philosophical event to me. When I have chosen samples, it has typically been because those sounds have had some sort of emotional impact on me, and to point out the original context can potentially take the focus away from the intentions behind their use. It is for this reason that I have attempted (not always successfully) to sample from obscure sources, more often than sources that are immediately recognisable.

That the sounds on this release are ostensibly assembled from a random, flowing amorphic mass of 20 films playing in sync gives an entirely different context to the role of sampling itself. It¡¦s a brilliant approach, however I find myself wondering if that is genuinely how the piece was constructed, in consideration of the placement of certain pieces of dialogue. In any case, I applaud the effort and I must admit that I ws not expecting much, and I have been very pleasantly surprised by this release.

http://www.heathenharvest.com/article.php?story=20080813040755162

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Review on Alok - C on Groove Magazine (US)

C sounds at first as though nothing¡¦s happening. But when this Chinese sound artist¡¦s 3-inch CD is paused, then un-paused, a distinct difference in sonic air pressure is definitely discernable. Brown, unbroken heft displaces utter silence, rising oh-so-slowly in volume until you¡¦d swear it was always lurking there in your field of hearing. Then a dermal layer of prickled static asserts itself, fading to a fizz before you¡¦ve become accustomed to it.

The 21-minute, 30-second sole, track¡X¡§C for Schubert¡¨ ¡Xbecomes much more interesting from that point forward, emerging from a barely-there micro-tonal stasis into something intense and composed, incorporating mournful string-section sawing and startling hints of ivory that are content to be passengers, not pilots. If Alok evokes anything here, it¡¦s deepest winter: frozen countrysides blanketed with freshly fallen snow, so still that they seem lifeless, until one notices the icicles dripping, stray dogs foraging, and lonely, unshed leaves twitching.

Review by Raymond Cummings

http://www.groovesmag.com/reviews/00000552/Alok-C.html

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4 Reviews on Alok / Sin:Ned / Nerve / Nisei 23 / Defraktor on Blog.libero.it (Italy)

Alok - Placid Places
Alok e' l'intelligente fondatore della Lona Records Situata in Cina (Hong Kong). Ma non solo, oltre al ruolo di manager Alok e' anche un valido artista. "Placid Places" e' il suo ultimo lavoro, un profluvio lento ed incessante di "clicks and glitch" rumori senza tempo, respiri affannosi, electronica urticante. Cinque tracks dove il musicista cinese sviluppa partiture sonore difficili e portentose..

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Sin:Ned / Nerve - Ghost Feeding Vessel
Si prosegue, incessantemente, nella scoperta dei tanti "suoni vaporosi" della Lona Records. "Ghost Feeding Vessel" è un cd registrato dal vivo il 25 agosto 2007. Ci troviamo di fronte, ancora una volta, ad una strana elettronica. Sin:Ned and Nerve sperimentano traducendo in note emozioni flebili e particolari. Questa musica la si potrebbe definire "electronic avant-garde". Temi artistici ostici, espressi su di un pentagramma incandescente. La musica corre e si rincorre come un fiume in piena, è decisamente pesante tenere il passo di tutta questa passione. Per fortuna ci sono le pause che ti permettono di respirare, riprendere fiato e calarti di nuovo in questa nuvola di frecce. Esperienza formativa e fortemente propedeutica.


Nisei 23 - Milenka EP
IDisco prezioso e dal percorso fortemente cerebrale. Only acoustic instruments, guitars & piano. I quali si intersecano con solerte maestria. Nisei lavora di fino, estrapolando il meglio da un pentagramma il più delle volte arido e logoro di fantasia. "Milenka Ep" è un microcosmo di suoni alterati, si fatica a carpire tutta la potenzialità di quest'opera. Occorrono ripetuti ascolti per limitare l'onda anomala. Ma se si avrà la giusta pazienza si verrà investiti da raggi di sole, come nella sublime "Yoko".

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Defraktor - A Hole In The Void Of Time
Piccola ma valente etichetta (cinese) la Lona. Getta sul mercato prodotti difficilmente fruibili da tutti, ma dall'alto valore artistico. Karsten Hamre è un "manipolatore" di suoni norvegese, che in questa particolare occasione si presenta con lo pseudonimo di Defraktor. Samples che racchiudono invenzioni molto intelligenti, Karsten propone un'electronica scarna e minimale. Quattro composizioni (suddivise in due dischetti) dall'andamento molto "dark", "manipulations" che stringono il collo come un gelido nodo.

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http://blog.libero.it/ricerca_blog.php?advRegion=15&q=lona+records&search_engine=blog

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A new Jeffrey Bützer video - Lucy 5's Egg (Directed by Marco Missano)

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Review on Sin:Ned / Nerve - Ghost Feeding Vessel °­¾j¬I¦à on Startling Moniker.com (USA)

Originally composed and performed live as part of a larger performance entitled ¡§Ritual for the Ghosts,¡¨ Hong Kong artists Sin:Ned and Nerve¡¦s ¡§Ghost Feeding Vessel¡¨ is a document of ritualised sound action aimed at communicating with (and about) the deceased. Whether Sin:Ned or Nerve would deem their efforts a success, the appropriate atmosphere is most definitely conjured¡V a serene series of bell calls puncture the calm at its opening, leading to an increasing flood of haphazard messages forced through from what sounds like worlds beyond.

A striking number of sounds are employed in this venture, and in far too many ways for the listener to determine precisely who is generating them, which perhaps leaves us the option to hear some sounds as not being generated by Sin:Ned or Nerve. Of particular interest to me are the bells, which continually pierce even the most chaotic moments, providing an aural landmark to aid our return.

For a live document, ¡§Ghost Feeding Vessel¡¨ is very well-produced, with a wonderfully spacial quality that will be appreciated by headphone listeners. I would have liked to hear more of the space itself, though my guess is that a recording of this quality was made directly, without access to site noise when creating this disc.

¡§Ghost Feeding Vessel¡¨ is available in a limited edition of 100 CDR copies from Lona Records.

http://startlingmoniker.wordpress.com/2008/08/

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Review on Alok - Placid Places on Time Out Magazine

It¡¦s silly to give Placid Places a three-star rating. This is not the sort of album that should be measured according to a scale. It is art ¡V to be experienced, and then reacted to.

Partly because of that, most people will hate it.

But this is not for most people. Sound art, experimental electronica, industrial noise ¡V take your pick. It¡¦s not exactly toe-tapping stuff. Take the first track, Pool Weakness. It¡¦s 20 minutes of fuzz, buzz, and drone ¡V as if someone has amplified the sound of an untuned television set and laid it over the top of a malfunctioning food processor interrupted by exploding fuses.

Yeah, you¡¦ve guessed it ¡V it¡¦s hard to describe. The next track, Pocket Temptation, weighs in at a breezy ten minutes and leans heavily on a resonating sonar-like hum. Through the three remaining tracks, you can add blizzard sounds, disjointed piano, the quiet bubbling of water, and more disconcerting industrial noise to the mix. It all adds up to a feeling of unease, despite the title¡¦s claim to placidity, as the listener is immersed in a soundscape of machinery.

Alok probably won¡¦t reach a wide audience with this release, but he continues his long-held role as a provocateur of the senses and a pusher of Hong Kong¡¦s musical boundaries. And for that, he¡¦ll always be one of our favourites.

review by Hamish McKenzie

http://www.timeout.com.hk/music/features/11082/alok-placid-places.html

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Review on Alok - Placid Places on MBC on-line

·í¿W¥ß­µ¼Ö¤HAlok±q¹q­µ²Õ¦XSlow Tech Riddim¨«¥X¨Ó¤§«á¡A§Ú­Ì¥i¥H¬Ý¨ì¥L¸g
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¥ý¬O¨ä­º±i­Ó¤H±M¿è¡mWahoo¡n¥Rº¡½ì¨ý©Êªº§é°J¹q¤l­µ¼Ö¸ô½u¡A©µÄòµÛSlow Tech RiddimªºElectronica»s§@¤è°w¡FµM«á¨ì¡m©]±I31©¹ÁÙ¡n©M¡m29¡C¶[¡n­«§ëµ²¥L¥D¾Éªº­µ¼Ö«ººA¥H©Ý®iShoegazer¡BPost-Rock¥H¦ÜIndie-Dance¤§»â°ì¡A¨º¤£¦ý¼i¦æ¨ì¥Lªº­µ¼Ö³¥¤ß¡A¦P®É¥ç¼ö°J§@²{³õºt¥X¡F¦Ó¥Lªº¤U¤@­Ó¶¥¬q¡A«K¬O¥þµ{§ë¤JLaptop¹q­µ³Ð§@»Pªíºtªº¨½µ{¡C

¤T¦~«eAlok´¿¦b³X°Ý¤¤¦V§Ú»¡¹L¡G¡u§Ú¨ÌµM¦n¼ö·RElectronica¡A²{¦b¤ñ¸û³ßÅwÅ¥¤@¨Ç¸û¬°ÀRºA©MªÅ¶¡¦A¤j¤@ÂI¦Ó¨S¦³±Û«ß¨ºÃþ¹q­µ¡C¡v¨Æ¹ê¤W¦b¹L¥h¨â¦~¦h¨Ó¡A°£¤F¬°§O¤H¦ñ«µ(¦pThe Yours)¤§¥~¡AAlok«K¦A¨S¦³§@¹L¥ô¦óFull Bandºt¥X¡C¤Ï¤§³o¨Ç¤é¤l¥H¨Ó¡A¥L³£¿n·¥°Ñ»P¹L¤j¤j¤p¤p§Î¦¡ªºLaptop¹q­µºt¥X¡A¹ê¦æ¥þµM­n­«·s¾ð¥ß°_¥L´ÂµÛAvant-Garde»PSound Arts¤j¤è¦Vªº¹q­µ»s§@¤H¨­¤À¡C

¥HCD-R§Î¦¡­­¶q¦L»s¤@¦Ê¤­¤Q±iªº¡mPlacid Places¡n¡A¬OAlokªº²Ä¥|±i­Ó¤H±M¿è¡A¤]¬O¥L­º±iFull-Lengthªº¹qÁn°Û¤ù¡C

¡mPlacid Places¡n¤º§t¤­­º¼Ö³¹¡A³Ìªøªº¹F¤G¤Q¤ÀÄÁ¡Aµuªº¤]¦³¤­¤À¦hÄÁ¡F·í¤¤ªºªø½g¨â­º§@«~¡A¬O¤À§O¨Ó¦Û­»´ä¤Ñ¦ZKapok©M²`¦`Mooka Spaceªº²{³õºt¥X
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¥¿¦p¨ä¶Â¶Â°Û¤ù«Ê®M¯ë¡A¡mPlacid Places¡n¬OAlok¤Ä°Ç¥Xîî¶Â«Õ³¬ªº¹q­µSoundscapeµÛ§@¡A¤@¬qÀRÁīշt­µ´º¤§®Èµ{¡X¡XµM¦Ó¨º¤£¿W¥u¦³Ambientª^³òªº±r«Þ¬y³s¡A¦P®É¤]º¡¸ü­ê¦i©Ò«äªºMircosound»PClick ¡¥n¡¦ GlitchÁnÅT¼h¦¸¡C

¨â­º²{³õºt¥X§@«~¡qPool¡DWeakness¡r©M¡qPurlieu¡DDawn¡r¡A¥iÅ¥±o¨ì²{³õ®ðª^±Àªi§UÄi¤Uªº§Y¿³Free-Formª¬ºA¡A«eªÌ§À¬qîh¥ñµÛªºFree-Jazz¤p¸¹¡A¬°¼Ö³¹¼W²K¤F¯î½Ï¤£¸gªº·N¨ý¡F«áªÌ¨«¹L²¬ù¸H©ç»P°T¸¹Án«áº¯¥Xªº¯}¾åª^³òÀç³y¡A¤D·N¹Ò¬Æ¿@¡C

¡qPocket¡DTemptation¡r¯¿¶ÃCD¸õ½u®ÄªGÅ¥±o§AÁÓÂà¤Ï°¼¡C¦ý§Ú³Ì·R«o¬O¤@¦±¡qPlain¡DNight¡r¡A¥ÑJoey Chuºt«µ¥XªºAvant-Garde / John Cage¦¡¿ûµ^¡A©{¦p©]¤§±I¹é¤ßºë¡C

Review by °K´¼Áo

http://www.mcb.com.hk/online2/article/article.php?did=3&aid=469

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Review on Sin:Ned + Nerve - Ghost Feedng Vessel on Yccmcb (Blog)




¨â¦ì­»´äAvant¹q­µ»s§@¤HªºÁp°L¦X§@¡ASin:Ned»PNerve©Ò±a¨ÓGhost Feeding Vessel±M¿è¡A°O¸ü¤F¬O¤G¤H¦b¥h¦~ª»Äõ¸`¬°Para/Site Art SpaceÁ|¦æªº¦h´CÅé¸`¥Ø¡m²§ÆF²½¨å¡n±a¨ÓªºEpic §Y¿³²{³õºt¥X¡C¦b¡m°­¾j¬I¦à¡nªº¥DÃD¤U¡A¦p«ÕÆF¯ëªº³±­·°}°}Soundscape¡A¨I¾ýµÛ¥Á¶¡²½»ö»PÆF¬É¶Ç»¡¤§îî¶Â²`Âãª^³ò·N¶H¡A§ë¬M¥X¿W¾ð¤@¼mªº¯«¯µ¸Þ²§ªF¤è¹q­µ¬ü¾Ç¡A³£¥«°­¾yªº­µ¶¡Â«¬y¡C¥»¦a¿W¥ß­µ¼Ö°é¦n¹³¤[¥¼¦³¦p¦¹²§ºÝªº­µ¼Ö¥Xª©¹L¡C

Review by °K´¼Áo

http://hompy.netvigator.com/main/page/yccmcb

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 Review on Yan Jun 颜®m - 20 for Lona on Sonomu.net (Sweden)

The steps through which Yan Jun went in constructing 20 for Lona are laid out very clearly and concisely in the sleeve notes. The prime sound source is that quintessentially Chinese neo-capitalistic product, the pirated DVD.

Here, the artist selected twenty pirated DVDS from his collection, muted most of their respective soundtracks, let them all run simultaneously and mixed up a witch´s brew of international cultural detritus. Languages comprehensible include Hebrew (both classic liturgical and modern conversational), Chinese, English (early on I hear Sarah Jessica Parker and character actor Willie Garson [from an episode of "Sex and the City", no doubt]), Japanese, maybe Russian. On top, alongside and underneath are sound effects, ambient sounds both soothing - trickling water - and grating - subway trains speeding along their tracks - and musical snippets from the original scores themselves.

This release is but a tantalizing excerpt specially prepared for the label (as its title bears witness) taken from an installation premiered at the 4th International Media Art Biennale in Seoul and entitled "I Bought 3000 DVDs", where I am guessing it was enthusiastically received. Much less random and chaotic, and much more dramaturgically composed than its stated parameters might first lead one to expect. Ltd to 100 copies.
Review by Stephen Fruitman

http://sonomu.net/text/~yan-jun-20-for-l/

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Review on Roel Meelkop - Real Mass on Vital Weekly

Not known as a man of many words, at least not on his releases, is Roel Meelkop, so it's a bit of a surprise to see on the cover this somewhat cryptic message: 'Dedicated to the darker sides of life (for once)'. A dark cloud over the head of Meelkop? Not on the cover, but on the phone, he told me that he uses for his 'Real Mass' piece the voices of Antonin Artaud and Aleister Crowley - an unusual open Meelkop revealing his sources. I listened again, but with different knowledge to this piece. Yes, indeed that seem to be voices. Voices from the past, preserved on scratchy sound carriers. No doubt all of which Meelkop loves his hands on. He emphasis the hiss, slows down the voices and creates a true Meelkopian piece of music. His trademark - rapid changes, decaying until the very end, breaking up with something entirely new - is present here, but it all sounds a bit more roughly shaped than before. No doubt a deliberate move on his side, perhaps to emphasize the darker sides of life. A solid work, dark of nature and a true small delight to hear. (FdW) Address: http://www.lona-records.com

http://www.tokafi.com/newsitems/vital-weekly-617

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 4 Reviews on Alok / Phon¢XNoir / Maurizio Bianchi / Kirmann on Blog.libero.it (Italy)

ALOK - C
Implosione devastante della mente... Sorrisi (pochi) che appaiono e scompaiono come stelle vaganti in tempeste ondivaghe... Spigolature dei sensi (electronici) che si sradicano da poli inesplorati. Tutto "very nice" e molto proibito... Complicazioni minimali per una suite mirabolante a firma Alok, musica contemporanea e filiforme che viene frazionata e dilazionata... Ventuno minuti e trenta secondi di sonorità leggiadre e scomposte... Si respira aria pulita, aria di buono.

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PHON¢XNOIR - NO MORE SAD DREAMS
Basso voltaggio di standard apparentemente semplici e futuribili. L'electronica invasiva di Matthias Grubel è quieta e docile come un monsone nel deserto primitivo. "No More Sad Dreams" si adagia su complicati marchingegni del mondo stilizzato. Strumenti dosati in lo-fi, piano-chitarre e laptop che girano su stessi creando un sound elastico e per nulla metallico. Gelo, freddo e mancanza di fuoco che arde... Beats mansueti ma importanti, un altro grande lavoro sempre sotto la gestione Lona Records...


MAURIZIO BIANCHI - ZYKLUSTERS
Inevitabilmente Maurizio Bianchi (e non sono certamente io il primo a scriverlo) è un personaggio importante, e "fortemente" carismatico del cosidetto panorama underground "industriale"... La sua arte è ovviamente da prendere con le pinze, in quanto non totalmente assimilabile da chiunque... "Zyklusters" è una delle sue tante (immaginifiche) opere che si adombra di luce riflessa. Quattro componimenti dove drones pulsanti ed iperattivi gravitano su piani levigati ed acerbi... Sogni onirici fuori dal tempo (si ascolti bene "Klusters") e situazioni di sporadiche intemperanze ormonali... Tutto molto caustico... Ovviamente..


KIRMANN_ - Memoires / Scars
Estremità opposte che si coagulano e si contrappongono come onde del mare. Musica sperimentale, suoni bassi e profondi, electronica scaltra ed ignifuga. Il maestro Franz Kirmann impasta, da buon selezionatore, sounds intrisi di spleen virulento. Memoires/Scars, (3" Cdr) pubblicato dalla Lona Records, è un piccolo capolavoro di electronica dark computerizzata. Nulla viene lasciato al caso, ogni nota è assorbita e filtrata con meticolasa parsimonia. Now playing, please... Review by Claudio Baroni    (English translated coming soon)

http://blog.libero.it/musica2/view.php?nocache=1212184224

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 Review on Defraktor - A Hole in the Void of Time (Part 1 & Part 2) on The Wire #288 (UK)

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 Review on "O" / Moon - MoonOphonique Part II on Signal to Noise #48 (USA)

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O, the nom de plume of composer Yann Hagimont, has a new 3¡¨ CD-R out with Moon named ¡§MoonOphonique Part II¡¨ (Lona Records locd27r). There are at least a dozen bands in the lexicon with the name ¡§O¡¨ ¡V whether out of sheer simplicity or as a paean to ¡§Story of O¡¨ author Pauline Réage, we know not which ¡V and at least fifteen under the name Moon. And both sides of this particular release are as blue and full as that Moon up above ¡V O¡¦s selections are folkish and strummed, while Moon¡¦s computer, Korg and Fender jazz bass weave a comforting quilt of gentle ambience under which one goes to peaceful slumber without worrying about whys and wherefores. It¡¦s a shame that the record¡¦s only an edition of 50 copies ¡V more people should hear this lonely beauty. - David Cotner, Signal to Noise Magazine #48

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 BG-IMAGINEERING ALONG DESIRE LINES ¡m©ñ³v¼¤±æÁa¾î½u¡n



Modern Media x Hong Kong & Shenzhen Biennale of Urbanism/Architecture

Presented by Modern Media
Partners: Videotage, Chenmiji, Lona Records, ANLIGHTEN Design Studio

Special thanks to Johnnie To/Milyway Image, China Star Entertainment and STAR for permission to show clips from Running Out of Time 2, Videotage for its generous loan of projection and sound equipment, and Yatzar for spatial design support

Central Police Station Compound

10 Hollywood Road Hong Kong
10 Jan - 15 Mar 2008 (closed on 6-8 Feb)
10am-6pm (daily)

G-Imagineering along Desire Lines presents the work of urbanites who have documented/initiated changes in (what was formerly known as) Victoria City: a video collage of Hong Kong filmmakers/video makers' cinematic reinterpretation of urban spaces, to be juxtaposed with a recreation of the Central soundscape by sound artists Alok and Lona Records in a room decorated by furniture salvaged from demolished public buildings over the years by cultural publisher and collector of urban artifacts Chenmiji, in a study of the desires, dramas and organic spatial relationships embodied in the architecture and its surroundings. Copies of Modern Media's City Magazine and the Outlook Magazine, chroniclers of the collective cultural/consumerist experience in Hong Kong and the South China region, provide a frame of reference for the exploration of possibilities in sustainability.

Concept & coordination by Lo Yin Shan & Vince Lung

¡m©ñ³v¼¤±æÁa¾î½u¡n

²{¥N¶Ç¼½¶°¹Îx ­»´ä¡E²`¦`«Ø¿vÂù¦~®i
¥D¿ì¡G²{¥N¶Ç¼½
³Ð§@¹Ù¦ñ¡G¿ý¬M¤Ó©_¡B³¯¦Ì°O¡BLONA RECORDS¡BANLIGHTEN DESIGN STUDIO

¯S§O»ïÁ¡G§ùµX®p¡þ»Èªe¼v¹³¡B¡m·t¾ÔII¡nª©Åv«ù¦³¤H¤¤°ê¬P¤ÎSTAR´£¨Ñ¹q¼v¤ù¬q¡B¿ý¬M¤Ó©_­É¥X§ë¼v¾¹§÷¤Î­µÅT¨t²Î¡BYATZAR
¡m©ñ³v¼¤±æÁa¾î½u¡nÁܽЭ»´ä³£¥«¥Í¬¡ªº¸àÄÀ/³Ð³yªÌ¡A¦b±Nµo¥¼µoªºÅܰʤ¤¡A´M¯Á¬J¦³¸ô®|¥H¥~ªº½è·P¡B­µÁn¡B¤Û¹³¡A¬°¤¤°Ï¯S¦³ªºªÅ¶¡¶H¼x©M«°¥«°O¾Ð­«·s©w¸q¡C¥»¦a¹q¼v¤H±N¤¤¡B¤WÀôªº¼ô±x³õ´º¤Û¤Æ¦¨¤Ñ°¨¦æªÅªº¸Ö·N»R¥x¡A¤å¤Æ¥Zª«¥Xª©¤H/ª«¦¬Âîa³¯¦Ì°O¦h¦~¨Ó¦Û­±Á{©î¨øªºÂ«Î·H¡B¤½¦@«Ø¿v·m±Ï®a¨ã¡Bª««O¦s¾ú¥v¡A­µÁnÃÀ³N®aAlok»PLona Records³Ð§@¹Ù¦ñ¥HÀô¹Ò¹êÅç­µ¼Ö°O¿ý«°¥«¶°Åé¼ç·NÃÑ¡F¡m©ñ³v¼¤±æÁa¾î½u¡n¥H§ë¼v¸Ë¸m±N¹q¼v¤¤µêºcªºÄµ¹î­±»ª¡BÅv¤OªÈÄñ¸m©ñ©ó¤H¥h¼ÓªÅªººÊº»¹ê´º¡A¥Î¥}¥Ç¤â»sªº¬F©²®y´È¡B­I«á¦Û¦³¨Ó¾úªºÂ®ÑÃo«Øºc¤©°ÑÆ[ªÌ«ä¥j¯«¹Cªº³õ©Ò¡A°t¦XAlok and Lona Records²{³õ§Y¿³ºtĶªºÀô¹Ò/¤HÁn¼Æ½X·L¼Ò­µ¼Ö¡A«P¦¨¼v¹³/­µÁn»P«Ø¿v/ªÅ¶¡ªº¹ï¸Ü¡C²{³õ¨ÑÀH·N½¾\ªº¡m¸¹¥~¡n»P¡m·sµø½u¡nÂø»x¡A¥H¤@³eªº¤å¤Æµø³¥»P®ø¶O¥Í¬¡Ä²Ä±¡A¬°ªÅ¶¡»P¼¤±æªº«áÄò°Q½×´£¨Ñ¯À§÷¡C

·§©Àµ¦¹º¡G¿c¿P¬À¡BÀs¤å¯E

DESIRE FURNITURE
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Chenmiji
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Today, the Central Police Station compound stands deserted, devoid of its former occupants¡Xand its colonial - style government furniture. For more than two decades, Chenmiji have been preserving history by salvaging overlooked treasure from public buildings and government offices facing demolition. These chairs, tables, book cases, door handles, light switches have been selected by Chenmiji from his vast collection of urban artifacts to be displayed in this former exhibition space for "Correctional Services Industries" products. Each item has its own story to tell¡X and a similar origin to the government stationery and furniture that had been used or produced here until not so long ago.

¤¤°Ïĵ¸p«Ø¿v¸s¡A¤H¥h¼ÓªÅ¡A³s´Þ¥Á¦~¥Nªº³ÃÍ磌¤]¤@¨Ö®ø¥¢¡C
ª«¦¬Âîa³¯¦Ì°O¦h¦~¨Ó¦Û­±Á{©î¨øªºÂ«Î·H¡B¤½¦@«Ø¿v·m±Ï®a¨ã¡Bª««O¦s¾ú¥v¡C¤µ¦¸¡A¥L±q¨p¤vª«­Ü®w¬D¿ï¤@¨t¦C¤j¤p²Õ¥ó¢w¢wÂi´È¡B®Ñ¬[¡BªùÂê¡B¹q¿O´wµ¥µ¥©ñ¦^³o­Ó¡uÃg±Ð¤u·~»s«~¡v®i¥Ü«Ç¤º³¯¦C¡C¨C¥óª««~¡Aªþ±¾¦WµP¤@­Ó¡A­z»¡¥¦ªº¨­¥@¬G¨Æ¡C

CENTRAL SUBCONSCIOUSNESS
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Lona Records
Alok, Edwin Lo, João Vasco Paiva, KWC, Nerve, No One Pulse, Sin:Ned, Vavabond & yy.zz
Central is a playground of sounds loud and soft, a forum of conflicting views as much as it is an arena of power and desire. The ambient sound artists at Lona Records capture the emotions of the heart of our city and present us with a digital simulation of the urban soundscape, a soundtrack for the subconsciousness of the urbanite.

¥HÁn­µ§@¬°¤@ºØÄ²Ä±¤Î·Q¹³¤è¦¡¡A¦bªÅ¶¡»P¦a²z¤§¶¡¡A¹º¤@ª½½u¡F¥H²Å½X¾Çªº«º¶Õ¡A¾î¤Á¾ú¥v¡BÅv¤O¡B¤å¤Æ¤ÎÃxÁ{¦s¦bÃä½tªº¦^¾Ð»P²{¹ê¡C
Lona RecordsªºÁn­µ¹êÅç®a¡A¥H¤¤°Ïĵ¸p«Ø¿v¸s¬°¤¤¤ß¡A¦V¥~¥Hťı¦ù©µ¡A±Ä¶°Án­µ¡A³z¹L¹q¸£³n¥ó¤Î¦UºØ¹q¤l¾¹§÷¡A±N¤¤°Ïĵ¸p«Ø¿v¸sÅܦ¨¤@­Óº²Äl¡A¤@¨Ö®ø¤Æ¦Û¨­ªº¾ú¥v¤Î¶gÃ䪺ÁnºAÀô¹Ò¡C¹Lµ{¬O¤@¨t¦Cªº²{³õºt«µ¤Î­I´º­µ¹³¡C
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Live Performance:
2 Feb 2008 (Sat) 2pm-5pm
Vavabond, No One Pulse, Nerve, Alok

23 Feb 2008 (Sat) 2pm-5pm
Vasco, KWC, Edwin, Sin:Ned

15 Mar 2008(Sat) 2pm-5pm
Alok, No One Pulse, Nerve, João Vasco Paiva, Vavabond, Edwin, yy.zz


RUNNING IN & OUT OF TIME & SPACE
A TRIBUTE TO JOHNNIE TO'S SPATIAL EXILE
©ñ³v§ùµX®p·t¾Ô®ÉªÅ

Dan Ip+lo
¸­¾å¤¦¡Ïlo
In Johnnie To's Running Out of Time 2, the plot and reality intertwine in a Hong Kong that is strange yet familiar. Video artists Dan Ip+Lo have borrowed scenes from the film¡Xwith the director's kind permission, of course¡Xand argue visually that Lau Ching Wan, playing Inspector Lau in a "Central Police Station" that is in reality the former Marine Police Headquarters in Tsim Sha Tsui, is actually pointing his gun towards the days when our city was still a colony; that the fictional birdwatchers at the Central Piers are taking our imagination far beyond the hills surrounding Victoria Harbour; and that To's cinematic tribute to the now demolished Queen's Pier is a reminder of the arrogance and haste with which we have been destroying our past. Across the harbour, in the Cattle Depot Artists Village in Tokwawan, media artist Gd St j joins Dan Ip+lo in a video dialogue between real and
imaginary space.

Ãø±oÀò§ùµX®p¾Éºt­ºªÖ¡A¿ý¹³¤H¸­¾å¤¦+lo¥H¡m·t¾ÔII¡n³õ´º¤ù¬q¡A®i¶}¤@³s¦ê¹q¼v»P²{¹ê²¾§Î´«¼vªº®ÉªÅ¹ï¸Ü¡G¥é¤¤°Ïĵ¸pªº¦y¨F©C«e¤ôĵÁ`³¡·Ï¹õ¤@³õ¡A¦ó·þ¹î¼B«C¶³¤âÂò«ü¦Vªº­ì¬O­»´ä´Þ¥Á¦~¥Nªº°O¾Ð¡C¤¤Àô½XÀYÆ[³¾¤@¹õ¡A©µ¦ù¸Ö·N·Q¹³¡A±a§Ú­Ì¯«¹C¼¯¤Ñ»aªÆ¡C¤Ö¤£¤FÁÙ¦³¦V¬Ó¦Z½XÀY­P·qªº¤@¹õ¡A®ÉªÅÀHªi­Ë¬y¡A±¤¤j®a¨S¦³±N¾ß¨ìªº²´«eª«·í§@Ä_¡C«Ì¹õ¸Ì¥~¹ï·Ó¡A¸­¾å¤¦+lo»P¿ý¬M¤Ó©_´CÅé¤H¥Õ¶³­¸¡A¦P®É¦b¤û¬]¶}®i¥t¤@³õ¤g¥ÊÆW®ÉªÅ¹ï¸Ü¡C

http://www.szhkbiennale.org/
http://www.chenmiji.com/
http://www.lona-records.com/
http://www.videotage.org.hk/
http://www.modernmedia.com.cn/

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 BrainWave Communication (China) Releases ~ Buy Here at Lona Shop

Bio: ¸£ªi¥æ¬y¬O¤@ºØ²z·Qª¬ºA,¬O¤@­Ó¥Xª©°Û¤ù©M²Õ´µ¦¹ººt¥Xªº¹ÎÅé.

"BrainWave Communication" is an ideal situation, and also a group publishs unusual projects and organizes events.

Official Website: http://bwcrecords.googlepages.com

Releases: http://www.lona-records.com/brainwave%20communication.htm

Buy Here: http://www.lona-records.com/shop.html ________________________________________________________________

 Here Be Monsters - Download for Free

Artists: Alok [hk] / Kayaka [uk] / Kirchner [it] / ThrouRoof [it]

Title: Crawling Under Your Skin (29:58)

Cat.no.: ZH27 #985

http://zhhbm.blogspot.com
http://www.myspace.com/zhbm

Download link --- http://www.badongo.com/cn/cfile/7019829

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 Review on Phon¢Xnoir - No More Sad Dreams on Angryape.com (United Kingdom)

This 3" disc is an intriguing proposition, pairing Berlin's electronic-pop maestro phon¢Xnoir (aka Matthias Grübel) with Hong Kong's experimental Lona Records, which has previously housed releases from the likes of Alok, Fm3 and The Painful Leg Injuries.

Grübel's recently released "The Objects Don't Need Us" (review link) opus sparkled with its levels of invention, blending everyday sounds into an off-beat style of melancholic electronic pop. The way Grübel built his arrangements reminded of an ingeniously constructed piece of machinery or electronic equipment.

That being the case, "No More Sad Dreams" finds him at the experimental stage of his developments, where all of his 'objects' are strewn across his work table as he finely tunes his plans. It offers a fascinating insight into the way Grübel's tracks come together. The four compositions here feel less rigid than his tightly woven album work, as he places different sounds through alternating sequences and experiments with different rhythms.

Featuring previously unreleased material, "Embryo" is a remix from his alternative Phonofix project that almost veers into avant-jazz territories. The alluring "Airplanes in the Sky", recorded in one late night session, meanwhile, finds the perfect balance between this experimental edge and the melodic side of things, merging glacial piano interplay with his inventive revolving beatwork.

Withdrawing his haunting whispers that colour his full releases, the work on "No More Sad Dreams" aligns itself closely to what's being going on over at the Anticon label. Grübel certainly retains the fragility of his previous releases, but now he has added an abstract edge. It is simply yet another string to his bow, another facet of his ever-evolving creations.

http://angryape.com/reviews/2007/12/phonnoir-no-more-sad-dreams

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 New Release From Shasha Records (Shanghai, China) and Review on Sonicity.org

Alok - Mass For Repose Of The Soul Of The Dead (47:19:55)

 

This piece s comprised with field recordings from Guangzhou, Shenzhen and Hong Kong. Composed, recording, rocessing and mixing at near mystudio bathroom, bitMap (Jan - July 2007)

Shasha Records CD-018

Review by Nihilist http://www.sonicity.org/

³£¥«¤`ÆFªº¦w®§À±«b®¯ÂÕ§e²{©óÃÀ³Nªí¹F³õ°ì¡A±q¬ü¾Çªº¹ï¥ß¼h­±¶}®i¡A³y¦¨¤Ï®t効ªG¡A¨ú¨ä¥]®e»P½Ä¬ðªº¤©¬Þ¶iµ{¡AÅýºIµM¤£¦Pªº¯À§÷Âȳ³¹ï¸I¡A²£¥Íª§©_°«ÆvªºÅܤơA¿vºc°_¤£©M¿Ó¸Ìªº¤j©M¿Ó·§©À¡A±q¦Ó¿EµoµL½a³Ð·N¡C¦¹½Õ®¿¥Î¨ìAlokªº·s§@¸Ì¡A¤£ÃøÅ¥¥X¥ô·N±q¼s¦{¡B²`¦`¸ò­»´ä¦¬¿ý¤U¨Óªº«°¥«¾¸­µ¡A³£¾Ö¦³¦P¼Ë³Ù¾x«æ­¢ªº´¶¹M¯S½è¡C¸g¨è·N²§¤ÆÂX¤j«á¡AÄÄ­z¥X²¨Â÷§Nºz¡B¿ù¶Ã¥¢¯«ªº³£¥«¥Í¬¡ÀZ±Ñ§x¹Ò¡A¹üÅã§á¦±ªººë¯«ª¬ºA¡C²âÅ¥¦Ü¦¹¡A¤w³´·Ä©ó°g½k¤¤¡A¯íµM¤£ª¾©Ò¥H¡C§Y¨£§Î¤Wºë¯«¡A¦­³Q¥~¹Ò©Ò¥}¡AµLªk«ü¦V²`¼h¦¸ªº¤º¬Ù¡CµS©¯³Ð§@¤H¦­µÛ¥ý¾÷¡A±qÁn­µ©³¬y¹w´Þ¤F©M¿Ó¦³§Çªº©â¶H²Å½X¡A¥H¦Õ­YµL»D¤§·L­µ¡A¶W´ç殁©ó«æ­¢°ªÀ£¸Ìªº©t»î¡A¦®¨D¥l¦^²Ó¿°ªº·P¨ü¡F»¤µo²âÅ¥ªÌªº«ä·Q»P¨ä±µ­y¡A¹F¦¨¶W¶V·P©xªº·¾³q¡C¨â·¥ªº­µ¼Ö¨ú¦V¡A¤£³æÁ¿¨D­ì§@ªÌªº²`«p³yÃÀ¡A¥ç¥²¶·¾Ö¦³²Ó±KÂ×´Iªº¤ß«ä¡A¨Ã¦Û³ÆÄY®æªk«×¡A¥O§@«~±À¨ì¼¹µõÃä½t¡A«o¤S¯à¦^Âk°_©l¡A­«ªð¶êº¡¨ó½Õ¡A§YÃÒ¦K¤ß¿W¨ã¡C

http://myspace.com/noiseshasharecords

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 Monster K7 Tape Club Download for Free

The 200 tapes of the compilation "Une ode au toy piano" from the french tape label MonsterK7 are sold out. To give a second life to this tape, we've decided to put it on MonsterK7's website for free download.

It¡¦s a mixtape dedicated to toy piano by the artists Aliplays (France), Bertram Wooster (France), The Boom and the Arty (France), Jeffrey Butzer (US), Cosmo Helectra (France), Monsieur Free (France), K. (France), Kawaii (France), Moujik (France), Toy Piano Fanfare (England), Pequena Fiera (Spain), Top Montagne (France), Toy Fight (France), Snugtrio (France), Twink (US) et Michael Wookey (England) (+ 3 bonus tracks by Noah Glenn (US), The Appreciation Society (Englans) and pAq (Italy)).
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MonsterK7, handmade tape label
www.monsterk7.com

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Review on The Painful Leg Injuries - The Quicker Are The Encumbered on Smooth Assailing (USA)

The brooklynite husband and wife duo of bill and suzanne byrne won't stray too far from familiar ground for their release on hong kong's lona records. the biggest change that i'm noticing is how there's far less emphasis placed upon cold, textural compositions, which used to be their bread and butter. following their first release, backwards, broken and incorrectly, the noisy drone thing seemed to be an afterthought (though it really peaked with their tracks on the men in white coats compilation). in its place has been much busier experimentation. actually, i shouldn't say "in its place", because pli's still kind of implementing a cold layer of drone, but it's being buried under a multitude of off kilter instrumentation and sounds.

The strongest vibe that i get from the quick are the encumbered is a spacey one. most of the six tracks on this disc have one or two elements that just give it an alien feel. after an ice cream truck flipped over and we all got some begins with whirling, helicopterish noise, it will slowly retract from the denseness and open up for a few separate layers (some panned) of random tinkering sounds. one of those layers has a weird extraterrestrialesque warble to it. eventually, the noise will start to rise up just in time for the track to... run out of time. the broken elevator's spiral descent has a really appropriate title. this introduces something i hadn't noticed in pli's music before, spastic drum beats. this is matched up perfectly by spacey ambiance and additional sci-fi sounds. it's oddly reminiscent of naked city, sans vocal freak-outs. there's even a bit of saxophone at the end. trippy track, and probably my favorite out of the sextet. they'll follow that one up with a life by the high tension wire, and this one makes me think of lightning bolt. just a little bit. it's really in the musical progression of the main layer. it'll shift focus again to random sounds and percussion, trying to see just how many different things they can throw into one track before the bottom falls out completely. i do find myself wishing that they'd take a less is more approach with some of the tracks. i'm all for layering, but sometimes it just seems a tad excessive. it could also be the fact that i'm hard pressed to pick out key bits which are more memorable and bring about a level of replayability. i am, however, more drawn to the subtler moments like suzanne's affected cello towards the end of everything that comes in stages left in a birthday hat, during the relatively calmer final portion of that track.

The quick are the encumbered is a mini-album that's not short on ideas. that's not always for the best, though. it's not a bad disc, by any stretch of the imagination, but sometimes the jumble of sounds detracted from the more focused moments.

http://smoothassailing.blogspot.com/2007/10/painful-leg-injuries.html

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 Emmanuel Mieville Live in Hong Kong

Date: 26 October 2007 (Fri)
Time: 8:00pm
Venue: Kapok
Address: G/F. 9 Dragon Road (behind Tin Hau temple), Tin Hau, Hong Kong
Price: $80
Supporting Act: Alok & No One Pulse
Co-Presented by Lona Records & Kapok
Supported by Para/Site
Enquiry: info@lona-records.com / info@ka-pok.com

Bio:
EMMANUEL MIEVILLE is a Paris born French sound artist and experimental musician who studied at the world renowned GRM (Groupe de Recherches Musicales) in the field of musique concrete. He also studied sound engineering and attended a cinema school. His aesthetic concern and direction as a composer originate from a desire to give the listener a shifting or blurred perception of soundscapes. Musical experiments with sound-field materials or objects and instruments are undertaken within the intuitive and dynamic stream of unconscious brain stimulations. Some of his collaborations or improvisations yielding patterns or structures, that express ideas but most of the time, the idea of musical flux lingers on his works.His tropism towards sound scapes, sound sculpting and gathering of spatials tools for composition, provides him with a better understanding and perception of sound, as a vector for social awareness and wisdom.

He played for two years with a Javanese gamelan orchestra, and is interested in merging ethnic instruments into electroacoustic music. Amongst other collaborations, he has worked with several dancers for Butoh performances, with French composer/performer Eric Cordier a for live concert (2005), and with Korean video performer, Heesok Yu, for a concert. He also contributes and participates with much constancy to Framework, on Resonance FM (London), which is a radio show dedicated to field recordings.

Emmanuel's myspace page: http://www.myspace.com/ongaka
For more infos and discography see: http://www.acousmafield.net

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Review on 5 lona 3"cdr releases on Startling Moniker (USA)

Here are reviews of five different 3″ cdr releases from the limited series on Hong Kong-based Lona Records. The cdr series, inaugurated in late 2005, features experimental works in a variety of area of sound¡V drone, noise, sound art, etc¡V produced by label head Alok.

Seeing as how he¡¦s the man in charge, I¡¦ll start off with Alok¡¦s challenging disc ¡§C¡¨; which follows a low sustained tone through an underbrush of piano phrases, cable crackling, and resonant hum. The single track, entitled ¡§C for Schubert,¡¨ credits the Impromptu no.1 of Schubert¡¦s Opus 90 as an ¡§influence,¡¨ which it seems (to my rather untrained ear) to obliquely quote at times. Still, these would be rather free quotes¡V I think they¡¦d be better thought of as half-remembered shadows of the original, and in this case, much better suited to Alok¡¦s murky (but moving) vision.I also have to mention the fine use of implied movement in this recording. Without a reliance on ping-pong silliness, Alok imparts a strong feeling of traveling throughout his aural landscape. Regardless of whether this was his intent, or simply instinctual, the effect is remarkable and highly appreciated!

Next up is ¡§Objects & Things,¡¨ by Lublin-based Mind Twisting Records co-founder Kim_Nasung, from the same series of 3″ cdrs. Like the Alok disc, ¡§Objects & Things¡¨ is comprised of an odd blend of electronic and concrete sounds¡V static bursts reverberate in a shared space with blasts of buzzing tones, clanking metal, and something like a decaying tape of agitated choral voice. There is a sense of multiple layers of recording being present in a single time frame; attentive listeners should enjoy the mismatched spacial effects, creating a sort of ¡§room-within-a-room¡¨ feeling.

The use of voice is also notable, both for its complexity and energetic approach. At the halfway mark, the vocal elements of ¡§Objects & Things¡¨ become truly disturbing, guttural and cloaked in their own muttered cacophony. Due to this recording being constructed from three live performances, it has a nice live electricity to it, but is not necessarily linear. A rewarding listen, and certainly one to whet my taste for more from this artist.

There¡¦s no secret that the split ¡¥O¡¦/Moon 3″ cdr ¡§MoonOphonique Part II¡¨ (with a companion disc on Burning Emptiness) was going to be my favorite among these Lona Records releases. I am an unabashed fan of ¡¥O¡¦, and as such, will claim no journalistic objectivity whatsoever while reviewing this disc. Still, I can be truthful¡V I love it. In the short time I¡¦ve had ¡§MoonOphonique Part II,¡¨ I¡¦ve listened to it dozens of times, rarely leaving the immediate area of my stereo. As one of the first ¡¥O¡¦ recordings solely featuring Yann, it holds up well with previous work, warmly carving out a niche of understated electronic whine and puffs of acoustic guitar. It is a lazily aware recording, with the occasional embraced misstep that is the basis of so many ¡¥O¡¦ works. As always, it is too short.

Helpfully, DDN (as ¡§Moon¡¨) steps in with two tracks of synth and bass that do a good job of departing from where ¡¥O¡¦ leaves off. The contrast between Yann¡¦s plaintive acoustic mini-melodies and DDN¡¦s deep space swirlings is amazing; it is the difference between the using the moon to light the way toward home, and using it as a base to the stars. Great work all around¡V I¡¦m definitely needing to get a copy of Part I!

Our fourth disc is ¡§Tele,¡¨ by No One Pulse, an internet collaboration between Wong Chung-Fai and Chau Kin-Wai. Chung Fai has two previous solo discs on Lona, while Kin-Wai has released a multitude of works available through his Sleepatwork collective. Of the five discs reviewed here, this is easily the most electronic of the bunch, where chittering bits of data mixing fluidly along a pulsing series of tones provide the basis of the first track. There are some very interesting sounds I cannot begin to place, including something like the digital version of vinyl crackle that fills much of this piece. The first track doesn¡¦t grab me entirely, though¡V there isn¡¦t a lot of noticeable progression, despite the somewhat ¡¥busy¡¦ background sounds.

The next track, ¡§#4″, reminds me a little of David Tudor¡¦s ¡§Rainforest¡¨ composition. It is easy to imagine this as a field recording taken at dawn on a digital world. Where the first ten minutes of ¡§Tele¡¨ are rather cold, this next ten are simply full of life¡V and as an experimental release, I commend the artists for including both works. As ¡§#4″ concludes, the sleepy digital forest has fully awakened¡V flocks of bit-torrent birds sheet across the skies, a wonderful ending to a terrifically-imaginative construction.

Speaking of evocative recordings, let¡¦s finish off with ¡§The Quicker Are the Encumbered,¡¨ by The Painful Leg Injuries, the main musical project of recent NYC-to-Austin transplants Bill and Suzanne Byrne. On this disc, the Byrnes treat listeners to no less than SIX tracks, all featuring their trademark looong titles¡V ¡§An Ice Cream Truck Flipped Over and We All Got Some¡¨ being a good representative, and incidentally opening the disc. At about three-and-a-half minutes each, these cuts get in and out quickly, allowing Bill and Suzanne ample opportunity to throw a number of different ideas out at the listener.

On the aforementioned opener, the unfortunate ice cream truck is played by an equally unfortunate de-tuned siren, clattering into and out of existence in semi-melodic fashion, while all manners of chirping occurs just off-stage. It is simultaneously silly and disturbing, but fades out before any serious harm befalls our four-wheeled friend. On ¡§The Broken Elevator¡¦s Spiral Descent,¡¨ spastic drums and hyper electronic bell trees pitch wildly about the deck of a sinking carnival organ¡V I¡¦m reminded quite a bit of Walter Weasel¡¦s eight-armed additions to Coltrane here, but again, the Byrnes change gears just before I get my comfy chair warmed up.

Then it¡¦s on to crazed voices, toy piano, watery synths, and buzzing guitar noises! Rushes of icy synth horns! Birds in traffic! Tweaking drum machines! Robots chanting ¡§blah blah blah,¡¨ and Harryhausen¡¦s clockwork owl attacking an all-blind brass band! ¡§The Quicker Are the Encumbered¡¨ simply does not let up, which is a serious feat across almost 23 minutes. Although I generally prefer mini cdrs which explore a small area in greater depth, Lona¡¦s limited series promises genre-bending and experimental works, a concept which The Painful Leg Injuries surely deliver on throughout. Besides, listeners wanting more from the PLI have a few full-length releases available through OKS Recordings of North America, should ¡§The Quicker Are the Encumbered¡¨ prove interesting¡K

All in all, I¡¦m very happy with these discs, and looking forward to researching the Lona Records catalog more in the future. Be sure to catch my broadcast this week (9/29/07), as I will be playing selections from these discs¡V and don¡¦t forget to check out the rest of their catalog¡V that Monitors mini and the Sin:Ned are calling my name, should anyone be searching out early Xmas presents for their favorite DJ!

http://startlingmoniker.wordpress.com

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Review on 3 Lona Releases on Sub Jam (Bejing)

By ÃC®m

BaiTian
Transit
¥X«~¡GLona Records
­µ´º¡]soundscape¡^¤w¸g¤£¬O¾Ç°|¬£ªºÂ»ª¡A¦~»´¤H¥¼¥²ÁÙÄ@·NÁ¿¨s¹q¸£½ÕÅÜ¡B­ì­µ«O¯d¥H¤Î¥Ð¶é敍¨Æ¤§Ãþªº³W¯x¡A¾¸­µªº¡B²V¦Xªº¡B©â¶HªººØºØ°µªk¤w¸g¯}Ãa¤F­µ´º­µ¼Öªº¶Ç²Î¡C©ÎªÌ¡A¤]¥i¥H»¡­µ´º¤]¦b³QÀݥΪº¹Lµ{¤¤¡Aªþ¨­©ó¨ä¥Lªº§ÎÅé·í¤¤¤F¡C
¦¨³£ªº¤j¾Ç¥Í¥Õ¤Ñ¡A¬O­»´äLona°Û¤ù¶i¤@¨B¦V¤º¦a±´´M©Ò±o¡C¥L³o±i¡mÂà´«¡n¡AÁ`­p20¤ÀÄÁ¡A«e14¤ÀÄÁ³£ÁÙ¬O¥Ð³¥¿ý­µªº¬y¤ô³¾»ï¦ñÀHambientªºÀǬNloop¡BÂaÄgªø­µ¡C´N¦bÅ¥±oµÎªA¡A´ýµM§Ñ°O­µ¼Öªº¬Y­ÓÀþ¶¡¡A¯u¹ê»Pµê¤Ûªº¥­¿Å³Q¥´¯}¡A«Õ·tªº©â¶HÁn­µ¼ç¬y¤É°_¡A¬y¤ô³¾»ï°h¥h¡A¦n¶Hª«½è¥@¬Éùتº¦×Å骺¤H¥Î¤j¸£Áp¾÷¥Hºë¯«Àb¤J¤F¼Æ¦r¥@¬É¡]°Ñ¨£¹q¼v¡mNirvana¡n¡B¡m§ð´ß¾÷°Ê¶¤II¡n¥H¤Î¤p»¡¡m¯«¸g®ö¹CªÌ¡n¡^¡C¬y°Êªº¬OÃúª¬ªº¤¤§CÀW¡Fº}¬yªº¬O¥b³z©úªºÁû²É¤§¯½¡F¼A°Ô°µÅTªº¥¿©¶ªi°ªÀW¥H·L®z­µ¶q°{Ã{¤S®ø¥¢¡A¤S°{Ã{¤S®ø¥¢¡F¨ä¶¡ÄÆ©¿¤£©wªº»ª¦ü±Û«ßªºª±·N¡A¦b½Õ©Ê¤W¤Ä¤ÞµÛ¤H©Ê¡C¡C³o¬O¥Î³nÅé³B²z«áªº¥Ð³¥¿ý­µ¡A¬Oª«½è¥@¬É³QÂà´««áªº¯u¹ê¼Ò¼Ë¡C
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No One Pulse - Tele
¥X«~¡GLona Records
No One Pulse - Pathic
¥X«~¡G¤pÁn°Û¤ù
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http://www.yanjun.org/blog/2007/09/06/%e6%bb%9a%e7%9f%b3%e5%b0%8f%e8%af%8407/#more-1323

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Review on No One Pulse - Tele on Foxy Digitalis (USA)

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 (29 August, 2007)

http://www.digitalisindustries.com/foxyd/reviews.php?which=2688

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