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2 New Singles Releases: Alan Courtis / Salakapakka Sound System


Alan Courtis - ACR (Locd68r)


Alan Courtis (aka Anla Courtis, Alna Courtis, etc) was born in 1972 in Buenos Aires, Argentina. He was a founder member of Reynols, group with many releases on labels from USA, Europe, Japan & New Zealand, including conceptual projects like: 10.000 Chicken Symphony, Blank Tapes, Whistling Kettle Quartet. He has also released more than 100 solo releases and collaborations on labels like: Tonschacht (Germany), Blossoming Noise (USA), No-Fi (UK), Antifrost (Greece), RRR (USA), Xerxes (Japan), Celebrate Psi Phenomenon (New Zealand), 267 Lattajjaa (Finland), Monopolka (Russia), Quasi Pop (Ukraine), Jewelled Antler (USA), Riot Season (UK), Kning Disk (Sweden), Beta-Lactam Ring Records (USA), Prele (France), Matching Head (UK), 8MM (Italy), Komkol Autoprod (Norway), Public Eyesore (USA), Herbal (Malaysia), Smittekilde (Denmark), Sedimental (USA), Slottet (Sweden), Alt.Vynil (UK), Pogus (USA), Mikroton (Russia), etc. He has toured extensively in Japan, Europe, USA & Latin America and also has collaborated with musicians like: Pauline Oliveros, Lee Ranaldo, The Nihilist Spasm Band, Damo Suzuki (of Can), Makoto Kawabata (of Acid Mothers Temple), Eddie Prevost (of AMM), Mats Gustafsson, KK Null, Sir Rick Bishop (of Sun City Girls), Yoshimi P-Wee (Boredoms), Masonna, Gunter Muller, Jason Kahn, Toshimaru Nakamura, Solid Eye (of L.A.F.M.S.), Thomas Dimuzio, Rudolf Eb.Er (of Runzelstirn & Gurgelstock), Kouhei Matsunaga, MSBR, The Moglass, Seiichi Yamamoto (of Boredoms), Yoshida Tatsuya (of Ruins), Tabata (of Zeni Geva), Tetuzi Akiyama, Lasse Marhaug, Ashtray Navigations, Mattin, Armpit, Michael Snow, Rapoon, Uton, Birchville Cat Motel, The Moglass, Culver, Dan Warburton, Dylan Nyoukis, MSBR, Andrey Kiritchenko, Edward Sol, Stylluppsteypa, The New Blockaders, Kaffe Mathews, Jaap Blonk, Jazzkammer, Aaron Moore and members of Avarus, Anaksimandros & Kemialliset Ystavat.

The music of Alan always has strong experimental sence and usually based on high-skilled techniques of prepeared sound, tape manipulations, processing of field recordings, live electronics, objects, cymbals, synthesizers, computer tools, playing traditionas (both acoustic and electric) instruments as well as self-built, strange and unusual instruments (unstringed guitar, for example).


"A Capella Rainbow" is an experimental piece made with voice as only sound source recorded at the artist's own Studios in Buenos Aires. In this case the recordings were so heavily processed that it's hard to recognize traces of human voice. Vocal Drone? Sci-fi Spoken Word? Detuned Human Bioacoustics? Electrified Singing? It's difficult to say, however it's an intense piece to be filed probably in between "Sound of Hydrangea" and "Tape Works".

01. A Capella Rainbow (19'39'')

Salakapakka Sound System - Ikuinen Kaamos (Locd69r)


Salakapakka Sound System is a one-man unit of Finnish Marko-V who has made electronic, electro-acoustic and concrete music since 2006 under different aliases (Salakapakka Sound System, Marko Vierikko, Marko & Myky). Marko-V uses wide variety of analog and digital equipment, concrete sounds, field recordings, malfunctioning electrical systems and interference noises to make sometimes calming sometimes harsh and noisy rumbling, buzzing and droning musical pieces. Overall emotional tone of Salakapakka Sound System´s material is dark and haunting but occasionally there lies underneath a great amount of black and sarcastic humour which deals with political, religious and sociological issues & mental/physical health.


First track "Kadonnut jälkiä jättämättä" and 3rd track "Pimeys vetää meitä puoleensa" are based on old Organ Favorites -LP that has been played by broken record player via different delay and reverb pedals.
"Syttymissyy tuntematon 1" and "Syttymissyy tuntematon 2" are based on Popol Vuh track played backwards at 1/10 and 2/10 speed. Part 2 is extended remix of part 1.
"Privatområde i Västerås" features a growling loop as a backbone. Over that come various noisy elements from television broadcasts, metal plate, Steim crackle box and interference noises from radio.
"Hölle" was made back in 2006 by scratching, beating and shaking a Chilean rain stick and amplifying an electric fan. There is also distorted sound of bass guitar played by electric toothbrush. All sounds were driven through distortion, delay and reverb.
"Äiti, joku tuijottaa meitä metsästä" a cinematic piece is based on a simple cello loop recorded at rehearsals in local music school. Cello loop has been treated by Korg kaoss pad and a simple synth tone was added afterwards.

Tracks 1-5 constructed in summer 2008
Tracks 6-7 constructed in 2006


01. Kadonnut jälkiä jättämättä
02. Syttymissyy tuntematon 1
03. Pimeys vetää meitä puoleensa
04. Syttymissyy tuntematon 2
05. Privatområde i Västerås
06. Hölle
07. Äiti, joku tuijottaa meitä metsästä

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A Brand New Simon Sheffield (ex-Mark 700) Album - Donkey Siesta (OUT NOW)



Simon Sheffield is a musician originally from Lancashire (his granddad used to box at the Salford Lads Club made famous by The Smiths, and Echo and the Bunnymen bassist Les Pattinson is a distant relative). Simon used to be the singer and guitarist in Mark 700, big favourites of 6 Music's Steve Lamacq in the early 00s, and since their split he's been teaching the guitar to children and the occasional pensioner in South East London. He's been trying to make music on his own since getting an electric organ for Christmas in about 1979.


Donkey Siesta is a laptop folk album, recorded over about 3 years in South East London by Simon Sheffield, formerly of Fortuna Pop favourites Mark 700 ( It's full of spanish guitar and echoes of Vashti Bunyan, Gorky's and South American guitar music with occasional noisy outbursts of warped electric guitars and the influence of people like the Jesus and Mary Chain and the Flaming Lips.

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31G Reformed!

31G reformed eventually! We will have a gig on 15th Jan 2011, the detail will be announced soon!l

樂隊名字來自Joy Division一曲Warsaw,曲風比較Shoegaze及Psychedelic Rock, 組成於2005年,經過一連串瘋狂的演出後,樂隊就暫休至今, 這次重組可能只有一次 。

31G (pronounced as three one G) idea from the Joy Division's song "Warsaw". The band was formed in 2005 around Alok’s shoegazing psychedelic rock album  “29 Minutes From the End”. So far there is no firm decision on if anything,  including the line up would be a permanent affair.

Members :
Sean: Vocal, Alok: Guitar, Abe: Guitars, Kei: Bass & Simon: Drums


Alok - MMXVIXIV (New Mixtape for Free Download)

Founder of experimental music imprint Lona Records and a sound artist himself, Alok contributes this eclectic mix to RECeiver.

Featuring tracks by Yapoo, Hecker, Can, TG, Tindersticks, Miles Davis, Luc Ferrari, Q-Chastic (Aphex Twin), as well as a selection of unreleased materials consisting of a track by RiJoMa (members include artist Magdalan Wong from Hong Kong); a remix for electronic music producer Dead J’s forthcoming release, and an exclusive new track as a tribute to Sugar Jar, Beijing, titled “The Communist F”.

Cover Photo by Chen Man You @ 798, Beijing, China



01. Salakapakka Sound System – Kadonnut jälkiä jättämättä
02. Nobile – Sponge Tree
03. Yapoo – Something Extra
04. Hecker – Set Iso to Lithops Mix
05. Dead J – Start (Alok Remix)
06. Wang ChangCun – Flicker 03
07. Wang ChangCun – Flicker 37
08. Acrane Device – Montage
09. Miles Davis – Medley: Gemini / Double Image
10. Pilotram – Caspian Airwaves
11. Hong Qile – Loop 3
12. Phon°noir – We Still Miss The Future (Alok Remix)
13. Luc Ferrari – Interrupteur 1
14. Woo – Space Divert
15. Tzil – Non
16. Alok – The Communist F (Exclusive Track)
17. Taylor Deupree & Kenneth Kirschner – 2002 01 27
18. RiJoMa – Air
19. Richard Johnson – The Meeting
20. Q-Chastic (Aphex Twin) – Untitled #C
21. Kronos Quartet – String Quartet No.4: II Toccata
22. Can – Smoke (E,F,S, No.59)
23. Mouse On Mars – Snap Bar
24. Le Mal D’Archive – Histories de Plage
25. Throbbing Gristle – I.B.M.
26. Tindersticks – Home

RECeiver: A Re-Records Podcast
A selection of live recordings and studio experiments, mixtapes and web-exclusive releases from affiliated artists and friends of Re-Records.

Published on 01 July 2010 3:26 pm.
Filed under RECeiver























Nisei 23's new video: Bare Bone


indieATL session - Jeffrey Bützer "Theme for a Seamstress"


Alok's interview on








Lona Records Keeps The Experimental Flame in Hong Kong Alive

By Eric de Fontenay (Founder & Publisher)

Lona Records is a Hong Kong boutique indie label set up by Alok Leung in 2003. The label has attracted a very international and growing roster of acts focused on alternative and experimental music. I first discovered the label through four-piece rock outfit UNiXX that plies its trade in dark, shoegazing garage rock, flecked with overtones of The Horrors and circa-1993 Suede and is about to tour the mainland.

Alok is a self-taught guitarist and bassist who formed several bands in the 90s, including Pillow and Slow Tech Riddim, which combined electronic music with live instruments. He decided to go solo in 2001 and set up his own record label Lona Records the following year. Working as a producer, he released 5 albums and 5 CD singles from 2002 to 2009. He has played and participated in more than 50 shows and experimental events / projects in Hong Kong and across China.

How did you come to launch Lona Records in 2003 and how have you grown since?

At the beginning, I only set up Lona Records to release my own works. I subsequently met a number of recording artists that shared the same vision as myself. So from around early 2005, I started to release works of other artists from countries like the UK, US, Italy, Germany, Poland, Japan, Netherlands, mainland China and Hong Kong. We are also planning on releasing some works by artists from Denmark and Argentina etc.

Lona Records has also organized several concerts and exhibitions in recent years. We've gotten some very good feedback, but still there is not much room for survival here in Hong Kong.

Let me get straight to the point: how has a label focused on alternative/experimental music survived over the last 7 years in a market like Hong Kong?... no offense of course.

Every record label has to have its own direction. Experimental / alternative is my favorite music genre. Lona Records though has never looked at the Hong Kong market as a viable one - experimental music can't really survive here.

Tell me a little about the 3" CDR series you launched in 2005 "to explore the aesthetic boundaries of experimental sound."

After launching this series, I found that many people were interested in it. Personally, this idea is almost like the 7" vinyl. One shortcoming though is that Mac users cannot play these CDRs.

China is notorious for piracy. How has it affected Lona Records' business?

The problem of piracy does not really affect us a lot, because the quantities for each releases is still relatively small. I believe that the people who like our works are be willing to buy the originals. We are also planning to enter the digital download market.

I've become a huge a fan of UNiXX, which I've called one of my Hong Kong band's to watch in 2010. How do you choose which bands to add to Lona's roster?

The main directions of Lona Records include:
1) experimental, i.e. Avant-garde, Ambient, Minimal, Noise,...
2) Alternative, i.e. Alternative rock, Neo-Classical,....

With the latter, apart from UNiXX, we also have a Hong Kong band called The Yours and Jeffrey Butzer from the US. We always have an open-minded attitude when considering the demos received.

How do you see the growing independent music scene in the mainland affecting Hong Kong?

There are many excellent recording artists in mainland China. You'll notice that while these artists have been influenced by foreign cultures, they are still able to retain elements of traditional Chinese culture in their works. On the contrary, we don't have such a 'local' culture in Hong Kong. I might also explore the possibility of doing something in Beijing in the future.


(2010/FEB/23) New Release Alok - MsNWarning











Recorded and Mixed at bitMap & Rate Studio, Apr 2007 - Jun 2009
Produced by Alok

01. M  (5:51)
02. s   (7:14)
03. N   (9:05)

M (Edit Version) Video Here:

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A new Wilson Tsang's video: DIVERSION #5 -

vocal: Lee Chi Leung 李智良 music: Wilson Tsang 曾永曦


(2010 / FEB / 13) New Release UNiXX - 7 Deadly Sin










Form in 2001, UNiXX’s member went through a few changes but the leader of the band Sean P.Yung is the core of the band. Today, the band consists of Sean, vocal and guitar, Ed, guitar, Steven, bass, and Tatsu, drums.


The result of 5 years of development, the new album from UNiXX went through change of members and even lost of master recording in the early years. UNiXX’s first album Nasty Fantasy was released in 2004 to a tremendous critical acclaim and a build-up of a solid fan base. Based on the first album and their live performances, UNiXX quickly acquired a reputation as the darkest rock band in Hong Kong.

As the line up became stable, the second album is finally completed to everyone’s satisfaction. In 7 Deadly Sins, the audience is shown a even darker and more explosive UNiXX that is like an angry man unleashed. The lyrics show the band in a more critical view of the world around us. Musically, the band is like a cut-loose titan reminding us of The Smashing Pumpkins unrestrained, or The Cure with only the anger. The album progresses through emotional ups and downs in high energy alternative rock, while the title song “7 Deadly Sins” punctures the heavy mood of the songs with the most reflective tune in the album. The songs “Wasted” and “Perfect Betrayer” were previously issued nearly five years ago, but find a new breath in the new album. “Shut It”, normally the band’s opening song for a show, would certainly leave you screaming in agreement, in the most political song of the album. Notably, Alok(A Roller Control) remixed the track “Black Shadow”, off the first album, with a disco punk kick to finish 7 Deadly Sins, the most exciting album of 2010, and it’s only January.

作為前英國殖民地的香港,其文化受到了前宗主國的影響,因而成就了許多英倫曲風的樂隊。UNiXX是一支香港獨立樂隊,也是當地英倫搖滾樂隊的表表者。組成於2001年的他們,以英倫/另類搖滾的旗號,在香港獨立樂圈蘊釀了一群熱愛英倫風的樂迷;在經過反複的錄音工作和現場演唱經驗之後,他們於2004年出版了其首張錄音室唱片-《Nasty Fantasy》。貫徹著主唱Sean所言的簡約和純粹,《Nasty Fantasy》毫不掩飾他們的自我沈溺,甚至在歌詞中道出成員間的頹靡與厭世觀,誘發出一種直接的黑暗張力。樂隊第二張專輯《7 Deadly Sins》,經過五年的沈澱,UNiXX的音樂不再限於英倫搖滾,而更強調多元組合,包括另類搖滾、蹬鞋搖滾、氛圍電音和後朋克等另類搖滾,帶來一種包含各種可能性的曲風。


It’s been a while since the Hong Kong boutique indie label Lona Records released something by a promising local band. And just as with The Yours’ Abraham, or Wilson Tsang’s Whale Song, the label’s latest local release is stirring up a bit of excitement.

The most recent Hong Kong group to sign up to Lona is UNiXX, a four-piece rock outfit that plies its trade in dark, shoegazing garage rock, flecked with overtones of The Horrors and circa-1993 Suede. More than five years after the release of their first album, Nasty Fantasy, UNiXX is going darker with an album that bears an appropriately menacing title: 7 Deadly Sins. - TimeOut Magazine

[独立音地-2010年1月6日]香港独立揺滚乐队UNiXX经历这几年多番人事変动后,终于在2009年尾完成了乐队的第二张专辑《7 Deadly Sins》。经过五年的沉淀和新队员的加入令乐队的曲风取向比首张专辑《Nasty Fantasy》更为成熟。新专辑《7 Deadly Sins》是一张融合了post-punk、shoegaze、noise以及psychedelic的吉他而结合成UNiXX独有的黑暗噪音揺滚乐。-

Sean P.Yung - Guitar, Vocal
Steven Kwan - Bass, Backing Vocal
Ed Poon - Guitar
Tatsu Yiu - Drums, Percussion

Official :

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Review on Edwin Lo - Auditory Scenes: Environmental Sonic Improvisation on  (US)

While I can easily say that this is Edwin Lo's debut venture into an actual CD release, the Auditory Scenes series breaks from the mold of traditional releases into an actual subcategory of art for the man. MP3's like “We are Still Young to Play this Game” and “Tsing Yi” are available online at his website and he has been featured in numerous exhibitions and performances, the latest of which is still going on for any Hong Kong residents that come across this (Art in the Park: Making the Familiar Unfamiliar, which runs until January 31st.) Edwin Lo is also no simple amateur picking up sounds with a microphone in alleyways across Hong Kong. He has received several awards for his work, a grant towards his schooling, and a grant towards and degree from his university, the School of Creative Media (SGM). Though Edwin Lo may have a darker edge than most field recordings listeners may be accustomed to, it fits his urban lifestyle and tells a story beyond simple noises. While one can certainly not call Edwin's style “music”, his exploration of sound certainly perks up the senses just as well as any traditional music today, and its lack of absurd compression in the mastering phase allows for a enveloping listening experience.

Auditory Scenes: Environmental Sonic Improvisation was recorded on New Years Eve, 2007, somewhere in Hong Kong's crowded Causeway Bay area. The area is located on the Northern shore between Junk Bay and the Sulphur Channel, and Western Harbour Crossing and Cross Harbour Tunnel. It's unclear specifically where Edwin was at the time, but its clear that the recording took place during the New Years' countdown. Environmental Sonic Improvisation starts out ominously, droning air and the humming overwhelming sound of electricity and generators filling the air around. The first glance at humanity that we get to hear is actually disturbingly dark, sounding much more on the scale of tortured screams and ritual chanting in far in the distance than any kind of celebration. The second round of microphone placement on the environment paints a very different picture of obvious celebration and it becomes clear that though the album cover may give off a big of an under-dweller urban dark ambient appeal, its simply a darker observation of sounds on an optimistic scale. While those around him celebrate, count down the numbers to the new years, Edwin observes from the shadows, with his microphones, surrounded by the haunting, unchanging hum of the human electrical life support system.

We relive this memory, this moment in the mind of Edwin, over and over again until the 20 minutes of fascinating sound perceptions stops abruptly with laughing from strangers and the same familiar hum of urban life. It really makes Mr. Lo seem inhuman in a way, that he rather associated himself with the environments surrounded by his recording process than with human companionship on a night known around the world as a time to be with friends and loved ones. That realization gives Environmental Sonic Improvisation more than just a scientific view of sound recording an observation, but instills a bit of melancholy and desolation into the picture as well. So, in the end, ironically, a genre as removed from humanity as field recordings ends up with all too human emotion getting caught in the mix at the end. Really, its a very promising start for this young sound artist, and hopefully his commitment to this strange world of audio perception will continue to bring him success in the future.

Auditory Scenes: Environmental Sonic Improvisation comes packaged as a 3" CD-R limited to 50 copies. The CD-R itself is white with the artist name, Catalogue #, and label logo on a rectangular sticker. The booklet is a folded cardboard sleeve, on the back containing the track listing and recording details, links, and hand-numbered limitation. The front cover is as peculiar as the music itself, containing a warning sticker in English and Chinese regarding warning for poisonous rat bait. While I'm unsure what the sticker pertains to for certain, I can only imagine that it came from the environment that Edwin was recording from and thus goes further to detail the urban compact city landscape in which the recording took place. Excellent usage of an otherwise untelling image.

Contributed by: Sage


Jeffrey Butzer - The Garden Of Scissors - Top 101 album of the decade and Top 26 of the year

Chad Radford’s picks for the top 25 26 Atlanta releases of 2009

26.) Noot d’ Noot Cash for Gold 12-inch (Shakedown Records)
25.) All Night Drug Prowling Wolves Self-titled (The Colonel Records)
24.) Chickens & Pigs See Through Soul (Self-released)
23.) Jeffrey Bützer Garden of Scissors (Lona Records)
22.) Predator “Honest Man” b/w “DLDD” “No” 7-inch (Rob’s House)
21.) Tealights Take Us By Sea (Self-released)
20.) Nomen Novum Paradises (Operation Get Jacked)
19.) Mastodon Crack the Skye (Warner Bros.)
18.) Coyote Bones Niobrara (Coco Art)
17.) GG King “Drug Zoo” 7-inch (Rob’s House)
16.) Black Lips 200 Million Thousand (Vice)
15.) Deerhunter – Rainwater Cassette Exchange EP (Kranky)
14.) Untied States Instant Everything Constant Nothing (Distile Records)
13.) Hawks Barnburners (Army of Bad Luck)
12.) Fourth Ward Afro-Klezmer Orchestra East Atlanta Passover Strut (Self-released)
11.) Wizard Smoke Live Rock in Hell CDR/cassette (Big Mountain Tapes)
10.) The Pinx Look What You Made Me Do (self-released)
9.) Bobby Ubangi Inside the Mind of Bobby Ubangi (Rob’s House)
8.) Carnivores All Night Dead USA (Double Phantom)
7.) Lotus Plaza The Flood Light Collective (Kranky)
6.) The Sunglasses Bad Happy (Trans Ruin/Dark Wolf Records)
5.) Howlies Trippin’ with Howlies (OverUnder Records)
4.) The Selmanaires Tempo Temporal Self-released
3.) Zoroaster The Voice of Saturn CD/LP (Terminal Doom /Kreation Records)
2.) Atlas Sound Logos (Kranky)
1.) Balkans “Zebra Print” b/w “Oh Dear 7-inch (Double Phantom)

MUSIC: Top 101 Albums of the decade (2000-2009)

25) Anna Kramer (Self-released, 2004)
24) Pysche Origami, The Standard (Arcthefinger Records, 2005)
23) Micranots, Obelisk Movements (Sub Verse, 2000)
22) The Rock*A*Teens, Sweet Bird of Youth (Merge, 2000)
21) Cee-Lo, Cee-Lo Green and His Perfect Imperfections (Arista, 2002)
20) Carbonas, Carbonas (Goner, 2007)
19) Supreeme, Church and State (Self-released, 2004)
18) Janelle Monáe, Metropolis: The Chase Suite (Wondaland Arts Society/Bad Boy, 2007)
17) Zoroaster, Voice of Saturn (Terminal Doom, 2009)
16) Gaelle, Transient (Naked Music, 2004)
15) Donnie, The Colored Section (Giant Step, 2002)
14) T.I., King (Atlantic, 2006)
13) Van Hunt, Van Hunt (Capitol, 2004)
12) Tenement Halls, Knitting Needles & Bicycle Bells (Merge, 2005)
11) Prefuse 73, Vocal Studies + Uprock Narratives (Warp, 2001)
10) Gnarls Barkley, St. Elsewhere (Downtown/Atlantic, 2006)
9) Gentleman Jesse, Gentleman Jesse (Douchemaster, 2008)
8) Pastor Troy, Face Off (Universal Records, 2001)
7) Black Lips, Let It Bloom (In The Red, 2005)
6) India.Arie, Acoustic Soul (Motown, 2001)
5) OutKast, Speakerboxxx/The Love Below (LaFace, 2003)
4) Mastodon, Leviathan (Relapse Records, 2004)
3) Deerhunter, Cryptograms (Kranky, 2007)
2) Danger Mouse, The Grey Album (Self-released, 2004)
1) OutKast, Stankonia (LaFace, 2000)

The rest are alphabetically listed below, minus the commentary. Each album listed was issued by artists based in Atlanta at the time of release.

Jeffrey Bützer, The Garden of Scissors (Lona Records, 2009)



Interview on Jeffrey Butzer on Public Broadcasting

Vince Guaraldi’s classic Charlie Brown Christmas, live at the EARL. Atlanta, GA A Charlie Brown Christmas premiered on CBS on December 9, 1965. The soundtrack to that special, composed by jazz musician Vince Guaraldi, remains one of the most popular holiday albums to this day. This weekend though, you'll have a chance to hear it live, in the unlikely setting of the small East Atlanta Village rock club, the EARL. WABE's Myke Johns paid the musicians behind the show a visit.

You can see a clip of last year's show



Review on KLC_NIR - World on libero blog (Italy)

La nebbia del mattino copre, con immenso amore, il manto erboso del giardino. Tutto copre. Paranoia ed ansia esistenziale si sprigionano da queste pesanti ed imponenti composizioni. Proprio come una lunga tenda scura. Si modifica l'elemento essenziale per concentrarsi sul futile oggetto. Materia e sostanza. Prima si ascolta e prima ci si addormenta. Il sonno però, con "World" in cuffia, è fortemente agitato. Sistemi mossi e troppo brillanti. Navigano incubi strani e strambi. Le nuvole scacciano il sole -malandrino- che aveva fatto capolino da dietro il monte selvaggio. Amore ed odio. Klc_Nir rappresentano la compattezza del non suono disarticolato, un non suono di note piccole e rotonde. La flessibilità della mente anticipa scenari di un solo colore. Imbarazzo e prima scelta per una decisione definitiva e apparentemente contraria alla logica. Logica, lo ripeto, di una non musica (lacerata) che fluttua acerba, ma forte nei contenuti. Semplicemente adatta a cuori e menti bene affilati.

Review by Claudio Baroni


Review on Fecalove - Beautiful on libero blog (Italy)

Esistono molti mezzi per esperimere un proprio stato d'animo. Amore ed odio, sentimenti estremi che si accavallano e si fronteggiano in una perenne battaglia. "Beautiful", ovvero bello, il bello, la bellezza che si contrappone all'orrido. Per questo disco tutto ciò appare come un estremo paradosso ambientale. "Beautiful" è, per il sottoscritto, assolutamente estremo e pauroso. Qualcosa di indistruttibile si cela dentro il progetto (perfido) denominato Fecalove. "Beautiful", è importante precisare, è un cd assolutamente inascoltabile, ma proprio per questa sua profonda qualità -malata- risulta essere profondamente struggente. Inascoltabile perchè il rock ed il pop vengono fatti a pezzi, in quanto codesti fenomeni musicali vengono banditi dal concetto artistico di Fecalove. Inascoltabile perchè in quasi quaranta minuti di (non) musica la melodia è, per una volta, lasciata ai margini ed il rumore -più viscerale- irrompe come un fiume in piena. Inascoltabile perchè di peggio non si poteva partorire. Inascoltabile e basta.

Review by Claudio Baroni


Review on stimulus - Moments 3 on libero blog (Italy)

Schermo intero bianco, schermo bianco intero. Post che scappano al controllo delle leggi, ed evadano il comune senso del pudore. Le menti sono libere solamente quando sono protette, e possono viaggiare -senza problemi- per corpi estranei. La musica deve essere per forza libera ed altresì ribelle, senza comandi ed alla portata di ogni semplice fruitore. "Moments 3" carpisce attimi che appartengono al presente, ma sono già futuro. Manipolazioni al laptop che generano scheletri sonici. Note invasive che scacciano i mali. Note che pretendono il massimo impegno, note che non vanno moltiplicate ma accantonate per il freddo inverno. Calma apparente, sudore, scrivere per dimenticare, meglio di ogni medicina. Stimulus procedono per una via a senso unico, dentro la quale si entra ma non c'è possibilità di tornare indietro. Solo una marcia, pericolosa e tremenda.

Review by Claudio Baroni


A Farewell to Fall with Alternative and Jeffrey Butzer


As Thanksgiving is upon us, followed promptly by the holiday season and winter weather, we'd like to say our goodbyes to fall.  To make it official, we're sharing with all of you our last two videos from our fall campaign: Badlands, part 1 and part 2.  Above is Badlands, Part 1, a magical and dreamy autumnal romp featuring music by Jeffrey Butzer.  If you'd like to see part 2, you can check it out on your YouTube channel.

And because it's Monday (and you know how we do), we're adding another song from Jeffrey Butzer to the music player: "Theme for a Tailor" from the album The Garden of Scissors.  If you're even a somewhat fan of Yann Tiersen (the guy who did the soundtrack for Amélie) then you are going to love Jeffrey's music. 

And of course we've got giveaways!  We're gonna send you a copy of the album The Garden of Scissors, which features the song in our campaign video as well as the new song on our music player, and we're also gonna send you both our unisex aa6032 V-Gan Organic V-Neck and our unisex aa2632 Burnout V-Neck w/ pocket.  Jeffrey told me he really likes v-necks, so I figured it was apropos for our giveaway package.

How do you enter to win? Just leave a comment on this post by Sunday, 12/6 - we'll announce three (3) winners on Monday, 12/7. Best of luck!

Review on Edwin Lo - Auditory Scenes: Environmental Sonic Improvistion on Sonomu (UK)

For this piece, Edwin Lo collected field recordings in Causeway Bay, one of the most built-up areas in Hong Kong and thus, in the world.

I am assuming that instead of roaming its boulevards of shopping and business, he sought the areas underneath, the urban redoubts of many-levelled concrete, parking garages, loading docks, and dirty grey ventilation shafts, the places very little natural light ever reaches. The kind of structures shunned by the average pedestrian but necessary to quite literally support the infrastructure.

Lo´s brief recording feels longer than it actually is, perhaps due to the oppressive nature of the environment, which tranlates auditorily as drones, rumbles and the sound of air being continuously sucked out of it. However, there is a strange human presence, a recurring burst of crowd noise - not a very big one - raising its voice in either protest or in some kind of celebration. Were they caught by accident or were they brought there and conducted by Lo? Each of their numerous appearances is brought to an end by the commanding blow of a whistle.

This unique feature acts like a kind of "audio parkour", sounds bounding about the underpass, making dangerous leaps, scudding down ridiculously acute angles

Review by Stephen Fruitman


Alternativeapparel ad, music "Valse 2" by Jeffrey Bützer



Jeffrey Butzer and TT Mahony: A Charlie Brown Christmas

One of the songs played at last year's "A Charlie Brown Christmas" Live performance last year by Jeffrey Bützer, TT Mahony, and Adrian Ash.



 An hour special show with "Red Compilation" on my show on Resonance FM


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)

Thanks Miguel

 Architecture is...Discourse with Music (30-Sept - 3/Oct / HKCC, Hong Kong)

Presenter: 進念 • 二十面體 Zuni Icosahedron

Music Creation & Performance

Programme A (30/9, 1/10): Aenon Loo, Alok, KWC

Programme B (2–3/10): João Vasco Paiva, Sin:Ned, Pun Tak Shu

Guest Speakers: 30/9 Liu Jiakun (Chengdu), 1/10 Zhu Xiaodi (Beijing), 2/10 Wang Shu (Hangzhou), 3/10 Zhang Lei (Nanjing)

Co-organisers: Domus China, People Mountain People Sea Music

Curator: Steve Hui (Nerve)

Music Advisor: Anthony Wong

“Architecture is... Discourse with Music” is an experiment and a creative dialogue between music and architecture. Beginning with electronic music, local artists will share their feelings and experiences of architecture with the audience through the three stages of exploring architecture, getting to know architecture and feeling architecture. Four architects from the Mainland will be invited to participate and lead the audience to embark on an adventurous journey to the magical world of architecture.

Conducted in Mandarin.

Running time is approximately 105mins without intermission.



 Waterland Kwanyin 水陆观音160:INTER-FACE 對。面 (25-August / 2 Kolegas Bar, Bejing)


木盒是由美國電音樂器藝術家Arius Blaze及Ben Houston以Folktek名義設計及全人手製造的Harmonic Field。沒有鍵盤。沒有弦線。只有四十八個金屬接觸點。演奏者要以自己的身體作為電路的一部份去演奏。

每次INTER-FACE中,香港聲音藝術家Sin:Ned將會邀請不同的藝術家,共同即興演奏Harmonic Field。面對面。以這奇特的演奏介面。


Performance Description:
Two people. One wooden box. Forty-eight metal contact points. This is the basic idea of INTRE-FACE.

The wooden box is called Harmonic Field. It is designed and handmade by American sound art device artists, Arius Blaze and Ben Houston of Folktek. No keyboard. No strings. Only forty-eight metal contact points. The performer is required to use his/her body as part of the circuitry to generate sounds.

In each of the INTER-FACE performance, Hong Kong sound artist Sin:Ned will invite different artist to play the Harmonic Field with him. Face to face. With such unique instrumental interface.

Here in Beijing, we have the debut performance of INTRE-FACE.

In this debut performance, Yan Jun is invited to play the Harmonic Field with Sin:Ned. With electro-acoustic duo No One Pulse as opening act, Alok and KWC will pair with guest artists Jackson Garland and Vavabond for a duet improvisation.

演出藝術家Performing Artists:
Opening: No One Pulse
KWC + Vavabond
Sin:Ned + Yan Jun (on Harmonic Field)
Alok + Jackson Garland

Date: 25 August 2009 (TUE)
Time: 20:00 – 22:00
Ticket:50 RMB
Venue:两个好朋友酒吧 2 Kolegas Bar
Address: qi che dian ying yuan (drive in movie theater, north side of dong feng road), bejing, china


Review on Red Compilation on IN_DiRT [fanzine] / DOT[.] (Russia)

Some time ago i finally got long-awaited package from Hong Kong. It tooks almost three goddamn weeks to reach my hands. The post service sucks as usually. Well, what can i say for sure is that the expectation was worth for itself! I got simply awesome release consisting of three CD-Rs filled with unordinary non-format music. Almost all musicians are from mainland China and Hong Kong. Here's playing time of each CD-R: first disc - 52 minutes, second disc - 68 minutes, third disc - 53 minutes. On the whole there're almost three hours of total playing time! So you can completely quench your thirst for something fresh and new!

The first disc starts with 40-seconds introduction from LI JIANHONG. I don't know the essence of his message, it's in chinese. The second musician is YAN JUN with almost 10 minutes track. Monotonous ambient soundscapes with unobtrusive additional electronics. Phlegmatic calm sounding developing by the undulate trajectory. Really good track will be heard in one breath! Number three is NO ONE PULSE with 7 minutes of various radiochanel signals mixed with some not heavy hindrances. Sounds like searching the contact with extraterrestrial civilizations! ZENLU is the fourth musician on the first disc. Mixing grief and mostly sombre piano notes with muffled "easy" noise background. The common picture is like anxious sleepless night filled with disturbing gloomy reflection and with a sunrise as salvation and beginning of something new. Amazing atmosphere! Tracks number five and six are from WILSON TSANG. Melancholic piano overtures which would perfectly fit to any silent theatrical dramatic staging. The second track in many aspects much more saturated and dynamic with the beautiful reassuring ending. The seventh musicians are KIM TAK BUILDING with six minutes track. They use piano and some additional minimal effects so you can hear a murmur of the rain and occasional peals of thunder somewhere behind a tristful melody. Tender female voice in the end of the track will touch your heart and decorate by itself a quiet sadness originated in your soul. One of the best tracks on the compilation in my opinion! ALOK's ten minutes track goes under the number 8. Hordes of industrial computer thinnest samples begin to actively pulsate from the first seconds of the track, they blink by hundreds of millisecond outbreaks but soon they give way to the enigmatic melody which inspires anxiety in your heart. The closing project on the first disc is VSOP with almost five minutes track. Strange combination of uncoordinated electronic sounds which looks like a failure in the configuration of the robot.

So i put into the player the second disc. It starts with one minute long introduction from YAN JUN and then goes 15,5 minutes timid experiment from SIN:NED. He creates a fragile sound construction which becoming increasingly bold during the development of song. Closer to the end a wall of harsh noise appears from nowhere but suddenly dissipated in two minutes before the end of the track. BAI TIAN is the third musician on the second disc. His sounding is really restrained but beautiful in its significant minimalism. Almost ritual muffled rhythm organically combined with neat ascending/descending wave of ringing. There's something elusively special and aesthetic in this music. I like the element of some reticence. Well, the next 19,5 minutes long track belongs to Hong Kong's KWC. Not harsh but not tender. These are various noise irritants mixed in reasonable proportions. All kinds of pulsed signals combined with layers of shuffle sounds. Yeah maybe this track is a little bit draged out but it's what it is. Anyways, the fifth musician is WANG CHANGCUN. Simple melody with "running" electronics, almost completely monotonous from the beginning to the end. Not very interesting track in my opinion. So i turn to the next one. The last sixth epic belongs to FATHMOUNT. Amazing track! Over 21 minutes of electro/acoustic guitar enchanting improvisation mixed with some additional ambient layers. There are three conditional periods in the track. The first is "electro" period. Very beautiful as light summer rain or green grass swaying by a wind! The second is "acoustic" period. It reminds me THE NORTH SEA & RAMESSES III collaboration, just more saturated with the guitar component. Sounds awesome! And the third is "electro" again but this time much more noisy, loud and not so expressive as in first period. Anyways, the whole track sounds amazing and the best on the second disc in my opinion along with BAI TIAN's track!

Well, it's time for the disc number three now which is the most extreme in my opinion. It starts with short introduction from TORTURING NURSE. Right after that IBID takes its queue to play. This is collaborative project between A.DUNKAN & XPER.XR. They create clear-cut drum rhythm and pretty nice synth melody to perform 2,5 minutes dedicated to all red chinese cats! Heh, you can even dance if you want. The third musician is RONEZ with almost 6 minutes of ugly mutant noise. Ominous mixture of rushing vortexes of trash, sick harsh screaming and shrill disturbing squeaks. Be ready for violation! VSOP's fourth 30 seconds track is the passage to the following two epics. The first of them, and the fifth track on the disc is a long awful noise story from LI JIANHONG. 16 minutes of sound barbarity! The interlacing of explosive industrial samples, disorganized flow of impetuous hindrances and absolutely spineless construction of futuristic noises. All in one, hehe! Be careful to listen with high volume. Finally the sixth on the last disc and the closing track of the whole compilation is 28 minutes destructive epic from Shanghai's freaks TORTURING NURSE. This is a sparkling rude tail of electronic comet, non-stop turbo noise-whirlwind and ugly clots of cyber energy transformed into merciless killer compound pull-down on your head in the form of caustic radioactive fall-out. Awesome stuff, as they actually always do.

Totally great, solid and really interesting release! The packaging is another story. Compilation comes as A5 format 25 pages booklet, it looks like a little magazine! On the first page the first disc inserted into two slits. Then goes a few pages with a couple good articles. In the middle of booklet there's a beautiful colored fold-out page with tracklist, and this page can be transformed into A3 format huge poster with information about all musicians involved into RED project. Then goes two pages with second and third discs and the closing few pages with all credits. Pretty nice succulent red CD-Rs with its numbers and the title of the label! All together looks really awesome!
The only small drawback of this release - not a very convenient location of the disks into the slits of pages. Looks cool, but it's a little problem to extract the discs for fear of to rumple or break the page. But this drawback readily soluble in the mass of the merits of this release! So i can only say one thing - HIGHLY recommended!!!




Review on Red Compilation on libero blog (Italy)

In this moment on my mistress and beloved city a thunderstorm of devastating proportions has been get loosed. And “music” in foundation does not help to decrease to me, much best, in this impervio way.

“Red” is composed from three cd and booklet very twenty-four pages. An enormously important job. This imposing elaborated is developed (dares this delicate comparison) like the Divine Comedy: hell, purgatorio and paradise. Three stages, three fundamental passages of the human mind for intuire the way master of congratulate and the redenzione. They are many and different the artists that they want to pay theirs examined in depth love for the so-called music experience them. He hisses, grida suffocated, notes he is confused and castrated that they interlace themselves from each other in order to arrive to a fine solo: the key for the eternal paradise.

In first dark compact (hell) Wilson Tsang and Alok they are the musicians who better have expressed themselves in order to represent cooking flames. Dark blazes, thoughts that scappano and return like lightning bolts. The distance is hard, ostico, the warmth tightens the brain and the neurons ask mercy. The pianoforte of Wilson he is something of precise. A blade aimed for the chest, sharpenned and cutting. The meat is knot, and the blood vomita its fear.

My hypothetical purgatorio minibadly begins with the fifteen derailing minuteren of Sin: Ned, that it tries to show a road for the rainbow. But the twenty are still many rain cargos, the clouds are bad and the dimmed thoughts. There is much to walk and to study. The pentagramma schizza slow, sudato and ansimante. But all it is not lost, and the hope is own the last one to die.

But in the song ventiseiesimo of the paradise the miracle is completed. In the stellifero sky saint Giovanni examines the poet on the charity. Adam explains the nature of the sin originates them. And Torturing Nurse is pushed very beyond the simple and easy understanding of the human beauty. Scarnificano the beauty undresses, it, leaving it without spirit to the cospetto of the supreme entity. Thus allowing the instruments to jump obliging from a pertugio to the other. All magnificent, curious and for which a lot edifying.

Review by Claudio Baroni


Review on Jeffrey Butzer - The Garden Of Scissors on libero blog (Italy)

I would want to know who it says (or it thinks in way blasfemo) that the miracles do not exist? You find it please to me. It is own thus but, free not to believe to us, Jeffrey Butzer he is dannatamente Bravo. And this for the undersigned is a fabulous miracle of our times. Beautiful I would not know, but the Jeffrey American is truly a talent. Dannatamente Bravo. A true artistic talent. “The Garden Scissors” possesses all the credentials in order to leave a tangible sign between the compact published during this 2009. A lot in order to mean to us, in order well, would be opportune to take in vision any of the cinematographic works of Wim Wenders and to deposit to us over the sound of Butzer. This is the comparison in order to make to understand how much the songs of this romantico musician is highly riconducibili to the great screen. Obviously in black and white. The notes of Jeffrey (with the melancholic nearly always present fisarmonica) nearly seem far, do not want to be assaulted from the mass; but they wish is made to discover to the time little. Music of Butzer could represent the exact encounter between the culture underground of Berlin and the first Hollow claustrofobico Nick. With of highly valid artistic concepts and important. For this I think “The Garden Of Scissors” a job precious, and decidedly deeply intense.

Review by Claudio Baroni


Interview with Jeffrey Butzer on Dry Ink Magazine (US)

Accordions and Toys
Jeffrey Bützer’s tools of the trade

By Tom Cheshire
Published June 4, 2009

Accordions and toy pianos, two of my favorite sounds and two of my favorite things. These make the noises you hear on “Garden of Scissors” by Jeffrey Bützer.

Bützer, or as I like to call him The Bütz, is a one man band. He is a twisted composer who plays several instruments and writes songs that make me want to do somersaults. The songs remind me of carnivals, innocence and great movies.

Dry Ink recently caught up with him to discuss his latest release.

Dry Ink: Please introduce yourself. Who are you?

Jeffrey Bützer: Hello, my name is Jeffrey Bützer. I play accordion, piano and some other instruments… mostly ones that are designed for children.

DI: You have a new record out. What is the title and can you tell us a little about it?

JB: It’s titled “The Garden of Scissors.” I started working on it two years ago as a sort of soundtrack to a screenplay I wrote. I thought making this album would make the story seem like it exists…since I most likely will not make it into a film anytime soon. Although, an Italian director did recently make a short film based on it with my music. So that’s a start.

DI: This is your second record, correct?

JB: Yes.

DI: What was your first?

JB: The first record was “She Traded Her Leg.” Half of that was an album and the second part was a soundtrack to an actual film called “Bird Catcher” directed by C. Hefner.

DI: Both records have come out on Lona Records. Aren’t they based in China? How did you hook up with them?

JB: I e-mailed their manager at the right time, exactly when she was in the mood for toy piano music. That is the story and I’m sticking with it. They didn’t know I was American for the first month we were working on the release. And I didn’t speak in person with them until a year and a half after we first spoke. The internet feels like espionage sometimes.

DI: You play almost every instrument on this new record?

JB: Yeah, I did. P.W. Shelton, my best friend and very long time collaborator, plays bass and banjo on a bunch of songs. I wanted to work with him more but he was living in Memphis when I started it.

DI: And how long have you been playing accordion?

JB: Well, I played the key side of the first album but properly learned how to play almost a year ago.

DI: When did you get into playing music? How did you approach it?

JB: I started playing when I was 8 or 9 years old. My mother, at the age of 50, all of a sudden got really into heavy metal music. She would rearrange metal songs for piano and I learned how to play along with her on drums. Then eventually I moved to guitar and tried playing surf and spaghetti western music. I found I was better at writing on piano and organ. I think, strangely, my mother’s odd take on what was then a popular music style influenced me more than I’d like to admit.

DI: And how about the female voice that appears on a few of the songs on the new record?

JB: Those are courtesy of Sanni Baumgartner of the band Dancer Vs. Politician.

DI: How did you hook up with her?

JB: She is from Berlin, but currently lives in Georgia. She’s friends with an old friend of my wife’s. I sent her my album when it was finished and we talked about her writing lyrics loosely based around my story. And every word she wrote ended up on the album.

DI: You did some shows in Hong Kong a few years back. Can you tell us a little about that?

JB: The label wanted me to come over for some shows to promote the first album. It was big fun. My wife and I and P.W. Shelton went. We played with two other musicians who lived there. They learned my songs. One was Wilson Tsang, a singer who lives there. He and I did three Tom Waits covers in the middle of our set. People over there are super nice and very open to new sounds. They have a hip music scene. It was the most fun I’ve had playing music. There are a lot of cool film buffs there too. I went to this really cool store called “Kubrick” that is heaven for any film fan.

DI: Any plans on going back?

JB: I certainly hope so. We haven’t decided if we can do it this year yet.

DI: And how about the shows in France?

JB: Well, I was going to England anyway for a wedding. And we decided to try and play France. So I e-mailed the nice people at Monsterk 7 (a French record label that included a song of mine on a compilation they released) and they booked us a few shows. It was very nice. The clubs treated us great and the crowds were great.

DI: And what is next for Jeffrey Bützer?

JB: Let’s see… I’m very slowly writing music for a third album, some with lyrics. I think I have seven songs done. Also I recorded a CD with a guitarist named Claire Lodge. I don’t know what we will do with it; probably release it on iTunes and all that fun stuff. No definite plans to tour as of now. There is a little Bützer on the way, so I will be taking a break at the end of the year. And P.W. started a band tentatively titled “fake beards” that I am playing drums in. It sounds like Marc Ribot meets The Ventures meets Sonic Youth.

DI: Goodness, a lot on your plate. Congratulations on your child on the way. I guess you’ll be buying more toy pianos. When can the good kids of Atlanta catch some of this great music?

JB: I’m opening for Dexter Romweber Duo and Detroit Cobras this Saturday (June 6) at the EARL, then Corndogorama, and then me and T.T. Mahony are doing our now yearly Charlie Brown Christmas show in December.

DI: Thank you for your time, and best of luck.


Review on Jeffrey Butzer - The Garden Of Scissors on The Sunday Paper (US)

He may live and work in Atlanta, but Jeffrey Butzer’s soul is in another, earlier time and place. The one-man band, who plays every instrument on his sophomore release except for bass and banjo, is stuck in a ’40s movie with scenes in pre-War Germany cabarets (with singer Sanni Baumgartner taking the place of Marlene Dietrich), and sometimes a ’60s Western.

This predominantly instrumental disc (currently available at shows and online) is the soundtrack to a screenplay Butzer wrote for the as-yet unmade titular movie. The 26 songs are divided into three acts, and while some pieces are missing without the visuals and story, the music holds up surprisingly well on its own.

Toy pianos, accordions and glockenspiel dictate Act 1’s keyboard-driven sound. The effect is distinctive, playful and often frisky, with some ominous moments interspersed, especially when Ms. Baumgartner sings in German on “Valse 2” and “A Popular French Hairstyle.” Elements of Tom Waits at his most theatrical, as well as Kurt Weil and Calexico, abound.

Song titles are appropriately vague, with “Blue Ink Tears,” “Bicycle Eater” and “Lucy 5’s Egg” signifying Butzer’s experimental bent and creating a lighthearted, stylized noir mood that’s both hypnotic and alluring.

Act 2 shifts into more portentous Spaghetti Western territory, with lonely, reverbed guitars replacing Act 1’s keyboards. Most cuts are short, setting the aural scene and then moving on.

“The Garden of Scissors” showcases Butzer as a unique Atlanta musician with an idiosyncratic, cinematic style, one who possesses the vision and talent to color outside pop’s boundaries and structures without losing its soul. — By Hal Horowitz 3 STARS



Interview with Jeffrey Butzer on Creative Loafing Music (US)

Aside from subtle touches of reverb on the guitar in “Suit of Flies,” or the ghostly echo of Sanni Baumgärtner’s Germanic coo in “Blue Ink Tears,” The Garden of Scissors could have been captured 100 years ago on a breezy summer day in Paris. Nods to Tom Waits, Ennio Morricone and Yann Tiersen’s Amélie soundtrack flourish in “Theme for a Tailor” and “Woolgatherer.” The wafting resonances of piano, accordion and a soft boom and chang create the fluttering tone for this invisible soundtrack where the narrative remains in the ether. Every note, every nuance and every song is a sparkling, cinematic gem that shines brightly out of time and place and it is utterly captivating.

Chad Radford: Tell me about the screenplay you wrote from which Garden of Scissors takes a lot of its imagery?

Jeffrey Bützer: I’m very interested in film, but have very little interest in making one myself. But I do occasionally write. The script is a sort of absurdest comedy about a pump organist at a silent movie theatre whose clock breaks so he takes it to another town to get it repaired.

Everyone in the town forgot how to say proper names. The protagonist gets mistaken for his new girlfriend’s dead brother, so he takes over his job and has to remove a whale from a hotel room. That’s the short synopsis.

How much thought did you put into the instrumentation on the record? The non-electric nature of most of it seems to be a considered, thematic part of the music.

Normally when I start a project, I make endless lists of songs I want to do, the order and what instruments to use and so on. By the time I sit down to work with a band or record that goes right out the window. I originally wanted “theme for a tailor” to be solo piano, but ended up using the most instruments of any song on the album. “The Whale in the Hotel Room” I never thought of doing solo until I went to record it. I try and trust my instincts and not over think things, that’s what I learned from this album. If it sounds right, there is a chance it may be.

What was the editing process like? How did you go about whittling it down and was it hard for you to make those cuts?

Yes, I started recording a very long time ago. It was right when I got back from my Hong Kong tour for the first album, so when we went to mix I had about 50 songs. And as you can imagine the album ended up quite different from what I set out to make. Cutting songs is never hard for me. The ones I’m “married” to never go away. If the recording is bad, I redo it. If there’s only one good part, I write a new song out of that part. I have songs I started writing 5 years ago I still have not yet finished.

Tell me about the voclalist on the album, Sanni Baumgärtner.

I first heard Sanni in Audition with Max Reinhardt, a band that sounded a bit like Kurt Weill meets Velvet Underground. Now she is the singer/songwriter of Dancer VS Politician and has moved to and from Athens and Berlin for a few years. She is very talented and a good friend.

The minimal way that her voice is used throughout the CD is very intriguing. We don’t hear a whole lot of her , but the parts that we do hear are quite haunting.

I wanted her to have total freedom to do what ever she felt like doing. I totally trusted her, she has great intuition. I sent her the album and screenplay and said “see what you can do!” Everything she came up with is on the record.


Review on Jeffrey Butzer - The Garden Of Scissors on Creative Loafing Music (US)

Aside from subtle touches of reverb on the guitar in “Suit of Flies,” or the ghostly echo of Sanni Baumgärtner's Germanic coo in “Blue Ink Tears,” The Garden of Scissors could have been captured 100 years ago on a breezy summer day in Paris. Nods to Tom Waits, Ennio Morricone and Yann Tiersen's Amélie soundtrack flourish in “Theme for a Tailor” and “Woolgatherer.” The wafting resonances of piano, accordion and a soft boom and chang create the fluttering tone for this invisible soundtrack where the narrative remains in the ether. Every note, every nuance and every song is a sparkling, cinematic gem that shines brightly out of time and place and it is utterly captivating.

By Chad Radford 4 stars



Review on Maurizio Bianchi - Akoustikoriginem on libero blog (Italy)

Suoni acustici perversi, investiti e maltrattati. Una chitarra con dita urticanti preleva note povere e sibilline. Incontrarsi e ricevere un gelo distacco. Sentirsi perennemente a disagio con se stessi e con gli altri. Può capitare. Un potente freddo letale giunge con la musica elettroacustica di Maurizio Bianchi. Talento appartenente a quel filone artistico definito industrial (che significa tutto e niente), fine manipolatore di sogni atti a stimolare il cervello. La sua bacchetta magica riesce, ancora una volta, a compiere il miracolo pagano grazie a "Akoustikoriginem". Enfatico cd ove suoni (distorti) compiono salti trasversali e ondeggiano pericolosamente. Raccolta non per tutti. Questo è un mondo a parte. Si consiglia una rigorosa selezione all'entrata.

by Claudio Baroni


Review on Nathalie Fougeras / Björn Eriksson - 2-7-1-alt on libero blog (Italy)

Vera cacofonia e dunque prodotto al limite dell'ascoltabile. Ma questo lavoro è ugualmente interessante per capire e raggiungere nuovi percorsi sonori. Dimentichiamoci la Parigi attuale, quella della dance contemporanea in quanto Emmanuel Mieville -con "Island Ferrysm"- naviga sui territori dell'electro acustica più sperimentale. Una strada in salita dove l'improvvisazione, per l'artista francese, è il minimo comun denominatore del suo faticoso lavoro. Un sforzo che viene richiesto anche all'ascoltatore, il quale viene sommerso da particelle di microsuoni. Lodevole, ma altamente complicato.

by Claudio Baroni


Review on Edwin Lo - Auditory Scenes: Environmental Sonic Improvisation (China)

Edwin Lo,香港声音艺术工作者和田野录音工作者。他的田野录音是主动聆听、主动创作,也是概念和体验的结合。




Review on Sin:Ned / Nerve - Ghost Feeding Vessel on Heathen Harvest (US)

Genre: Experimental / Avant-garde

This is a split release between Sin:Ned and Nerve

This split album from Hong Kong locals Sin:Ned and Nerve is a recorded performance on the eve of the Chinese Ghost Festival as accompaniment to a multimedia installation of video projection by two other artists at the Para/Site Art Space. It is a spatially haunting piece endemic to both region and intention – discernibly Asian and noticeably supernal.

The quality of the single track that sheds skin and phantasmagoria over a little less than forty minutes is to be commended for a live recording, the electronics so pristine they finely shave away all low-fi or hazed excesses yet despite the digital crystallisation is not frigid.

Intended to serve as a bridge those in this world and those in the next, ‘Ghost Feeding Vessel’ is thankfully not a dolorous drone of decay and depression for it is far too electric and chaotic. Bell chimes limn the air like the fragrance of jasmine, delicate and almost imperceptible; flutes flit and dart in Asian scale tones down to their quarters as swift as the smallest of winged birds; gongs explode showers of golden dust; even the more electronic oscillating susurrations are treated with a light deftness and inveigle the senses. Sounds coalesce and crescendo in attempt to force embrasure.

Several movements collate ‘Ghost Feeding Vessel’ with the middle section less ghostly than the lead-in as electronic glitches patter little rhythms with the sampled noise of dust. The last movement, however, seems to step away from the realms of spirits and becomes mired in an urban maelstrom of squalling frequencies and rapid and uncontrolled leaps of percussion. This detraction seems to close more than open the aperture into the formless.

The album is a limited affair, one-hundred CDr copies are presented better than the average slap-together, with a black silk-screen coated disc (quite a rarity for a CDr) and heavy gloss card in full colour. An intriguing symmetrical icon burns an optical illusion with lens flare that has your pupils dilating.


Review on Wilson Tsang - Whale Song on  libero blog (Italy)

Genere Musicale: Minimalistic Expression

Rifletto al buio della mia stanza. Le luci dell'albergo vicino riscaldano i miei pensieri. Fuori c'è il gelo e la nebbia che non ti aspetti. Preferisco la neve. Tirando lunghi ed isolati sospiri mi addentro, lentamente, nel mondo oscuro di Wilson Tsang. "Whale Song" assomiglia ad una partitura mai scritta dei Joy Division. Sperimentazione acustica in chiave dark. Dark come simbologia dello smarrimento più completo e verosimile. Ondate di rumore bianco, che brillano sotto l'asfalto cocente di una giornata polverosa. Alitate rancorose di alcool bruciato. Gola che sputa sangue e vene che pulsano metriche distanti. Come il pianoforte di "All That Ever Was" che piange lacrime strazianti ed inconsolabili. Tsang alza il tiro improvvisando note su tappeti di vernice verde speranza. Solo strumenti che si dividono. Per lasciare spazio alle parole da leggere -attentamente- sul libretto allegato al cd. Sedici rappresentazioni oniriche per un'ora di musica battente. Metafora caustica e rappresentazione di una forza interiore, che Wilson mette in scena con un perfetto tempismo poetico. Da sentire.

Claudio Baroni


Review on Torturing Nurse - Smell Like Teenage Springtree on libero blog (Italy)

Genere Musicale: Analogue Pure Noise

Assalto assolutamente inatteso e frontale. Un pugno nello stomaco sferrato con cattiveria estrema. Rabbia repressa da tempo, che sfocia in un profluvio di note virulente e cacofoniche. Sarebbe poco ortodosso e fuorviante definire "la non musica" dei Torturing Nurse come "rumore". In quanto "Smile Like Teenage Springtree" è opera sublime, che si oppone (con tutta la sua forza) alle considerazioni di puro e semplice noise. L'impatto inguinale -della formazione cinese- è simile all'incontro tra il punk dei Black Frag e lo strascico linguistico di John Zorn. Pura deformazione e stortura delle note. Le voci lancinanti di Zev e Jiadie che contrastano le due chitarre perplesse, con la batteria che troneggia per conto suo. Prodotto ostico per orecchie allentate ed allenate.

Claudio Baroni


Review on Edwin Lo - Auditory Scenes: Environmental Sonic Improvisation on libero blog (Italy)

Genere Musicale: Experiments On Sound.

Assolutamente disarmante. Edwin Lo concepisce e sprigiona dal suo ventre un lungo suono, appositamente accorciato di venti minuti. Secondi e minuti che si aggrovigliano nella sperimentazione più contorta. "Auditory Scenes: Environmental Improvisation" sgretola e manipola improvvisazioni tentacolari. Sounds maestri che circondano strade deserte. Vie chiuse ove fluttuano passi nella notte. Manipolazioni delicate che si esauriscono in un fragoroso temporale estivo. Autunno che si accorcia ed inverno che rimbomba nell'atrio. Consapevolezza dei propri limiti, ma anche sicurezza di aver realizzato un sound lastricato di corpose (limitrofe) idee.

Claudio Baroni


Review on Alok - Placid Places on Heathen Harvest (US)

When you have your own label from which to jumpstart a musical career and to get your music available to a mass audience you're in a great position – you can take as long as you want to create whatever you want and there will be no one to tell you what to do or what to add or subtract from your recordings since you are your own boss. That is the position that Hong Kong's Alok is in. Since 2001, Alok has been a solo artist after contributing to other artists CDs or playing with other outfits. In 2002 Alok started his own label, Lona Records, which has launched his albums to the world. He's also producer, writer, artist and sound engineer as well, in various ways.

His latest effort is a tres experimental album, entitled Placid Places, an EP with five tracks, but not short pop songs, rather long form stuff that range from just under six minutes to 18 minutes to 21 minutes (1: 20:58, 2: 9:39, 3: 5:55, 4: 8:36 and 5: 17:48). It really doesn't matter though, because it's all one big jumble of experimentality that can't really be subdivided into parts. There are beeps and drones and hums and high-pitched tones all over a vinyl-record style scratchiness, to give it some humanistic quality to it, if you can call it that.

Placid Places is Alok's fourth album and it shows a delicate ingenuity that, while totally atonal and non-musical, captures one's attention – voluntarily or not. The whole album is in danger of becoming staid and just another avant-garde experimental CD except that on this CD its saving grace is the synergy that Alok's brand of experimental noise-ambience brings to bear, with the panoply of noise and atonal crashes underneath and on top of dreamy melodies that, put together make a universe of new soundscapes that leave you speechless. When you get to “Plain (Night)”, which has a piano-based ambience, a slowed-down atmospheric style and a British feel to it you can't help but feel a warm buzzing feeling inside. The final track, “Purlieu (Dawn)” goes back to more digital soundbursts, sampled voices as well as the ever-present beeps and twitters mixed with a spaced-out vibe.

Alok is a self-taught guitarist and bassist, raised in Hong Kong and based there still, recording for an HK-based label, Quasi Pop. Alok has been striving for the right style and the perfect setting from which to build. He's not just some club-hopping newcomer that is only in it for the beats, Alok is a talented multi-tasking, multi-instrumentalist multi-culturalist, musically, if not otherwise. After many stops and starts and from his experience playing with various acts and artists, producing, playing, writing and learning as well as his time with and exposure to the performance art-world.

Alok is on his way to building an ever-evolving catalog of open-ended musical experiments and a driving force behind opening doors for nonconforming artists who want to build wider soundscapes so as to give people many more alternatives to listen to.


Review on Nisei 23 - Kanza EP on Heathen Harvest (US)

There was a time when bands were proud of not using any technological devices to produce their music. Probably still focused on the age of material things and tactile eroticism, searching for the necessary recompense found only while playing a real instrument. Seems like some of those bands still prevail today, restraining theirselves from falling into the temptation of digitalism, still close to the kind of sound, tone variety and texture only real instruments can give. Allegedly Nisei 23 it’s a survivor from that crew and proud from it as it is stated inside the mini cd EP “Kanza” that I’m bringing to you my loved and hated reader. They claim that no synthesizers or sequencers were used, that is good in my opinion as modern electronica is plagued by this incessant synthetic feel and desensitized emotionality that sounds too often flat and boring.

Although far away from typical electronic sounds they could not leave the sampler machine behind in order to use it to regroup all the tapestry of instrumental recordings that they use to construct the sound structures of their work, which is not a sin, just an smart use of euphemism. Nevertheless, instruments like: Piano, guitars, several kinds of seemingly oriental percussion and melodica have been used to conform Kanza sound. Behind this project currently residing in Hong Kong lies a mysterious UK individual who is more interested to let know about his/her music than to talk about the mundane aspects of personal life. Let the music speak, in the language of their own, as in this new century there are people still wanting to endure through original creation.

The influence from asiatic culture is noticeable, some notes and chords sound almost completely into oriental music. Opener “Kanza” has a tribal like feel, focused on an exotic rhythmic cadence that gets accompanied by oriental notes coming from a guitar play, this rhythmical sequence proceeds harmoniously maintaining the original tempo but evolving in an encapsulated foggy landscape, later the rhythm sequence retakes its trail doubling what now could be perceived as a ritualistic track, where the cadence is used to concentrate the listener into its trance like induction. A sudden flash of rice fields with bucolic croppers sowing in identical rhythmic cadence crossed my mind, a city revolting in bike transportations, tumultuous bars serving exotic plates and beverages, masses gravitating around vast streets... “Bleached bones” and the following “Kiiro” has a less pronounced tribal feeling but preserves a ritual energy, a mellow heart like beat commands the rhythm section while fresh clouds of decomposed guitars and melodica fused to create a drone curtain full of vitalism.

The rhythms intersect and evolve, with the incursion of some small insect like clicks within the rhythmic base loops. A very relaxing piece leading to natural inhabitancies and beautiful landscapes of unlimited green. In “Kiiro” the rhythms are taken off and the track is balanced entirely on drone layers, spatial and aerial with a recurrent but subtle effect that sounds like cars or trains crossing a huge highway, an ideal futuristic city, full of technologic magic and grandiloquence comes to settle as a peaceful dream. These two songs has a luscious post rock feeling into it, sparse and relaxed, naturalistic and luxurious. Last song “Lower case” resumes the work and it’s my personal favourite. Here we find the strategies used in all of the songs centred on this one. The ritualistic tribalism with exotic rhythm logic, the oriental flavours, the mutation of instruments making they sound like alien and unrecognisable, the dynamic vitalism of the music, concreting a modern rhythm cosmology with a tribal logic that never sounds saturated or not well on. This track is fabulous. The finale even shows a small irruption of minimal breakcore that comes from the tribal dirge, fading in greatness.

Heavily tribal influenced with ethno flavours & ritual atmospherics constitutes the principal vision from Nisei 23. Quite exotic material able to reach the ultimate “Kanza” displays a very intimate and unique perspective on the perceptions of the author, giving insights of his feelings towards the outside world and its appearances, its magic and possibilities.


Review on Moljebka Pvlse - Ghost Fire on Heathen Harvest (US)

Moljebka Pvlse is the project of Swedish musician Mathias Josefson. Although Moljebka Pvlse frequently performs and records as a duo these days, with the contributions of singer and percussionist Karin Jacobson, many releases have been solo creations, as is this release on Hong Kong-based label Lona Records (which is a name previously unfamiliar to me, although checking out their website reveals that the label has also released works by Maurizio Bianchi and Kenji Siratori).

Ghost Fire comprises a single track, exactly one hour in length, of mixed and processed field recordings and drones. The opening ten minutes of this work is a smooth, minimal succession of tones, cold and abstract without being particularly dark or malevolent in tone – I was reminded of the remote, impassive tone of artists like Sleep Research Facility and Olhon. At around the 11-minute mark, we find the first incident to interrupt this blank and featureless soundscape – a field recording of birdsong. I actually wasn’t sure at first whether this was on the disc or outside my window, but turning the volume up and down a few times demonstrated that this was indeed part of the composition. An ornithologist could probably tell you exactly what kind of birds these are, but all I know is that they’re songbirds rather than say, seagulls or crows or ducks. The birdsong persists for the next ten minutes, as the cold, smooth ambient tones continue to rise and fall mesmerically, gradually being joined by an underlying rougher rumbling tone. At around 25 minutes, with birdsong still prominent, a new element enters the mix – sounds of rustling, which resolve into definite footsteps. These footsteps seem to be crunching along a forest path, or at least some kind of outdoor location, and this is an invitation to visualisation, both of the surroundings you might find yourself in and of your unseen companion, journeying through this unseen landscape of inner space. At 33 minutes, a new sound appears, a harsh, crackling, rasping tone which grows in volume, threatening to overwhelm the ambient tones, before dying back at around 38 minutes. At 41 minutes, the mood appreciably darkens, with increasing amounts of dissonance invading the ambient tones, unsettling and anxious. Sustained high-frequency tones add an insistent, urgent frisson. At 54 minutes, the pitch and volume both gradually begin to decline, as Ghost Fire nears its conclusion, and finally the piece fades into silence.

The only previous exclusively Moljebka Pvlse release I've heard was the 2004 album Tamon, in which minimal tracks of drifts and drones were interspersed with bursts of harsh noise, but Ghost Fire is an altogether less disconcerting and gentler experience than that, or indeed the Negru Pvlse collaborative release with Negru Voda. Ghost Fire is perhaps more akin to Moljebka Pvlse’s collaborative works with the Polish project Horologium, 2005’s Kaukasus and this year’s Penfield Mood Organ. It seems as if the Swedish have a particular flair for bleak, desolate ambient music – think of Raison d’Être, Beyond Sensory Experience and various other Cold Meat Industry bands, the quieter moments of Nordvargr, the guitar-based ambient drones of Keplers Odd, or Cyclic Law bands like Kammarheit. Moljebka Pvlse fits in well with this profile, and Ghost Fire is recommended for those with long attention spans, introverted personalities and a taste for empty, wintry landscapes.

Ghost Fire is a 100-copy limited-edition CD-R release, and it’s packaged in a slimline DVD case.


Review on No One Pulse - LINGK on Heathen Harvest (US)

The Hong Kong duo of Wong Chung-fai (Sin:ned, Music Colony Bi-Weekly Magazine) and Chau Kin-wai (Sleepatwork) recording as No One Pulse, specialise in conceptually minimalistic, but broadly-painted, soundscapes, utilising electronic blips, hums and squeaks. In their own terms these are micro-sound experiments and “freeform” electronics, collated and built from both studio-based and live recordings. There are hints of a certain formalism to some of the microstructural minutiae of the compositions, but above and beyond that the pair introduce elements of random interpolations and chaotic improvisation. This is not to imply any Stockhausen-style atonality is present – rather, in much the same way that matter behaves in the real world, structures are allowed to emerge out of the randomicity without attempting to confine the music into any theoretical straitjacket. What we have then could be said to mimic the natural processes, albeit on a smaller scale, that form the bedrock of material existence around us.

I have to advise that I use the word minimal very loosely here – the sounds employed are in essence very few in number, but stack themselves up in successive layers to produce a convoluted complexity. Random concatenations, microscopic detonations and explosions, sheets of accelerated particles, high-energy sonic excitations, and hums, clicks and squeals – these are the fundamental particles that surge and flow, that collide and split, and form the basis of No One Pulse’s musical discourse. It’s never loud or harsh, although sometimes the drones and squeals have a habit of drilling into the head, just like some neutrino ploughing through miles of rock.

Indeed, the sounds on here remind me very much of the ‘music of the spheres’, created through both macro and micro-scale processes, picked up and recorded by radio astronomers – the constant flux of creation caught in spectral sound. It’s like the pair have journeyed through the heart of star-fields and galactic nurseries, sailed into vast dust-clouds of energetic radioactivity or flown past extra-solar planetary systems, all the while pointing sensitive antennae at them and recorded the fluttering, the whistling, the crackling, the humming and the heartbeats of black holes and galaxies hidden in the airlessness of space. And in between the interstices of sound there is space, eternal light-years of hyperactive nothingness, bristling with unseen and unfelt energies. Above all one gets the impression, the certain feeling in fact, of vast limitless expanses, where the stars and galaxies are on the same scale to the universe as atoms and subatomic particles are to our human comprehension. Little islands of coagulated matter clump together here and there, accreting and spinning, before amassing sufficient to form new systems and worlds.

Simultaneously, one can also envisage a journey through the particle-rich quantum world, which in its own way can be considered as just another universe itself, albeit compacted into an infinitesimally small space, but still an analogue of the bigger one. Therefore I wouldn’t be surprised, should we develop sensitive enough instruments, that we detect a similar subatomic symphony, equally as energetic and equally as noisy. And No One Pulse’s entirely naturalistic soundtrack can just be as fittingly applied to that scale as it can to its opposite. In that sense, it’s truly a work that encompasses the entire spectrum of creation in its scope.

It would be true to say, then, that experimental music has not only a global reach, but in this particular case can actually encompass whole worlds, from the small to the galactic. LINGK contains it all, condensing the whole spectrum into a palatable form, while simultaneously moulding it into a work of abstract beauty. The near-lightspeed blasts of particles no human eye could possibly ever see, the lightyears-long tendrils of starstuff left over from supernovae or the massive columns of gas and dust serving as the wombs of new stars; who would have thought that you could have shoehorned that lot onto a disc of plastic only 5” in diameter. 


Review on Roel Meeklop - Real Mass on Heathen Harvest (US)

There are times when I slap a CD in the player, press PLAY and then, after listening intently for a while, wonder what the hell I am going to write about this one. It isn’t even a question of suddenly coming upon a writer’s block, or that I lack the necessary words. Sometimes what I have been asked to pontificate and expound upon is so nebulous and abstruse that words simply refuse to handily present themselves as they normally do. This present disc, one of the entries in Lona Records’ 3” single series, was just one such case.

Roel Meelkop’s (THU20) just over 19-minute long sound essay is never less than quiet and subtle, corralling sounds garnered from just about everywhere it seems and ultimately sculptured and fine-tuned to create a haunting, almost inaccessible, piece. Silence is equally partnered with sound, distant murmurings bubbling up from a nebulous, formless void. One could almost posit that here we see these two elements shadowing yet ultimately complementing each other, emphasising just how important they are to each other’s existence, conferring shape and substance on the other while operating as the their polar opposite simultaneously. Chiaroscuro is often an important element in delineating contrast, and here it’s used to excellent effect.

I have to note here that very often the purpose of such pieces eludes me, which is not to say that I consider them worthless. In the rarified stratospherics of sound collage, one often finds it difficult to discern a theme. Even the reference to the website blurb fails to enlighten on this occasion. However, despite my initial difficulties, it IS possible to hear stories being told here. The entire piece is laced with an icy cold presence, one particular resonance seeming to jibe with me – just pure, simple freezing emptiness. I imagined expanses of night-black space, occasionally broken by dust-clouds of particulate activity in varying degrees of excitation. However, these small episodes merely function as a pointed highlight, emphatically drawing attention to the void beyond their limited borders. As a consequence, loneliness is the overwhelming feeling I take from this. It’s the flickering TV set or the distant voices on a radio reaching out to the isolated and cut off. It’s the brief glimpse of something solid yet fleetingly intangible caught in the glare of headlights spearing the darkness on a lonely road somewhere. It’s the small noises one hears in a broken down, old and deserted hospital, where the voices of both life and death seem to have taken on an echoing tangibility of their own. It’s the little creaks in quiet places, only discernible because of the silence. It’s also the faint whooshing of a jet passing overhead in a clear blue sky when the rest of the world is holding its breath...

These are the multitudinous textures that combine to paint a vision of space, illimitable in extent. This can either be exhilarating, invested with a concomitant boundless freedom unconstrained by parameters; or it can be simply terrifying, like when a prisoner, cooped up for so long and is now suddenly given freedom, is aware that he is no longer defined by four walls. One can either dive headlong into the void willingly or turn away afraid of what might lurk there. One can either wrap oneself in its potential closeness or reject its overwhelming claustrophobia. Here, one can either find or lose oneself.

And all this depth in just 19-minutes, and achieved with a judicial appraisal of the material at hand. It would be stating the obvious then that Meelkop’s relationship with sound is close, utterly tuned in to its nuances and subtleties, to say nothing of inherent potentialities. Craft has been exercised here as well as attention to detail, an aspect which is only made apparent after repeated, and close, hearings. Rather than the cold exercise in abstruse theory I imagined it to be, I found it speaking to me in a way that was scarcely anticipated. It drew me in, despite its creeping tendency toward claustrophobia, and revealed more colour and movement than a cursory listen would indicate. It is little surprises like this that prove that experimental music isn’t as barren and soulless a pursuit as some would categorise it.


Review on Moljebka Pvlse - Ghost Fire 鬼火on libero blog (Italy)

L'accostamento artistico sembrerebbe improponibile, però mai precludere le svariate possibilità che il genio umano ci può offrire. Senza mezze misure, come le opere di Jean-Michel Basquiat, la non musica del non musicista svedese Mathias Josefson "rompe" con le idiosincrasie terrene per cercare di ottenere un'importante visibilità. Come Basquiat -con i suoi sfregi periferici- tentava anch'esso di ricevere. Piccoli tocchi (di electronica non edulcorata e troppo zuccherata) che colpiscono come una tela del Picasso nero di New York. Epoche e culture differenti dividono Mathias e Jean-Michel, ma i due personaggi risultano indissolubilmente legati da una forte paura nei confronti della società. Una società egocentrica e cupa, descritta (con metodologie differenti) da entrambi gli artisti grazie a concetti molto chiari e senza troppi fraintendimenti.

Review by Claudio Baroni

Review on Wilson Tsang - Whale Song on Timeout Magazine


Review on Wilson Tsang - Whale Song on South China Morning Post (Hong Kong Newspaper)

Wilson Tsang’s latest outing mixes hazy sounds with lyrical piano passages, and is a beautiful collection of dreamy ambient music. The title reflects the artist’s ambition: to strive for a musical language that is as ancient, mysterious and natural as the singing of a whale, a creature whose consciousness is believed to be built on sound rather sight. Like a humpback whale, Tsang produces atmospheric and beautiful music that drifts in and out of your mind, leaving a subtle impact on your consciousness. The soundscape he crafts is bleak, but the music is more dramatic and less earnestly monotonous than many ambient recordings as Tsang, trained in classical piano, remains first and foremost a melody-driven composer and performer. Don’t forget to go through Tsang’s poems and a collection of artwork in the liner notes, which parallel and respond to his music.

Review by Lau Kit Wa

Review on Wilson Tsang - Whale Song on MCB on-line

從前我們要形容Wilson Tsang(曾永曦)這位香港獨立音樂人,「電氣版Tom Waits」是一個較壟統但又真的比較接近的說法(當然某程度上他也不想常被拿來跟Tom Waits比較),尤其是那股頹靡荒誕與耐人尋思的氣味。而且其唱作歌手的旗幟亦鮮明不已。

無疑,Wilson對Elton John、Billy Joel以至Tom Waits的喜好,那投射在他的鋼琴唱作人大方向上。然而另一方面,他亦有創作純音樂曲目,主要是為劇場演出所創作的配樂。

經過《Stuck In Traffic》(2003年)和《Little Cold Red》(2005年)這兩張Song-Based的作品之後,Wilson的第三張專輯《Whale Song》,他便放下歌手的身段而全然投向純音樂的音樂姿態——別忘記,2006年他在Lona Records的3” CD-R系列帶來只出版五十張的《Night Suite : Music For The Tales》,已多少為《Whale Song》的取向露出端倪。

Wilson是視覺藝術工作者兼插畫家,也是音樂家。其實過去兩張專輯《Stuck In Traffic》和《Little Cold Red》, Wilson的創作並不獨只有音樂,比如《Stuck In Traffic》是聯同一本畫冊發表,而《Little Cold Red》面世之同時又在藝術中心的包氏畫廊舉行了一個展覽加Live Gig。所以對於新作《Whale Song》是連同一本圖畫/攝影/文本冊子的多媒體作品,大家也毋須嘖嘖稱奇。

限量發行三百張的《Whale Song》,內含一張CD專輯,與一本有插圖、攝影以及半日記小說半詩篇文字的冊子。音樂上,今次所收錄的全是鋼琴純音樂——配以電聲Soundscape與Field Recordings的鋼琴音樂,一次單純對聲音的探索。

十六首散落地配以圖畫、攝影與文字的樂章,聽似零碎的音樂片段。《Whale Song》之純音樂取向,Wilson一方面是要將其樂曲處於背景化,甚至是要文字在先、音樂在後;他要讓樂曲與文章共用同一個題目,但音樂與文字之間卻又沒有直接的關係,令兩者存有一種似是而非的混亂時空狀態。所以另一方面,《Whale Song》跟取自其劇場及動畫配樂的《Night Suite : Music For The Tales》之最大分別,是當中並非純粹其圖畫/攝影/文字的背景音樂。

專輯名字靈感源自鯨魚所發出獨有複習多變而又原始的聲音,《Whale Song》所帶來,是一種電音化的Avant-Garde鋼琴音樂。比如〈Departure〉在浪聲下的鋼琴與Ambient氛圍,感覺美麗憇靜如New Age世代的Moody音樂,〈Scope Of Delight〉是另一首如詩一般美的鋼琴樂章,〈Spinning Top〉、〈All That Ever Was〉、〈Humpty, You〉和〈Dear Child〉都是來得如此真摯溫暖的感人鋼琴音樂作品,而〈Still Night〉的淡然諧和又好比Erik Satie的傢俬音樂名著〈Six Gnossiennes〉那份夜闌人靜氣氛,〈Smell Of Breeze〉又是那麼斯人獨憔悴吧。

但另一方面,〈Submersion〉、〈Blue Hides〉等曲目的迷魂琴音Treatment與抽象的Soundscape,抑或由冷酷鋼琴與電聲異境交織出的〈Smoke Vent〉、有如John Cage的鋼琴音樂之餘卻游離著思潮起伏電音的〈Ho Humming〉,卻又是那麼飄渺空靈、迷失茫然,是一種何等蒼白的心象風景。而受其黑白的冊子影響,聽今次Wilson的音樂,畫面都是屬於單色/黑白的。

碟末還有一首隱藏曲目,名為〈One Fine Day〉,這首簡短的鋼琴音樂,本是Wilson為Andy Ng 的劇場《Ending the World》之結幕曲。

Review by 袁智聰


 大老師來啦!!! - FM3的佛打架任意點擊播

FM3 - 代碼,循環的,不是自動播放,請自行控制


Review on Moljebka Pvlse - Ghost Fire 鬼火on (Finland)

Moljebka Pvlse tuotantotahti on viime vuosina kehittynyt niin tiuhaksi että alkaa jo olla vaikea pysytellä kärryillä. Hong Kongilaisen Lona Recordsin julkaisema Ghost Fire on jälleen perinteisempää vähäeleistä Moljebka Pvlse, jossa dronet ovat pääosassa ja levy koostuu yhdestä pitkästä raidasta.

Jotakin uutuudenviehätystä tässä silti on, sillä soundi on harvinaisen kevyt, jopa heleä. Tuntuu että tässä on otettu suuntaa The Leaves of their Songs-levystä mutta viety sitä vieläkin valoisampaan harmonisuuteen, ja samalla takaisin hillitympään suuntaan. Mukana on myös artistin viime aikoina hyödyntämiä kenttänauhoituksia, lähinnä lintujen laulua, luomassa todella paratiisimaisen seesteistä vaikutelmaa. Selkeästi eriäviä ääniä ja jopa kerronnallista progressiota on myös käytetty onnistuneesti. Loppumetreillä tunnelma muuttuu hieman harmaammaksi ja pilvisemmäksi ja ääniskaala laskeutuu alaspäin.

Itselleni tämä on yksi Moljebka Pvlse onnistuneimpia teoksia Sadalmelik:in, Duhka:n ja Dvnkl:in rinnalla. Se tuo esiin artistin parhaat, klassiset puolet - pitkän minimalistiset sävellykset jotka ovat silti äärimmäisen rikkaita ja latautuneita - mutta se tuo myös esille aivan uusia sävyjä Josefsonin äänipaletista. Näin hieno levy olisi tosin ansainnut hieman näyttävämmät kannet kuin perus DVD-pakkauksen. Vaikka Moljebka Pvlse ei ehkä ole mikään suuren yleisön suosikki, on tätä tehty vain 100 kappaleen painos, joten suosittelen haalimaan sen nopeasti kokoelmaan.

English Translation:

Moljebka Pvlse has lately made releases so often it is getting hard to keep track of them already. Ghost Fire, released by Hong Kong label Lona Records is once again a more traditional Moljebka Pvlse album - a drone-based work, constisting of only one long track. Yet there is an element of freshness as the sound is much lighter, and the tones higher, than ever heard before. It sounds as if Mathias Josefsson would have developed the sound of The Leaves of their Songs into an even more harmonious and luminous direction, while retaining his classic minimalism. Some field recordings are in a secondary role, mostly singing birds, creating an even more serene atmosphere of being in a paradise-like garden. Distintive sounds and a narrative progression are used with success. Towards the end, the mood changes in a greyer and heavier direction as the sound scale comes down a bit.

Personally I find this to be one Moljebka Pvlse´s most enjoyable and successful records, alongside Sadalmelik, Duhka and Dvnkl. It brings out the artists best, classical aspects - his long and minimalistic compositions and the incredibly rich and saturated sounds - yet it brings out completely new nuances from Josefsson´s sound palette. A record this fine would have deserved a better package than a standard DVD case. Although Moljebka Pvlse might not be a favourite of the bigger audiences, this is an only 100 copy release, so better get yours fast.

Review by John Björkman


Phon°Noir - Counting Raindrop: The Remixes ( Free Download Release )

a new phon°noir release is coming up: from Monday morning, 27 october 2008, COUNTING RAINDROPS: THE REMIXES will be available for free download from the link displayed above. this first phon°noir download-only release features 7 remixes of tracks from the last album THE OBJECTS DON'T NEED US.

01. Gullhomen (calika bass mix)
02. You are the eskimo (tg mauss mix)
03. We still miss the future (mikhail mix)
04. My paperhouse on fire (uzi & ari mix)
05. A different kind of january (karl stirner mix)
06. We still miss the future (eraze the borders mix)
07. We still miss the future (alok mix)

the download comes as 7 mp3s at a bitrate of 192 kbps, in a zipped folder, containing also a bigger version of the cover art. the beautiful photography was provided by päivi kaikkonen.

if you like get youself your virtual copy of this release. it's free. unzip, play and share it with your friends. it's a gift. and hopefully a nice way to discover not only a new dimension to these tunes, but also a few more artists truly worth listening to!

Download link:


Review on Phon°Noir - No More Sad Dreams on Heathen Harvest (US)

This is an odd little affair, in the best possible sense of that word. Essentially four tracks of disjointed instrumental minimalism that nevertheless seems to inhabit every space available to it, I must admit that a) I didn’t quite know what to expect and b) was pleasantly surprised by the mercurial nature of the music. Apparently, normally phon˚noir uses vocals in his repertoire, but Matthias Grūbel has this time opted to let the instruments and sounds sing for themselves, and this entry in the Lona Records 3” CD single series is a compact platform from which to display the diverse experimentalism that Grūbel revels in.

As some might have noticed, one of my favourite adjectives is ‘fractured’. Although I recognise the negative connotations of the word, I often use the word more positively, and in the case of phon˚noir its application as a descriptor is decidedly, and affirmatively, positive. The world in which this music has its existence is an unfamiliar one yes, with its clicks, pops, trills and dislocated rhythms, but just because it IS unfamiliar doesn’t mean that it should be left unexplored. It’s a strangely disjointed world indeed, a place where angles defy the laws of geometry and perspective plays tricks with your eyes and mind. You’re never quite sure where firm ground exists, as sounds and moods keep shifting, slipping away just as you grasp them. The slippery quicksilver character of the music keeps you both guessing and chasing, like an avid butterfly collector forever hunting that exotic specimen that has hitherto always managed to elude his nets.
Grūbel creates these odd jazzy/ambient/musique concrete/rhythmic soundscapes with nothing more than a computer, a guitar and a piano. The oddity for me though is that there’s a sense that these are merely impressionistic experiments, a means of exploring the properties and possibilities of the material and instruments to hand. In this sense I feel that Grūbel is a speculative musician, fulfilling a role similar to a speculative fiction writer. Sounds are picked up and looked at from every conceivable angle, shaken, pulled apart and juxtaposed with others, then moved around until pleasing combinations leap out. This is some ways a reflection of the real world, certainly in an evolutionary sense – things that work remain to carry on their charmed lives while those ideas found wanting disappear back into the matrix of potentialities they emerged from.

Opener “Embryo” paints itself in short stabs and thick slabs of sound, joyously detonating, mayfly-like, briefly and spectacularly. Here is a riotous profusion of exotic species, revealing themselves only through flashes of colour quickly seen as they crash through the undergrowth. “From Time to Time we Change our Minds” is more broadly described with insect and mournful avian droning, set against burbling waters and an oddly shuffling rhythm. The disjointed staccato insectile rhythmic intro of “Airplane Traces in the Sky” gently wafts us into a smokily jazzy mood, with piano lazily and languidly floating high above the clouds, an exotically-plumaged bird. Album closer and title track “No More Sad Dreams” is less defined, more ambiently dreamlike haze, reaching out to us from the depths of some pleasant sleep-inspired imaginings. Snatches of voice samples, indecipherable, are like sonic hieroglyphics in some arcane language – somehow we know they have some import but their slipperiness prevents our full grasp. Short brushstrokes paint small daubs of sound, never completely fully formed, leaving us none the wiser in the end. A jumpy beat is the only thing that gives an impression that there’s something more permanent behind it – but ultimately its elusive nature refuses to let us comprehend it. The shimmering fadeout is even less substantial, half-formed memories misting out into final oblivion.

If Matthias Grūbel were a visual artist, there is absolutely no doubt he’d be an Impressionist. The music here is in some ways very ephemeral, in the way of fleeting memories of great and momentous events. Indeed, these four tracks carry a certain weight of nostalgia with them, a feeling of trying to grasp a past forever lost to us. I was left wanting more, and wishing that the limited temporal platform hadn’t been so constricting. This music needs an expansive canvas on which to be painted and displayed; I felt that just as things were beginning to fully coalesce, the song was over. If only short songs such as these sparkle with such potential, I am left wondering what a full-length CD of phon˚noir’s music would be like. That’s a delicious prospect indeed!!"



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.


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—“C for Schubert” —becomes 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


4 Reviews on Alok / Sin:Ned / Nerve / Nisei 23 / Defraktor on (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..



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".


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.



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



Review on Sin:Ned / Nerve - Ghost Feeding Vessel 鬼餓施舟 on Startling (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– 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.


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 – 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 – 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 – 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 – 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


Review on Alok - Placid Places on MBC on-line

當獨立音樂人Alok從電音組合Slow Tech Riddim走出來之後,我們可以看到他經歷過幾過不同的音樂階段。

先是其首張個人專輯《Wahoo》充滿趣味性的折衷電子音樂路線,延續著Slow Tech Riddim的Electronica製作方針;然後到《夜寂31往還》和《29。跋》重投結他主導的音樂姿態以拓展Shoegazer、Post-Rock以至Indie-Dance之領域,那不但履行到他的音樂野心,同時亦熱衷作現場演出;而他的下一個階段,便是全程投入Laptop電音創作與表演的里程。

三年前Alok曾在訪問中向我說過:「我依然好熱愛Electronica,現在比較喜歡聽一些較為靜態和空間再大一點而沒有旋律那類電音。」事實上在過去兩年多來,除了為別人伴奏(如The Yours)之外,Alok便再沒有作過任何Full Band演出。反之這些日子以來,他都積極參與過大大小小形式的Laptop電音演出,實行全然要重新樹立起他朝著Avant-Garde與Sound Arts大方向的電音製作人身分。

以CD-R形式限量印製一百五十張的《Placid Places》,是Alok的第四張個人專輯,也是他首張Full-Length的電聲唱片。

《Placid Places》內含五首樂章,最長的達二十分鐘,短的也有五分多鐘;當中的長篇兩首作品,是分別來自香港天后Kapok和深圳Mooka Space的現場演出錄音,以記錄近年他的Live軌跡。

正如其黑黑唱片封套般,《Placid Places》是Alok勾勒出闇黑幽閉的電音Soundscape著作,一段靜謐幽暗音景之旅程——然而那不獨只有Ambient氛圍的徘徊流連,同時也滿載匪夷所思的Mircosound與Click ‘n’ Glitch聲響層次。


〈Pocket.Temptation〉紊亂CD跳線效果聽得你輾轉反側。但我最愛卻是一曲〈Plain.Night〉,由Joey Chu演奏出的Avant-Garde / John Cage式鋼琴,宛如夜之寂寥心精。

Review by 袁智聰


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

兩位香港Avant電音製作人的聯袂合作,Sin:Ned與Nerve所帶來Ghost Feeding Vessel專輯,記載了是二人在去年盂蘭節為Para/Site Art Space舉行的多媒體節目《異靈祭典》帶來的Epic 即興現場演出。在《鬼餓施舟》的主題下,如幽靈般的陰風陣陣Soundscape,沉澱著民間祭儀與靈界傳說之闇黑深邃氛圍意象,投映出獨樹一幟的神秘詭異東方電音美學,都市鬼魅的音間竄流。本地獨立音樂圈好像久未有如此異端的音樂出版過。

Review by 袁智聰


 Review on Yan Jun 颜峻 - 20 for Lona on (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


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:


 4 Reviews on Alok / Phon°Noir / Maurizio Bianchi / Kirmann on (Italy)

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.


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...

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)


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





















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









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” – whether out of sheer simplicity or as a paean to “Story of O” author Pauline Réage, we know not which – 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 – 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 – more people should hear this lonely beauty. - David Cotner, Signal to Noise Magazine #48



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


現代傳播集團x 香港•深圳建築雙年展

《放逐慾望縱橫線》邀請香港都市生活的詮釋/創造者,在將發未發的變動中,尋索既有路徑以外的質感、音聲、幻像,為中區特有的空間象徵和城市記憶重新定義。本地電影人將中、上環的熟悉場景幻化成天馬行空的詩意舞台,文化刊物出版人/舊物收藏家陳米記多年來自面臨拆卸的舊屋舊廈、公共建築搶救家具、舊物保存歷史,音聲藝術家Alok與Lona Records創作夥伴以環境實驗音樂記錄城市集體潛意識;《放逐慾望縱橫線》以投影裝置將電影中虛構的警察面貌、權力糾纏置放於人去樓空的監獄實景,用囚犯手製的政府座椅、背後自有來歷的舊書櫥建構予參觀者思古神遊的場所,配合Alok and Lona Records現場即興演譯的環境/人聲數碼微模音樂,促成影像/音聲與建築/空間的對話。現場供隨意翻閱的《號外》與《新視線》雜誌,以一貫的文化視野與消費生活觸覺,為空間與慾望的後續討論提供素材。




Today, the Central Police Station compound stands deserted, devoid of its former occupants—and 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— and a similar origin to the government stationery and furniture that had been used or produced here until not so long ago.



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.

Lona Records的聲音實驗家,以中區警署建築群為中心,向外以聽覺伸延,採集聲音,透過電腦軟件及各種電子器材,將中區警署建築群變成一個熔爐,一併消化自身的歷史及週邊的聲態環境。過程是一系列的現場演奏及背景音像。

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


Dan Ip+lo
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—with the director's kind permission, of course—and 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.



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

Bio: 腦波交流是一種理想狀態,是一個出版唱片和組織策劃演出的團體.

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

Official Website:


Buy Here: __________________________________________________________

Here Be Monsters - Download for Free

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

Title: Crawling Under Your Skin (29:58) ZH27 #985

Download link ---


Review on Phon°noir - No More Sad Dreams on (United Kingdom)

This 3" disc is an intriguing proposition, pairing Berlin's electronic-pop maestro phon°noir (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.


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

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



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)).
MonsterK7, handmade tape label


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.


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: /

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:
For more infos and discography see:


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– drone, noise, sound art, etc– 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– 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– 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– 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– 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– 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– and as an experimental release, I commend the artists for including both works. As “#4″ concludes, the sleepy digital forest has fully awakened– 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– “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– 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…

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– and don’t forget to check out the rest of their catalog– that Monitors mini and the Sin:Ned are calling my name, should anyone be searching out early Xmas presents for their favorite DJ!


Review on 3 Lona Releases on Sub Jam (Bejing)

By 顏峻

出品:Lona Records

No One Pulse - Tele
出品:Lona Records
No One Pulse - Pathic
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。

Alok - C for Schubert
出品:Lona Records
這張小CDR只包含一曲,為舒伯特而做。事實上它是由舒伯特的即興曲“Impromptus, Op. 90 No.1 Allegro Molto Moderato”啟發而來,也採樣了其中的片段,在潛沉微妙的低頻中,喚醒了古人的吉光片羽。整個作品就像傳說中的淩波微步,或曰挾泰山以超北海,在有無之間,大美嫣然。



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)


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