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pangbianr http://pangbianr.com Tue, 14 Mar 2017 07:36:03 +0000 en-US hourly 1 https://wordpress.org/?v=4.4.8 Interview: Mike Watt http://pangbianr.com/mike-watt-interview/ http://pangbianr.com/mike-watt-interview/#respond Tue, 14 Mar 2017 07:34:50 +0000 http://pangbianr.com/?p=6233 ]]> 在Noisey看中文版

Editor’s note: this interview with punk legend and Minutemen co-founder Mike Watt was conducted by Zhao Kai (aka Victor) of The Bedstars (an old pangbianr favorite) and originally published in Chinese by Noisey. See the original version here. Mike Watt is about to start a China tour organized by Round Eye, who’ve in the past brought through such other legacy heroes as MDC, The Boys, and Steve Mackay (RIP).

Watt and his Missingmen will be at Beijing’s DDC this Saturday, March 18, and the tour will also hit Xinxiang, Songjiang, Shanghai, Ningbo, Wuxi, and Yiwu. Find the full schedule at the very bottom of this post, but first enjoy Zhao Kai’s comprehensive, unedited email conversation with one of punk’s great bassists. Jam econo!

Hi, Mike. How are you? I’m Victor, intervewing you on behalf of Noisey China (of VICE China) Thank you for your time. Here goes…

hi there, victor – thanks for having me aboard!

Have you ever played any bass, amp or effect made in China that you especially liked?

yes, I have a hofner china beatle bass (they call it the violin bass – ignition – black) that I got in 2015 expressly for doing a tour w/tav falco and love it much. I had to do a few little things (flip the input jack mounting plate, remove the pickguard and put labella flat wound strings) but it was built really good and has a character that’s much it’s own. stood up to some tough touring too in a soft sack I got for it. I always keep where I konk so if I get a bass notion in my head, I can get right to it w/that bass in my hands.

In your tour you will be accompanied by the Missingmen. Can you please give us a brief introduction of your bandmates?

I put the missingmen together to realize my third opera “hyphenated-man” and in fact wrote the music expressly for them to play. guitarman tom watson is from the old days and in fact me and d boon put out the first slovenly records in the 80s – tom was in that band and he knew d boon in person even though he’s from manhattan beach and not our pedro town. drummerman raul morales is from pedro and I found out about him cuz of this scene that developed here I wasn’t even aware of cuz I was touring so much. hell, in the old days the “pedro scene” was ‘pert-near just us minutemen! I was shocked to find out all this home-grown movement was occuring here ’til this guy vinnie vegas hipped me to it and I saw the leeches which had raul on drums and thought I wanna play w/him. so it’s like I got one part of the missingmen from the old days and one part from the newer pedro days which I thought would be perfect for the piece. the were great and we did five “hyphenated-man” tours. we’re not bringing that to china but instead some tunes I wrote for d boon and georgie a while ago (some of it thirtyseven years) along w/tunes that shaped my musical journey up to these days. since it’s my first time in china, I thought this might give the folks there a good perspective on me cuz you know w/out being a minutemen minuteman, I wouldn’t be where I am now.


The Missingmen

It is not very easy to keep up with all your releases and projects. What are the records that you have put out most recently? Will you showcase a specific project during your China tour or are you preparing something special just for this occasion?

I kind of answered this already, huh? sorry. the latest record I put out is “ring spiel” – tour ’95 and that’s a gig I did twentyone years ago – yeah, we’ll play some tunes from that. the album I put out before that was “canto secondo” from il sogno del marinaio which is a trio I’m part of which is more of a collaboration than w/my opera bands like the missingmen and the secondmen. I only write a third of the material w/drummerman andrea belfi and guitarman stefano pilia (both itailan cats) and was invited by them to join where I’m giving the direction w/my opera bands. in the stooges, j mascis + the fog and porno for pyros I took direction. I think it’s good to mix up your rolls, take turns: sometime collaborate, sometime give direction and sometimes take direction. I found these are three ways to be in an ensemble and being part of all three processes in different forms makes for a healthy and interesting musical journey. what I’ll be bringing to china is stuff more about what mike watt is on a content level about what make him him so none of my operas or where I’m a sideman or w/the italian guys.

What should people expect when they go to your shows? What do you try to give to your audience during your shows?

I think it’s very important to never take gig-goers and listeners for granted and give them everything you got cuz they’ve worked all week to come see you play so I feel you owe folks for being open-minded enough to give you a shot. I think my operas have had an effect on me as for as my performances cuz I like to run the tunes tight, ‘pert-near like it all one big song. I think the goal of any ensemble is to try and get an interesting conversation between the players going so we have much interaction and focus on each other. I like the drums way up front and not hidden in the back. I try to imagine kind of a prac pad that the gig-goers are in a way peeking on it while at the same time, we’re very much focused on working the room and not trying to be wholly self-absorbed. it’s a trippy thing, I learned it from doing gigs w/d boon – I learned so much from him. ig too, I like the way he runs a stage. of course he ain’t operating a maching like us three in a power trio but his ethics are about doing a gig like it might be your last one are very profound on me.


The Minutemen

As an experienced and indefatigable tour musician, give some do’s and don’t’s for all the younger bands that want to get on the road?

you gotta stay healthy, you gotta be safe. you gotta be respectful cuz at the end of the day, you’re a guest in someone elses town or land. that’s what tour’s about, sally forth and work the towns and if you keep that thought central, maybe you’ll keep focus, that’s what do – it’s one big reason I chimp diary, to keep focus. here’s my priorities for tour: 1) get your men home safe, 2) play as best as you can for the gig-goers and 3) everything else. you gotta learn to jam econo which means making the most of what you have, getting the most bang per buck. it ain’t always about what might seem the cheapest price cuz down the road, it might nightmare. you have to mindful of stuff down the road, getting the long view and thinking of consequences cuz that’s the reality on the dealio. you gotta really work together w/your men while still giving each other space so stuff can breathe… it’s BIG TIME IMPORTANT to keep morale up, keep the spirit in the band vibrant w/out being jive about it.

Among the foreign acts coming to China, some research the Chinese music scene beforehand, others try purposefully to come here with no prior knowledge of what they will find and learn as they go along. What approach are you taking? Are you familiar with China’s rock music? If not, what do you imagine China’s punk rock scene would be like?

I do know of pk14 for some time now and have played everything I could find from them on my radio show but I’m lacking for knowledge of china’s rock and roll on a personal level – that’s why this tour’s a great opportunity for me, first-hand experience! the best way to find about stuff like this is to share a stage w/them, right? of course you know I come from underground scene so I have big admiration for underground and have being interest and curiosity about how different folks find their way of manifesting it. everyone’s got something to teach me, that’s my philosophy kind of stuff. I wanna bear witness!



Mike Watt onstage with Iggy and the Stooges

During your long career you have played with an almost infinite list of legendary musicians. In a way it seems hard to think what else a musician could wish for after all this. So is there anything that you’re still hoping to achieve one day, maybe some artist you still haven’t had the chance to play with? If Kiss or Blue Oyster Cult asked you to play bass for them would you go?

I did play one song, “the red and the black” w/the blue oyster cult a couple of years ago – they invited up on stage at this old art deco theatre in beverly hills they were playing at and I got to do the last tune w/them – one that I started playing w/d boon when we were like thirteen! it blew my mind. I’d like to collaborate w/my old friend bob mould, that’s something that might be happening, always have respected him. getting to play w/tav falco was a shot out of the blue that wowwed me up – I’ve been invited to do bass for the next panther burns album being recorded in memphis this july, crimony! of course I have tons of projs in my mind – and getting done like big walnuts yonder this spring w/nels cline, greg saunier and nick reinhart. I’ve got the second black gang album to finish and a collaboration album w/jim o’rourke that needs my voice and mandolin (he asked for it!) – there’s buttloads of stuff I wanna get going and be part of, yes. lots of times though it comes out of nowhere, not planned… that’s why you gotta stay healthy so you’re always “prepared” when opportunities come up. one night in west hollywood I got to play the whole “maggot brain” album w/george clinton, doug wimbish, blackbird mcknight and michale hampton – can you believe that?! bernie worrell asked me to do a bass solo for him after getting to wail on “super stupid” – it was over the “maggot brain” chords which I had never tried, it was a pants-shitter but that’s what life might bring you so you gotta be ready and not to try to force things too much – I think putting focus on your projs is more realistic and less weight on others.

Speaking of Kiss or Blue Oyster Cult, you often cite them as some of your biggest influence. These may not be the most obvious influences for a punk rock musicians. What made these bands so great for you? Do you think their music still relevant today, and how? Is there any other “unusual” band that influenced you as a young musician and that you still listen to today?

you gotta understand me and d boon didn’t know of club stuff ’til the punk movement – all we knew was “arena rock” – you remember I was thirteen years old in 1970 so my whole teenage time is all stuffed w/that kind of scene which kind of was the worst way to experience a band, nothing like in a club, nothing like it all. there’s the who and alice cooper also. you forgot CCR though we never got to see them… when I met d boon (we were twelve!), the only rock band he knew of was CCR! sometimes the sitch you’re king of “born into” and you don’t really have a “choice” cuz you ain’t that aware – especially in the older days. I think it’s one reason we really dug the movement cuz of it being like a reaction for us against arean rock.

When you frist got the chance to be a Stooge, how did it feel like? Any concerns? And will the Wylde Rattz record ever see a proper release?

I’m glad you mentioned the stooges cuz w/out them I don’t even know if would’ve even had a movement. them and captain beefheart actually were way ahead, the people in charge of labels did have a name for it yet. to do 125 months w/those guys was something I could’ve never imagined, it was total trip to get that call from ig where he said, “ronnie says you’re the man” – crimony! I felt I owed them the best playing I could do, to be there every moment for them and not let them down. I used to have nightmares where all I’d see is a gravestone and all that was written on it was “fucked up a stooges gig” or something like that. I don’t know about the wylde ratttz but that did have a big part in the lead-up to the asheton brothers getting back w/ig, so was j mascis but he’s shy to talk about. jim jarmusch just made a movie about the stooges – I ain’t seen yet but I trust cuz I know he loves the stooges. I love the stooges and always will.

In your life you have gone through some very dark times, both as a person and as a musician. During those times was there anything special that kept the fire of hope alight against all odds? It is not rare to hear of young artists going through similar experiences: lack of confidence, writer’s block, confusion, depression. Is there anything you would tell to a young musician in this situation, any particular wisdom or insight, based on your own experience?

luck can be good and luck can be bad: there’s two kinds. you gotta keep hope up and the play the best hand you can w/what’s dealt to you. some (or lots of) times w/artistic expression there seems no “justice” to it, no “fairness” or whatever – that can be really frustrating. for someone like me who’s been around and not killed yet, the big danger is thinking you’ve seen it all, you know it all – no one’s got anything to teach you. that’s a terrible place in my opinion. now I would tell a younger person they gotta work real hard at finding your own voice, that’s a struggle but in the end, totally worth it. you know you can write a VERY ORIGINAL novel w/out inventing one new word? think about that. we’re individuals (look at your thumbprint) but at the same time we have so much in common w/each other. that’s the duality that makes up the gap that honest expression can kind of help bridge maybe and that’s what I why I recommend that. it’s good to have integrity, just is, I’m thinking. that’s what life’s taught and keeps teaching me.


Big Walnuts Yonder:Nick Reinhart, Mike Watt, Nels Cline, Greg Saunier

Thanks to your constant touring, your radio shows etc., you have a good vantage point to look at the state of today’s music. What do you see? How is music doing in 2017? Any new bands you are recently into? (I ask this question after having just read this comment left by someone under a video of your song “Against the 70s”: “I wish the kids today would make some kick ass Rock&Roll so I wouldn’t have to listen to the same shit on the radio that’s been on there since the mid 90’s… my generation did it to the baby boomers now it’s someone’s turn to do to us… it’s like no rock bands kick ass anymore?”).

I wrote “against the 70s” actually about that terrible show “happy days” – the fonzie and potsy sentimental nostalgia shill being foisted on my pop’s generation to fleece them… I remember when it first came on, he said “those were not ‘happy days'” and I took it to heart, writing a tune about it twenty years later. listen to my radio show and you’ll lots of stuff coming out today – not mersh of course but stuff I find and cats give me after gigs and stuff like that. john fogerty put out some good thoughts w/his “lookin’ out my back door” tune – it’s easy to think it was better back then cuz the garbage vendors get out the air brush to do what they do. everytime has good and terrible stuff, it’s the way it is – the way I’ve learned it. there’s ass-kickers out there… maybe it’s underground? what we need is curious minds, searchers and farmers to grow the next crop!

D Boon is celebrated as a very smart and curious person, with a voracious appetite for all kinds of knowledges, and your endless discussions with him are just as famous. Do you ever remember him being interested in the culture and traditions of China? Do you think he would have been excited at the idea of coming to China, and why?

d boon was interested in china – d boon loved history and also contemporary and he would’ve LOVED BIG TIME the chance to play china and see the land and people w/his own eyes, I just know it. d boon believed in knowing people started w/you getting to meet them. taking turns doing music for each other is a righteous way to start a connect, right? we just didn’t have a shot in those days, it was hard enough to play our own pedro town when we started BUT we kept on going and although I lost him, he’s always in some way w/me… I’m bringing him to china – we’re gonna play for you!

Thanks again, see you in China!

thanks again for having me aboard, victor.

Mike Watt & The Missingmen + Round Eye 2017 China tour:

3/17: Xinxiang, Subark Livehouse
3/18: Beijing DDC
3/19: Songjiang,Doing Club
3/20: Shanghai, Uptown Records
3/21: Shanghai, Live Bar
3/22: Ningbo, 灯塔音乐现场
3/23: Wuxi, 活塞 Livehouse
3/24: Yiwu, 隔壁酒吧
3/25: Shanghai, Yuyintang

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Call for Artists: dadamachines at Goethe-Institut Beijing, May 13-14 http://pangbianr.com/call-for-artists-dadamachines/ http://pangbianr.com/call-for-artists-dadamachines/#respond Thu, 09 Mar 2017 09:19:30 +0000 http://pangbianr.com/?p=6228 ]]> This looks interesting: the Berlin- and Munich-based music technology project dadamachines will make an appearance in Beijing for a two-day workshop and performance event at the Goethe-Institut’s flagship 798 space on May 13-14: “The aim of dadamachines is to enable novices and experts, musicians and non-musicians of all ages to explore novel ways of creating and making music. In order to do so, we invented toolkits that can turn everyday objects into musical devices. These are very simple to control and can be extended however you like.”

The organizers are currently looking for a few artists to get acquainted with the machines — which have already arrived in Beijing and currently live at The Product Republic — in advance, in order to lead the May performance. You can get a hands-on introduction to the dadamachines this Sunday, March 12 at fRUITYSPACE, where the event organizers will give a brief introduction and demonstration of how they work.

Download a pdf presentation project, including info on how to participate, by clicking this image:

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采访:Far Infinity, “后techno” 厂牌Prajnasonic的创始人之一 http://pangbianr.com/far-infinity-interview/ http://pangbianr.com/far-infinity-interview/#respond Thu, 23 Feb 2017 09:45:02 +0000 http://pangbianr.com/?p=6218 ]]> English version

在过去的一年里,北京地下电子音乐界最值得关注的新厂牌之一是Prajnasonic,一个以Post Techno,contemporary Electronic为风格标志的团体,由音乐制作人 Far Infinity,iimmune,VU和Punx,以及多媒体设计师Fencha作为主要运营负责人。4个主要的音乐人以前都活跃于以北京为主的多个音乐场景中。iimmune也是发光曲线乐队的吉他手。他们联合在一起,在主流的电子舞曲音乐之外建构自己的一个更加多元的,知性的而进步的声音。

在Prajnasonic一周年之际,2月24号星期四将在北京DADA Club举办第一个周年活动。以及4张EP的正式发布。在此之前,我们将与Prajnasonic主理人之一Far Infinity(刘一纬)聊一聊厂牌的背景和未来的计划。

pangbianr: 最早你是怎么产生的成立Prajna Sonic的想法?你们是怎么互相结识然后开始合作的?

刘一纬: Prajnasonic 成立于2016年初,之前我们几个人已经开始在一起演出。在一次DADA Club的演出之后我们几个人聊天,说到柏林的电子乐环境,在Resident Advisor上看到柏林的每个字母A-Z下面都有好几十个厂牌,而来自中国的列表下面只能找到非常少的厂牌和音乐制作人/DJ,于是我们想为什么我们不开始正式成立一个厂牌,推动电子乐在中国的发展。而从一开始我们就知道我们会做更加前卫的,严肃的,偏向于独立制作人类型的当代电子乐而不是泛滥的Club舞曲音乐. 更希望突破很多人对于电子乐固守而陈腐的认知。我们几个人都来自不同的音乐背景,喜欢广泛的音乐。达成一些基本的共识之后,我们开始策划一些演出和发行方面的事情。每个人有不同的分工。从网站,社交媒体,策划,到 设计,宣传文案,母带,联系场地和合作音乐家, 票务 等等都是我们几个人在做。在中国做这样的电子乐厂牌仍然有很多非常现实的困难。比如能够安排演出的场地非常有限。北京上海真正有地下音乐气质的Club也就2-3家。而且因为高涨的房租等问题,以前的好几个场地都停业了。在音乐发行上也有实体出版的资金限制和网络流媒体时代带来的问题。真正保持严肃态度的,风格相近的电子乐制作人也很有限。但是我认为要真正做好一些事情一定需要一个长期的努力,需要一个把音乐作为信仰的态度。我希望我们在一条路上能够一直坚持下去。

pangbianr: 你对这个厂牌有什么目标?你的厂牌与国内地下电子音乐圈里的其他厂牌相比,有何独特之处?

刘一纬: Prajnasonic的定位是希望在主流的电子音乐和纯粹的实验电子乐之间弥补一个中间的空白的领域。会更加注重创作理念的突破,但仍然保持好的聆听性和接受度。我们的定位在Post Techno 或者 Contemporary Electronic Music上会比较合适。

pangbianr: 你还对音乐之外的其他什么领域感兴趣吗?比如说,多媒体艺术,编程,等等……

刘一纬: 对于其它的艺术形式我一直保持着浓厚的兴趣。之前的作品也一直有声音,影像装置类型的多媒体作品。但是对于一个电子乐厂牌来说,最重要的部分还是音乐。多媒体内容是辅助功能以及衍生产品的开发。我认为形式和技术手段是多变的。真正有价值的实质是艺术家自己独特的风格和Concept.

pangbianr: 你如何选择合作的艺术家?

刘一纬: 在选择合作的艺术家和音乐家的时候会选择和我们的风格相近的制作人。我认为一个厂牌必须给听众一个非常具体的印象。包括视觉,设计,包装,音乐都是一个整体的感觉。 比如德国的Raster Noton,Stroboscopic Artefacts 等这几个都有特别清晰的定位和印象。给了我们很多启发。

pangbianr: 2017年你有哪些计划?

刘一纬: 2017年计划有厂牌音乐家的新唱片发行,包括黑胶唱片等实体唱片,也希望还有更多的演出计划和音乐节。更希望能把中国的独立电子乐带给全世界,让更多的人知道中国有这样的电子音乐出现。

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pangbianr mix: NTS Live in Beijing (Nov 2016) http://pangbianr.com/pangbianr-on-nts/ http://pangbianr.com/pangbianr-on-nts/#respond Sun, 05 Feb 2017 05:50:23 +0000 http://pangbianr.com/?p=6203 ]]> Last November, I took part in web radio station NTS‘s inaugural Beijing dispatch, sharing a four-hour program with Pei of Bye Bye Disco, Demone of Tangsuan Radio and Guzz of Do Hits. NTS is a rather rhizomatic entity, and in China their shows are coordinated by the Shanghai promoter China Social Club, a labor-of-love DJ organization run by two Australians. They invited me to DJ this show, and I awkwardly made an on-air plug for pangbianr.com, saying I’d post an annotated track list of the set I played here.

Well, this is that, only a few months late. I decided to finally get this up since Seattle radio station KEXP has just posted a great podcast/mix of China tunes that, like mine, starts off with Snapline. Listen to that here, and stream my NTS mix below or on NTS’s fancy website.

1. Snapline – She (Martin Atkins version)

Snapline is my favorite Beijing rock band, though temporarily defunct as its singer Chen Xi has moved to the US. The song comes from what I’d call Snapline’s 1.5th album, Future Eyes, which was recorded by Martin Atkins of PiL. The band wasn’t fully behind the end result and so this never got a proper release in China. Snapline went back to the studio and re-recorded all the songs, eventually releasing the result as their “official” 2nd album, Phenomena. I wrote a whole article about this specific song in my “In My Ears” column for Douban Music; you can read that here if you want.

2. 8 Eye Spy – 装修

This is from How Damn Far to Yinma Lane?, the 2009 album by 8 Eye Spy from Nanjing. There was a pretty fierce No Wave revival thing happening in the Chinese underground music scene from roughly 2007-2010, which coalesced during those years at the Zoomin’ Night weekly gig series at D-22 and was documented by several releases on Maybe Mars, of which this is my clear favorite. 8 Eye Spy is long gone and I’m not so sure what their members are up to today, but I’ve seen the band’s front-woman Lu Bai pop up in Beijing fairly frequently in the last year. She did a guest turn on bass with a band I play drums in, Vagus Nerve, at a performance we did last October in Beijing as part of an Asian Dope Boys event.

3. Streets Kill Strange Animals – 一个演员的自我修养

This is my favorite track off Streets Kill Strange Animals‘ latest album, last year’s excellent McD Kids. You can find some thoughts of mine on that album and an interview I did with the band’s frontman Leng Mei here.

4. Muscle Snog – Think and Shit

Muscle Snog was a band formed in the greater-Shanghai area around the same time 8 Eye Spy was kicking, rough contemporaries with them and a precursor for the great current Shanghai band Duck Fight Goose. I don’t know much about them honestly, but they’re cited as a key influence for a lot of the movers and shakers in China’s noise rock scene today (Leng Mei name-checks the album this song comes from, Mind Shop, in the interview linked to above), and this song’s a ripper.

5. Boojii – Rabbit Germ

Another Shanghai band active around the same time as Muscle Snog. I saw Boojii towards the end of their run, in 2010 at D-22, and distinctly remember the “FUCK CCTV, FUCK SARFT” shirt that their leader 33 was wearing. She’s now in Duck Fight Goose. Overall Booji had a weird carnival-waltz post-punk thing going on, which doesn’t come through so much on this track. It’s from their only album, Reserved.

6. SUBS – Brother

SUBS is a big name on the Chinese festival circuit. I’ve been their drummer for almost three years now, but truth be told, I prefer the tunes they were turning out earlier in their career, when they had more of a hardcore edge, as evidenced on this track, which comes from their great 2006 album Down. I did a long interview with the band’s two core members, Kang Mao and Wu Hao, for the December 2016 issue of American punk rag Maximum Rocknroll, which you can download in pdf form here.

7. Fanzui Xiangfa – Kill Your Television

Speaking of hardcore, and speaking as a hardcore kid, Fanzui Xiangfa is China’s best, fastest & purest HC band. Their members are spread across several continents these days so they don’t play much, but this track has been a go-to for several mixes/radio shows I’ve done, mainly because of the rad CCTV sample at the beginning. Find it on their 2006-2014 discography.

8. AV Okubo – Heroin

AV Okubo from Wuhan are on a plane of their own, churning out salvia-warped synth-pop gems from China’s punk rock capital for about a decade now. “Heroin” is a studio outtake from their 2014 album Dynasty, produced by Gang of Four’s Andy Gill. It was released as the B-side of a Genjing 7″ whose A-side is called “Opium”.

9. Gate to Otherside – Love

This song comes from the as-yet-unreleased debut album by Gate to Otherside, a new-ish Beijing band featuring ex- & current members of Carsick Cars, Birdstriking, and Free Sex Shop. Should be officially released later this year on Maybe Mars.

10. Lonely Leary – Arsonist

Post-punk is alive and well in Beijing (see also: Snapline, P.K.14), and my favorite band doing it today is Lonely Leary. This demo was recorded when they were in between drummers, hence the drum machine, which kind of adds to the menacing effect of the whole, in my opinion. Lonely Leary also signed to Maybe Mars late last year and should have an album out with them sometime in 2017.

11. Ourself Beside Me – Bird+Elephant

Ourself Beside Me was a band led by the brilliant Yang Fan, who was the founding guitarist of late-’90s riot grrrl band Hang on the Box. This comes from their 2009 self-titled record Ourself Beside Me, in my opinion the best thing that Maybe Mars has ever released. Yang Fan put out a brilliant solo album a few years back and, more recently, has started an also brilliant duo called TOW with Liu Ge of The Molds.

12. David Boring – Machine#1

Honestly don’t know much about this band at all. They’re from Hong Kong and came through Beijing last year with another Hong Kong band called Ex-Punishment (formerly The Yours), but I wasn’t around at the time. Really like this track though. Bandcamp it here.

13. FAZI – Golden Cage

FAZI (formerly The Fuzz, they recently changed their name because I guess there were too many The Fuzzes in the world) from Xi’an pulls their influences from the China post-punk tradition and mixes that with some ambient traces of influence from the darker, scuzzier side of ’90s Brit-pop. Not really my sound, but I like this band a lot. This selection comes from their 2015 Golden Cage 7″ (released under the The Fuzz name).

14. Snapline – Paper General

This is just another go-to DJ song for me, one of my favorite Snapline tunes. It was recorded during a standalone session in 2011, in between Future Eyes and Phenomena, by visiting Los Angeles producer Manny Nieto. Kind of sat around and collected dust for years until being unearthed and released on a Genjing 7″ in 2014.

15. Dream Can – 在摇摇晃晃的时间里

This is another unreleased track, by Dream Can from Shanghai. They put down their debut album for Maybe Mars, recorded by PK14’s Yang Haisong, shortly before I put together this mix. The album’s a real hypnagogic slow-burner. Should be out within a few months.

16. Skip Skip Ben Ben – Do the R

This is my favorite track on Mirror in Mirror, the 2015 album by Skip Skip Ben Ben from Taiwan. Their frontwoman Ban Ban is one of the best rock songwriters in the Mandosphere so I wanted to include her here. Not sure what she’s up to but I think she’s been active with her folkier project Freckles lately, and I believe there’s another Skip Skip Ban Ban album in the works. Find a dated (2013) profile of her by me here.

17. P.K.14 – 故事

Obligatory track from P.K.14, the forefathers of Chinese art punk. It’s the closing track from their album White Paper, released by Modern Sky’s Badhead imprint in 2005. Recommended further listening: 1984 (2013), Music for an Exhibition (live album, 2015).

18. Dear Eloise – Control

Last but not least, another unreleased track. Dear Eloise is a studio-only project by P.K.14’s singer Yang Haisong on all instruments and his wife Sun Xia on vocals. Check out a purdy new music video for one of their songs over on NPR. This track is a cover of a song from FAZI’s latest album, The Root of Innocence, and will be released in a 7″ box set of half originals, half Dear Eloise covers of Yang Haisong-produced bands to be released by Genjing sometime this year, maybe…

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BEME 5: 厂牌/艺人 Labels and Artists http://pangbianr.com/beme-5-labels-artists/ http://pangbianr.com/beme-5-labels-artists/#respond Thu, 10 Nov 2016 07:34:48 +0000 http://pangbianr.com/?p=6171 ]]>

BEME 2016 Full Info

11月12日,周六 @ 水果空间 (fRUITYSPACE)

门票:70元
早场 (下午4-7点)Bwave 呈献 洪启乐, 阿鸣, 丁晨晨, Azoik
夜场 (8点半-午夜):Maybe Noise 呈献 闫玉龙, 张守望 + more TBA

11月13日,周日 @ 水果空间 (fRUITYSPACE)

门票:70元
下午4-结束Prajnasonic x Sinotronics 呈献 盛洁(GogoJ), Menghan, GOOOOOSE, L~N, VU, iimmune, MMS

fRUITYSPACE地址:东城区美术馆东街13号(三联对面)

厂牌 LABELS

Bwave (脑波交流): 创办于2006年,目前运营于北京。 至今已出版十余张唱片(风格包括:硬件噪音, 环境音乐, 极简主义,器乐, 声音艺术, 即兴音乐等…); 并在北京,上海,福州,厦门,长春,青岛等地举办过几十场次的现场活动。 在未来Bwave 愿意与国内外艺术家及机构合作,展现不同风格的声影美学。

Founded in 2006, currently operating in Beijing. To date it has published more than 10 albums in genres including hardware noise, ambient, minimalism, instrumental music, sound art, improvised music, and more. Bwave has also organized dozens of live performance events in Beijing, Shanghai, Fuzhou, Xiamen, Changchun, Qingdao. Bwave wishes in the future to collaborate with more Chinese and international artists and organizations working with different styles and aesthetics.

Maybe Noise: Maybe Noise是北京独立厂牌兵马司唱片旗下的子厂牌,由张守望发起,2009年1月成立。它关注于实验和前卫音乐,聚焦于当代作曲。它曾是实验派摇滚的大本营,在2009-2010年间,陆续发行了White、8 Eyes Spy、Hot & Cold、Muscle Snog等四支乐队的处子唱片、日韩实验组合(((10)))的《Kitsch》,以及实验演出系列“燥眠夜”的《现场录音第一辑》。它将于2017年发行两张新唱片,张守望和闫玉龙的作曲作品<平仄>,Chui Wan在北京民生美术馆的现场录音。它目前的负责人是张守望和闫玉龙。

Maybe Noise is a sub-brand of Beijing independent record label Maybe Mars, launched in January 2009 by Zhang Shouwang. It releases experimental and avant-garde music, with a focus on contemporary composers. It has served as a base camp for experimental music in China, releasing the debut albums of White, 8 Eye Spy, Hot & Cold, and Muscle Snog from 2009-2011, as well as an album for the Japanese-Korean band (((10))) and a series of live recordings from the Zoomin’ Night experimental music performance series. In 2017 Maybe Noise will release two new albums: a composition by Zhang Shouwang and Yan Yulong, and a live recording of an experimental performance given by Chui Wan a the Minsheng Art Museum in Beijing. The label is currently operated by Zhang Shouwang and Yan Yulong.

Prajnasonic 电子音乐厂牌成立于2016 年初。由北京电子制作人far infinity、iimmune、punx、vu 四人创办。力求挖掘和推广中国的underground techno 音乐,同时把欧洲techno 文化更多的释放到中国市场,厂牌成立以来已经在北京上海成都和重庆等地举办多场演出和派对,以现场live set+dj set 的方式更真实丰富的呈现4/4 拍节奏的魅力。同时我们也时常会邀请当代的视觉艺术家与我们一起,将演出现场的音声与视觉结合,做到完美的视听体验。除了高质量的演出现场,我们也将陆续在国内国外出版发行优秀音乐人的作品,为雨后春笋般的中国电子乐市场注入一针兴奋剂。

PRAJNASONIC is an independent record label and artist management company based in Beijing. It focuses on the electronic music sub-culture, presenting the freshest attitudes and highest-quality sounds. Co-founders: Liu Xiaoyuan, Liu Yiwei, Xing Jiangbo, Zheng Dayou

Sinotronics: 当代电子乐在中国 Contemporary electronic music from & in China

艺人 ARTISTS


阿鸣/AMING

长居上海,自由即兴音乐家、艺术家。使用身体作为震动的载具,遁入梦境声响,以停顿内在对话;新的知觉由此得以产生与发展。使用空间,演奏时间,制造紧张,有时舒缓。

Free improvisation musician and artist based in Shanghai. Creates dreamlike sound environments to stop inner talking by using the body as a vessel of vibration. Once it’s stopped, new senses can be touched and be developed. He uses space to play with time, twists your nerves and sometime eases them…

Aming on Soundcloud
Aming on Vimeo

http://site.douban.com/smokingbarrels
http://site.douban.com/ililililililili


AZOIK | 音炁流演奏者 (李杨漾 / LIYANGYANG)

AZOIK为其硬件使用期的代号。

从两千年初历炼至今的噪音仙人掌,出自具有传奇色彩的小雷音共同体,是麻沸散&唵,光之迷幻,不合作噪音等数只前卫乐团核心成员.

李杨漾的音乐风格以噪声声响为基础,有强烈的精神导引力,其近期游走在渺无人迹的孤绝之音中,从无尽黑之光影中吸取新的能量,创造虚空.

Li Yangyang, experimental performer, noise musician.

As one of the most well-known and important noise creators in China, Li Yangyang often creates a violent and silent atmosphere in different spaces by using a guitar and hardware sound system.

Li started his musical practice from 2005, and founded Mafeisan, the first and craziest high-energy experimental noise band in China. During over ten years of experience, he has participated in different experimental musical groups around the world, like China-Australian noise band Rice Corpse, the Non-Cooperation Noise Community, Raying Psychedelic Coalition, Sanzaogu, and personal project AZOIK.

Li has been invited to and performed in many important experimental music festivals and art festivals. He has cooperated with Zbigniew Karkowski, Tatsuys Yoshida, Acid Mothers Temple, Kawabata Makoto, Lucas Abela, etc. In 2012, Li Yangyang was invited to performed at the Fukuoka Against 2012 Experimental Music Festival with Sin:Ned (Hong Kong) and Torturing Nurse. They had 7 concerts in Tokyo, Osaka, Fukuoka and Oita, and a lecture and performance at Musashino Art University, Tokyo.

www.azoik.com


丁晨晨 / DINGCHENCHEN

来自江苏徐州,10-14年工作生活于上海,15年转移至北京。09年开始以noise666为代号用MP3、MP4、电脑任何可以录音、发声的设备制作噪音,12年开始用本名丁晨晨制作单块效果器随机、刺耳的硬件噪音声音,与雨第斑、余益裔分别组成双人、无人数限制的硬件噪音团XXSEXX和K.M.K.M.K。

从15年开始,DINGCHENCHEN专注于听觉氛围研究,演出使用废弃的铁片、五金店购买的铁簸箕、铁链,朋友送的铁锹、在住处楼道捡的废旧铁门零件以及在演出现场可以使用的铁并一直在尝试将这些铁发出的声音与单块效果器结合。

制作更多随机、纯粹的硬件粗噪音!!!

From Xuzhou, Jiangsu, lived in Shanghai 2010-2014, relocated to Beijing in 2015.

PROJECTS:
noise666 (2009~ now) [MP3/MP4/laptop noise and etc.]
K.M.K.M.K=Ding Chenchen+YuYiyi+ZiYuan+? (2013 ~ now) [pure harshnoise] XXSEXX=Ding Chenchen + Zi Yuan (2010 ~ 2015) [shit harshnoise]

MAKE MORE RANDOM/PURE HARSHNOISE!!!

https://site.douban.com/dingchenchen/


GOGO J / 盛洁

盛洁, 生于1975年, 长居北京。

盛洁从事声音与影像的艺术创作, 作品形式包括: 录像, 声音, 装置, 现场表演。

2010年创办shan视听实验室, 一个以交流为平台的新媒体艺术私人工作室。2000年留学于法国及英国, 2005年回国生活和工作。作品展览於亚洲以及欧美。

SHENG JIE, Audio / Visual artist, born in 1975, based in Beijing, China.

SHENG JIE’s work includes visual, sound, installation and live performance.

She graduated from Ecole Supérieure Des Arts Décoratifs De Strasbourg in France, and currently lives and works in Beijing. She also founded audio visual lab SHAN Studio in 2010.

http://sgogoj.com/
http://shan-studio.com/
gogojie@gmail.com


GOOOOOSE

GOOOOOSE是鸭打鹅乐队主脑韩涵的个人音乐计划。

他的音乐融合了电子乐,爵士和部分数学摇滚的节拍,经常呈现出一种不同风格冲突下的和谐感。GOOOOOSE更像是韩涵的自省空间,他现在居住在上海。

GOOOOOSE is the side project of Han Han, front man of one of China’s most well-known experimental-rock/electronica band “Duck Fight Goose” and operator of the experimental record label Miniless Recordings.

His multi- instrumental approach of making music usually leads the audience into a place where electronic, jazz and strange time-signature rock music find their harmony, yet still occasionally conflict with one another. GOOOOOSE is like Han Han’s spiritual cave. He currently lives in Shanghai. There are 5 Os in the band name.

GOOOOOSE on Soundcloud

>
2012 Berlin, Germany, Sinotronics festival
2012 Austin, Texas, SXSW festival
2014 Zurich, Switzerland, China Drifting festival
2014 Berlin, Germany, Globus
2014 Copenhagen, Denmark, Global
2014 Paris, France, Cite De La Musique, Le Klub
2014 Beijing, Audi E-tron launch
2015 Shanghai, China, Centaurs series shows, organizer 2015 Beijing, China, BEME electronic festival
2015 Shanghai, China, Moma festival
2015 Shanghai, China, open for Daedelus
2016 Shanghai, China, Boiler Room China party
2016 Shanghai, China, open for Ratatat, Vice party


洪启乐 / Loga

艺术家、音乐人。洪启乐是厂牌“Bwave”创办人,每月一次的视听艺术现场Pixel Echo的组织者。

他自噪音入世,目前从事声音、音乐与视觉的交互创作。其作品形式包括:现场表演、装置艺术、网络艺术等。

Musician, Artist. Loga is the founder of the label Bwave and organizer of the monthly audiovisual art program Pixel Echo.

Taking noise as a starting point, now he is fulfilling audiovisual interactive artificial creation. His work includes on-site performance, installation art and internet art.

http://hongqile.com
hongqile@gmail.com

>
参与录制的唱片及出版物 / Release:
2016《Pixel3》 2016《荷尔蒙杂货铺》 2015《Pixel3》
2011《Dancing Banana Club》 2010《G+》
2010《大罐 Big Can》
2010《Eshao – Nofi Piano》
2009《Loop 1 – 3/在无限的 LOOP 中寻找幸福》
2009《Feedback Zen》
2009《An Anthology of Chinese Experimental Music 1992-2008》 2009《泺/po》
2008《Noise Is Free》
2008《A N A T O M Y》
2006《堆墨无意》
近年主要参展&演出经历 / Exhibitions&performances:
2016 – 10 武汉蹦移音乐节
2016 – 09 北京媒体艺术双年展声音、音乐设计,Pixel Echo 专场策划演出
2016 – 06 北京民生现代美术馆周年庆 现场表演
2016 – 05 “光”新媒体艺术节 开幕现场表演
2016 – 03 北京歌德学院 -《数字时代的创意和创新》中、德、美、韩国际讨论会 2016 – 03 “乌托邦·异托邦——乌镇国际当代艺术邀请展” 开幕声音&音乐设计 2015 – 05 动态之再:德国 B3+BEIJING 动态影像展 参展艺术家


iimmune (邢江波)

1989年出生于甘肃天水, 现居北京, 电子音乐人、制作人、乐手。发光曲线、ONG、光迷幻联盟、Vast Vacant Vacation等组合成员。

2015年在“大福唱片”发行了首张全长专辑《Ocean》, 2016年发行数字EP《Abnormal》。曾出演历届的BEME室内电子音乐节和众多独立音乐现场,也参与一些话剧和独立电影的配乐工作。

2016年与电子音乐人PUNX以及多媒体艺术家VU、FAR INFINITY创办电子音乐厂牌“夷希PRAJNASONIC”。

Hsing Jiangbo,aka iimmune, born in Tianshui, Gansu Province in 1989, currently living in Beijing. Electronic music producer and guitarist of rock band Glow Curve and other ensembles, including ONG and the Raying Psychedelic Coalition.

His debut Album “Ocean” was released in 2015, and his EP “Abnormal” released in 2016 by D-FORCE Records. His works have been presented by many well-known independent music livehouses in China, and at festivals such as the 2013-2015 editions of the Beijing Electronic Music Encounter. He is also a composer and a sound designer for film soundtracks and modern theatrical dramas.

In 2016, iimmune co-founded the new electronic music label PRAJNASONIC with Beijing-based electronic musician PUNX and multi media artists VU and FAR INFINITY.

iimmune on Soundcloud

http://i.xiami.com/iimmune
https://site.douban.com/immune
http://iimmune.bandcamp.com

夷希 PRAJNASONIC: http://www.prajnasonic.com


L~N (Loads~Nothing – FR)

Sound artist and live performer currently based in Shanghai. L~N has been playing electronic music for over 10 years and has performed live in Asia, the USA and Europe.

He focuses on integrating electronic devices, synthesizers, samplers and sound objects into an organic live environment favorable to improvisation and experimentation. Performing his live sets from scratch, he uses samples of found sounds, modular, analog and digital synths to build hypnotic ambient soundscapes and chaotic rhythms.

He recently opened a studio dedicated to electronic music workshops and a synth-building platform in Shanghai.

L~N是一个声音艺术家及现场表演者,目前居住在上海。他表演电子音乐的时间已长达10年,并在亚洲、美国和欧洲均参与过现场音乐表演。

L~N将电子设备、合成器、采样器以及声音模块结合,使他的创作环境成为一个有利于即兴和实验创作的有机现场。他通过scratch现场表演,使用他探索到的声音采样、模块、模拟器以及数字合成器创造出一个有催眠感的声音景观以及富有混沌感的节奏。

他近期在上海创立了一个音乐工作室,致力于开办电子音乐工作坊和电子合成器工作平台。


MENGHAN

MENGHAN是一名来自北京的电子音乐制作人和DJ。在她的音乐中,简洁的节拍、细腻宽广的展开和巧妙而深邃的脉冲结构相得益彰。

MENGHAN的音乐作品游走于练习曲式的旋律、悸动的打击声响和不断展开的声音景观之间。而她的DJ sets则将deep techno和旋律化的以及抽象的音乐片段融合在一起,为听众带来冥想般的舞池体验。

MENGHAN在北京电子和实验音乐圈中的深入探索使她发现了新的创作之路,那就像一段发生在每天但永远不会无聊的漫游旅程。

Menghan is an electronic music producer and DJ from Beijing. Her style is a mix of minimized beats, spherical developments, and subtly pounding deep pulsing structures.

Her tracks oscillate between rhythmic etudes, throbbing percussion and evolving soundscapes. Her DJ sets blend deep techno with melodic and abstract musical pieces, addressing a club audience ready for a contemplative dance floor experience.

Menghan’s deep immersion in Beijing’s electronic and experimental music scenes have led her down a new path of composition, an odyssey that evolves daily and never bores.

Menghan on Soundcloud


MMS

十几年来,MMS一直活跃于柏林的电子音乐和数码艺术圈子。在长期投身在柏林俱乐部文化中以外,他还在诸多音乐节进行过媒体视觉演出,如柏林的CTM Clubtransmediale、巴塞罗那的SONAR和INTRO电子音乐节。

2013年和2014年,MMS接连在北京策划了两场大型跨领域公开活动Audi Urban Electronics,国际重量级音乐人Monolake、Eno Henze和Pantha du Prince受邀表演。此外,他还是北京Metrowaves电子音乐文化平台以及厂牌Sinotronics的联合创始人。

MMS has been an active part of Berlin’s electronic music and digital art scenes for more than a decade. Next to his long-term involvement in Berlin’s club scene he contributed with collaborative hybrid media works at festivals such as CTM Clubtransmediale Berlin, SONAR Barcelona and INTRO festival.

MMS developed the avant-garde-driven Audi Urban Electronics events in 2013 and 2014 in Beijing, two large-scale, cross-disciplinary projects with international headliners Monolake, Eno Henze and Pantha du Prince. He is co-founder of Beijing’s Metrowaves platform for electronic music culture and the record label Sinotronics.

http://sinotronics.org/


VU (郑大有)

电子音乐人,跨媒体艺术家。从美术设计工作逐渐进入到电子乐及影像制作的领域,阴柔温暖的噪音融入冰冷的节奏中,极简而富于灵性的旋律,探索抽象时空的美感。

VU曾参加深圳-香港城市/建筑双城双年展(2007)、进念二十面体-建筑是艺术节(2009)、ChoP中欧巡演(2011)。曾与深圳音乐人陆正(zen lu)创办Neo Sound(离骚)新艺术团体及一系列声音艺术活动。独立发行专辑《+-x/》,《VU》,《bud》。

2016年与iimmune、FAR INFINITY、PUNX共同创办电子乐厂牌PRAJNASONIC,并定期举办以Techno为主的活动。

VU aka Zheng Dayou is a Beijing-based electronic musician and multimedia artist. From his art and design work he gradually entered the field of electronic music and video creation. His music features soft warm noise intercut with icy rhythms and minimalist and rich spiritual melodies exploring the beauty of abstraction.

In the past, VU has participated in such events as the Shenzhen-Hong Kong City / Biennial (2007), Architecture is Arts Festival (2009), and ChoP China&Europe Tour (2011). He has worked with Shenzhen-based electronic musician Zen Lu, founder of Neosound (Lament), and a series of art groups and sound art events. His independently released albums include “+-x/”, “VU”, and “bud”.

In 2016, VU co-founded the new electronic music label PRAJNASONIC with Beijing based electronic musician PUNX and iimmune and multimedia artist FAR INFINITY.

VU on Soundcloud

http://i.xiami.com/vu
夷希 PRAJNASONIC: http://www.prajnasonic.com


闫玉龙 / Yan Yulong

1989年出生于哈尔滨,现居北京。Chui Wan乐队成员,年轻一代摇滚和实验、即兴乐手里的活跃分子。与各种不同风格的音乐家,以及舞蹈、剧场合作。作曲,也表演其他作曲家的作品。通常演奏电提琴或原声提琴。最初沾染于长音、极简、迷幻及声响,不限于此。

Born 1989 in Harbin, now living in Beijing. Frontman of neo-psych rock band Chui Wan, actively working within China’s young generation of rock, experimental, and improvised music scenes. He collaborates with a variety of different styles of musicians,dancers, and theater directors. His solo performances usually involve violin improvisation. Initially he played drone and Minimalist compositions… he is not limited to that now.


张守望 / Zhang Shouwang

1985年出生于北京,Carsick Cars乐队吉他手兼主唱,同时也是WHITE,WHITE+乐队成员。从“No Beijing”时期开始,他就以出众的音乐才华及多元化的风格成为了北京新声最杰出的代表。

2007年,美国古典音乐评论家Alex Ross在他的一篇名为《中国古典音乐的大跃进运动》的评论文章里如是说道,“我第一次去北京D22酒吧的那晚,他表演了一首独奏曲,稳定的嗡鸣声之上是狡猾的极简主义的模式,有意识地从安静、简单的和声滑向阴暗的半音阶领域。”

作为一位先锋作曲家和乐手,他一长串的共事名单中包括有Glenn Branca、Bang on a Can 、Elliott Sharp、Blixa Bargeld 、Manuel Göttsching、Kid Millions等音乐家和演奏团体。除此之外,他也和其他不同领域的艺术家有所合作。

Zhang Shouwang, b. 1985 in Beijing, is the guitarist and vocalist of Carsick Cars and the founder of WHITE and WHITE+. Since the beginning of the “No Beijing” movement, Shouwang has stood out for his musical talent and his adoption of a number of styles, making him one of the foremost representatives of the new sound of Beijing. In 2007, Classical music critic Alex Ross wrote in The New Yorker: “The first night I went to D-22, Zhang performed a solo piece that featured beguiling minimalist patterns over steady drones, moving purposefully from clean, simple harmonies into duskier, more chromatic regions.”

As a composer and performer, Shouwang’s impressive list of collaborators includes Glenn Branca, Bang on a Can, Elliott Sharp, Blixa Bargeld, Manuel Göttsching, Kid Millions, and many more musicians or performance groups. He’s also worked with artists in other media on several occasions.

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BEME 5: Market/Place http://pangbianr.com/beme-2016/ http://pangbianr.com/beme-2016/#respond Wed, 26 Oct 2016 09:57:18 +0000 http://pangbianr.com/?p=6124 ]]>

Click for English

BEME 5: 市场/场地

第五届 北京电子乐偶遇

11月12日,周六 @ 水果空间 (fRUITYSPACE)

门票:70元
早场 (下午4-7点)Bwave 呈献 洪启乐, 阿鸣, 丁晨晨, Azoik
夜场 (8点半-午夜):Maybe Noise 呈献 闫玉龙, 张守望 + more TBA

11月13日,周日 @ 水果空间 (fRUITYSPACE)

门票:70元
下午4-结束Prajnasonic x Sinotronics 呈献 盛洁(GogoJ), Menghan, GOOOOOSE, L~N, VU, iimmune, MMS

fRUITYSPACE地址:东城区美术馆东街13号(三联对面)

Sinotronics呈献第五届北京电子乐偶遇(BEME),中国最先锋的电子声音展示年度活动。在这次BEME的第五周年,Sinotronics将与3个目前北京最活跃、最具探索性以及最前卫的电子音乐厂牌联合呈献。

BEME 5 的主题是市场/场地:当我们的所有付出都正在被逐个出售、复制、粘贴甚至最终被删除的时候,我们如何以及在哪里制作、购买和售卖另类音乐文化?

在过去两年中,昔日地下音乐和文化发展的场所在北京戏剧化的逐个消失。这其中自然有政治因素,然而最终仍归咎于一个经济问题:小众市场难以扩张,因此利于它发展的部分被剥夺了(演出场地,厂牌,宣传方,艺术家和音乐节),剩下的与之相关的部分(非商业主导的空间,不可被市场化的艺术作品及艺术家,DIY的发起者和以信用为基础的团体)继而被否定或被迫销毁。

BEME 5 从我们现有的资源中着手。Sinotronics带来几个我们已多次特别呈献的艺术家:Menghan(北京)和GOOOOOSE(上海),同时也邀请了另外三个厂牌策划今年2天的演出日程:Bwave(脑波交流),由来自福建现常住北京的跨媒体艺术家洪启乐创办的一个长期活跃的厂牌及活动发起平台;Maybe Noise,由闫玉龙(吹万成员)和张守望(Carsick Cars/White+成员)在近期重建的一个专注于avant-garde和electro-acoustic音乐创作的厂牌;和Prajnasonic,一个在今年发起的以techno音乐为主导的新厂牌,由BEME的常客IImmune和Far Infinity,以及厂牌成员Punx和其他在北京地下另类电子音乐圈活跃的成员们共同创办。

在现场演出之外还将有实体市集,包含数个厂牌、商店、杂志和发行人,他们依旧在国内的几个城市音乐中心努力建立并保持一个线下、地下的市场。市集卖家包括燥眠夜,TATPE Recordings,根茎唱片,大福唱片,NOJIJI,燃音乐,矩阵,The Product Republic等等。

BEME 5的举办场地在fRUITYSPACE。今日的北京场景,随着场地关闭、音乐节取消、资本占位,正被一众效仿的、狭隘的、自娱自乐的文化活动充斥,对身处其中的艺术家和厂牌来说,fRUITYSPACE是罕有的一片绿洲。

BEME 5: Market/Place

SATURDAY, NOVEMBER 12 @ fRUITYSPACE

Ticket: 70rmb
Early session (4-7pm): Bwave presents Hong Qile, A Ming, Ding Chenchen, Azoik
Late session (8:30pm-midnight): Maybe Noise presents Yan Yulong, Zhang Shouwang, + more TBA

SUNDAY, NOVEMBER 13 @ fRUITYSPACE

Ticket: 70rmb
4pm-end: Prajnasonic x Sinotronics present Sheng Jie (GogoJ), Menghan, GOOOOOSE, L~N, VU, iimmune, MMS

fRUITYSPACE address: 13 Meishuguan Dong Jie

Sinotronics presents the fifth Beijing Electronic Music Encounter (BEME), China’s most progressive annual showcase of electronic sounds. For the fifth anniversary edition of BEME, Sinotronics collaborates with three of Beijing’s currently most active, exploratory and avant-garde electronic music labels.

The theme of BEME 5 is Market/Place: how and where do we produce, buy and sell alternative music culture when our aggregate efforts are in turn being sold on, copied, pasted, and eventually deleted?

The last two years have seen a dramatic loss in Beijing in terms of places for underground music and culture to develop. There are political factors at work, but ultimately it’s a question of economy: niche markets can’t scale, so the useful parts are stripped off (commercial venues, labels, promoters, artists and festivals), and the rest (non-commercially-driven spaces, unmarketable art and artists, DIY initiatives and trust-based collectives) are negated or passively destroyed.

BEME 5 takes stock of what we have to work with today. Sinotronics will present new sets from a few of our regularly featured artists: Menghan from Beijing and GOOOOOSE from Shanghai. In addition, we’ve invited three other labels to curate this year’s two-day schedule: Bwave, the long-running label and event platform of Fujian-born, Beijing-based multimedia artist Hong Qile; Maybe Noise, a label focused on avant-garde and electro-acoustic composition recently re-launched by Yan Yulong (Chui Wan) and Zhang Shouwang (Carsick Cars/White+); and Prajnasonic, a new techno-oriented label launched this year by previous BEME regulars iimmune and Far Infinity, along with Punx, VU, and other members of Beijing’s alternative electronic music underground.

The live event will also host a physical market including the products of several additional labels, shops, zines, and distributors still trying to make an offline, underground marketplace viable within China’s urban music centers, including Zoomin’ Night, TATPE Recordings, Genjing Records, D Force Records, NOJIJI, RAN Music, Juzhen, The Product Republic, and more.

BEME 5 takes place at fRUITYSPACE, a rare oasis for these artists and labels in the current Beijing landscape of venue closures, festival cancellations, rapacious capitalist appropriation, and imitative, insular, or onanistic cultural organs.

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Event: NTS Live in Beijing http://pangbianr.com/nts-live-in-beijing/ http://pangbianr.com/nts-live-in-beijing/#respond Sun, 16 Oct 2016 06:36:18 +0000 http://pangbianr.com/?p=6109 ]]> Hi all — pinging you to inform that pangbianr has been invited to take part in the first NTS Live event in Beijing, which will be held on Saturday, November 5 at Modernsky Lab.

Quoting myself: NTS, if you’re unfamiliar, is a “by music lovers, for music lovers” operation based in London that broadcasts interesting new and old music across a broad range of genres coming out of various corners of the globe, both through radio shows and live events. A while back they teamed up with Shanghai-based label China Social Club to set up a virtual post there, and have beamed out over 30 sets by esteemed selectors from that city’s (mostly electronic) scene. Check out NTS Live from Shanghai here.


Find the full info from NTS below the poster. For my part I’ll be playing basically an updated version of my Primate Anxiety chunjie mix, digging up more raw & unreleased tracks from the usual suspects.

NTS Live in Beijing
Modernsky Lab
Admission: Free
Saturday, November 5
8pm start
Floor B1 D 5-108 Galaxy Soho

NTS Radio Live from Beijing presented by China Social Club

Bringing NTS to Beijing has been a long time coming and we’re pleased to present the first edition of what will become regular programming, showing off the rich and awesome sounds of the capital throughout China and around the world.

在北京办NTS Live我们筹划已久,这次China Social Club终于迎来NTS北京的首秀,并且在未来NTS在北京将发展为一个定期的活动。我们会把丰富多彩的首都之声传播到世界各个角落。

Pei
Pei is a Beijing DJ and promoter with a background in disco, funk and wave but more recently stepping into the realms of house and techno. She runs the popular Bye Bye Disco party in Beijing and around China. Expecting a few influences, some Chinese tracks and new heat for her first NTS broadcast.

PEI是目前北京最受欢迎的DJ之一,Timeout北京读者选择2014年度最佳DJ。她对复古文化及摇滚乐、电子乐的热衷和对其的多年积累是她的音乐现场的坚实根基。

Demone
DJ Demone is the founder of one of China’s most popular online music radio shows, Tangsuan Radio. He also runs the party labels Retrodance and Pop City Inc.

He is an accomplished radio host with great taste and a broad music knowledge. We’re looking forward to hearing some forgotten gems from China’s past.

Demone是中国知名网络广播电台“糖蒜广播”的创始人。目前在全世界已经有1300万人(不重复听众数)收听过糖蒜广播。

Josh Feola
Josh Feola is a writer and musician based in Beijing. He’s organized music, art, and film events in the city since 2010, via his label pangbianr and as a booking agent around town. As a musician he has played drums and recorded on albums for a number of Chinese bands. He also records solo under the moniker, Charm.

We’re really pleased to have Josh demonstrating the sound of awesome underground Rock n Roll scene that Beijing has long been known for in China.

Josh Feola 是一名居住在北京的作者、音乐人。他自2010年起便开始通过自己的平台旁边儿(pangbianr)以及先后担任演出经理的场地D-22、XP,组织音乐、艺术、电影活动。他的长期项目有撒丽不跳舞实验音乐节(Sally Can’t Dance),

Guzz
Guzz is the co-founder of Beijing based label/collective Do Hits. With an evolving style in production and DJing, from Techno/Acid to experimental, he has been active on China’s electronic music scene since 2008.
The last couple of years has seen him putting out releases on labels from 87 FEI 87 to Do Hits, and we’re super psyched to hear him represent underground bass in Beijing for our first live broadcast on NTS.

Guzz 是居住在北京的电子乐制作人和 DJ,北京电子乐组织Do Hits 的联合创始人。从2008年开始活跃在中国电子音乐场景中。从早年的 Techno/Acid到现在的跨风格Beat, 他在音乐制作和DJ上不停进行自 我突破。

在制作音乐和DJ之外,他还参与运营策划了Do Hits系列派对、制作 人沙龙、唱片发行等一系列活动。

China Social Club

China Social Club is a music and creative platform based in Shanghai. When not digging for awesome dance records, the Australian natives are throwing parties and collaborating on awesome projects (like our collaboration with NTS radio) in China and overseas.

China Social Club是扎根于上海的创意式音乐平台。两位来自澳洲的创始人除了在全球范围内挖掘好的唱片外,还把各类多元化的派对和音乐合作项目带来中国和世界各地。

NTS
NTS is a worldwide radio station, founded by music lovers, for music lovers.

NTS是由爱玩音乐的一群人为全球音乐爱好者们创建的音乐电台。

www.nts.live

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Stream: Bob Ostertag’s “Wish You Were Here” http://pangbianr.com/bob-ostertag-wish-you-were-here/ http://pangbianr.com/bob-ostertag-wish-you-were-here/#respond Thu, 13 Oct 2016 07:53:59 +0000 http://pangbianr.com/?p=6096 ]]> This time last year, pangbianr was hosting Bob Ostertag in China for a tour and mini-residency of sorts. Bob gave three remarkable performances in Beijing, including a rendition of his emotionally wrenching composition Sooner or Later and a group improvisation with Soviet Pop and Vavabond, both part of last year’s Beijing Electronic Music Encounter (BEME IV). He also traveled for shows in Xi’an, Hangzhou, and Shanghai; you can read some of his (typically nuanced and incisive) reflections from that leg of his 2015-2016 world tour here.


Bob Ostertag at fRUITYSHOP, Beijing, October 2015 (photo by Live Beijing Music)

One year on, Bob has just released Wish You Were Here, a 40-minute collage of live snippets from his “a-year-a-month-and-a-day world tour”, which in addition to China and Taiwan touched down in the US, western and eastern Europe, the Middle East, Southeast Asia, South America, Central America, and Mexico.

Bob writes:

The music is played an the Aalto virtual modular synthesizer by Randy Jones and Madrona Labs. But unlike my previous release, Bob Ostertag Plays the Aalto, in which I left the synthesizer in various states and simply let it run, in this new music I play the synthesizer quite actively using a standard gamepad. I use the Max programming environment to create what might be called virtual topographies of the synthesizer through which I can explore and wander with the buttons and joysticks.

With the development of this instrument, I feel like I have finally found a way to play a modular synthesizer in a manner both musical and constantly surprising, something I have been dreaming of since I first began playing modular synths in the mid-1970s.

Like most of Bob Ostertag’s recent releases, Wish You Were Here is download only, pay what you like, no minimum. Find it here.

And stay tuned to pangbianr for forthcoming details on our stripped-down, fifth-anniversary-edition BEME, which will happen sometime in mid-November over a few days at fRUITYSPACE. Sinotronics management is deliberating on this very topic on Saturday, should have some info next week.

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Interview: Tonstartssbandht http://pangbianr.com/interview-tonstartssbandht/ http://pangbianr.com/interview-tonstartssbandht/#respond Tue, 20 Sep 2016 05:57:40 +0000 http://pangbianr.com/?p=6083 ]]> 中文采访在豆瓣音乐

Tonstartssbandht is the duo of Floridian brothers Edwin Mathis and Andy White. They’ve been bouncing around the globe since at least 2008, occupied Montreal and Brooklyn at different periods, and earlier this year relocated to their childhood home of Orlando. During their travels they formed a bond with another band of brothers, Hot & Cold, aka the currently Beijing- and Taipei-based Josh and Simon Frank. Though Tonstartssbandht has built their rep on the strength of frequent tours and universally lauded live shows, they haven’t made it out to China before now. We caught Edwin en-route from Guangzhou to Chengdu (they play at the latter’s Little Bar tonight, Shanghai on Sept 23 and at Yugong Yishan in Beijing on Sept 30) to ask a few questions about their megalopolis experiences so far:

pangbianr: You’re in the middle of your “classic Asia tour” right now… where are you? What are you doing?

Edwin Mathis White: Heo-eo, my name is Edwin Mathis White. It’s 20:00 on Monday September 19th and we’ve just left Guangzhou on a plane headed for Chengdu. Last night we played at Tu Space, and today was spent on rest and travel.

pbr: This is your first time to China right? How’s it been so far? How is the experience confirming or clashing with your expectations?

EMW: Yes indeed, this is our first time in China. We are having a wonderful time so far. The Japan leg of the tour finished up in Tokyo, and from there we flew to Hong Kong. The first shows were there, Shenzhen, and Guangzhou. The Pearl River Delta was an excellent first look at China. As proud Floridians, we felt right at home in the humid climate. It’s a trip passing through such legendary places. This region has played such a major role in the development of human cultural exchange, and the beginnings of the very globalism that has brought us here on this music tour. We are truly lucky to not only have the opportunity to perform in this country, but to also see multiple and far flung regions within it, all during our initial visit.

I think one of the major things that’s been on my mind leading up to this tour has been a curiosity and fascination with magnitude of population over here. What does it feel like to be amidst the largest population of people on earth? We’ve been to megalopolises before, but I’ve never visited a single country with a population larger than the United States, as we have not yet visited India or China. My first experiential taste of this was definitely the train ride from Shenzhen to Guangzhou and seeing the sprawling communities that make up this super-mega-metro region. I wasn’t quite sure where along the trip I would first have this awe-struck moment, but there it was, not long after our arrival. Chongqing, Shanghai and Beijing still await so my awareness will continue to grow.


Tonstartss and Josh Frank headed to Chengdu

pbr: You tour pretty relentlessly… what are your favorite places to play? Why?

EMW: We probably tour twice per year on average. It’s always exciting to tour in new places anywhere in the world. The train systems of Japan and Europe are nice to use for tours. Car tours can be fun too, as long as you manage the driving burden well. As for specific cities, it’s hard to choose. Happy to play anywhere really. We just try to bring ourselves there in good health and high spirits.

pbr: You and Josh and Simon Frank (Hot & Cold) go back a ways. How did you meet? How have you kept in touch as you’ve all trotted around different corners of the globe?

EMW: Andy and Josh met at university in Montreal in 2007. They both were involved with the local music scene and so Hot & Cold would play shows with Tonstartssbandht. A few years later, 3 or 4 of us were living in NYC. Now that the Frank brothers are in back in Asia we just keep in touch through social media like most people.

pbr: Where is home when you’re not on the road? Are you active in the local scene there, or is it more of a lay low and recharge zone?

EMW: At the beginning of 2016 we left Brooklyn and moved down to Orlando, Florida, where we grew up. We’ve laid low most of the year, working on new music and recharging for sure. We are not involved with the local music or art scene at the moment, but to be fair, we had been less and less involved with the Brooklyn music scene before we left there. We both love playing and making music but I think we also need space from it, at least socially, in order to be happy with it. I love laying low.

pbr: How much time do you spend on Tonstartss versus your solo projects?

EMW: This year we’ve focused much more on Tonstartssbandht. Other years or months we might shift to solo recordings, but 2016 has been decidedly Tonstartss-intentioned. I think our solo work just comes about from periods where the other guy is away for a few months, or just with songs that don’t fit the band vibe necessarily. It’s not fully defined even for ourselves, and we don’t really think about it, so it’s hard to say.

Speaking of these solo projects, I am excited to say that I do have a new solo album coming out on vinyl on September 23rd on Leaving Records, from Los Angeles. This Eola album is called Dang. It’s songs made between 2011 and 2015. Check it out here or here and ask your local record store to order it from the label! Fans of Tonstartssbandht choral stuff will enjoy, as it’s a full a cappella record of “DIY gospel”, originals and classics.

pbr: Where have you been going musically on this tour? What can we expect sound-wise from your shows?

EMW: On this tour we brought along these head-set microphones, which we first started using in Europe last fall. They allow for much more singing and constant vocal improvising and harmonizing. I think it’s exciting and a beautiful sonic enhancer for the sets. Otherwise, we are still playing our long medleys that can be heard on the Overseas live album. We play old songs, new and unreleased songs, and covers. I think we’re also continuing to hone our control of the dynamics and that’s another factor which will get toyed with differently each night as we vibe it out.

pbr: What have you been listening to on the road?

EMW: I was listening to some of the latest Mindflight sets from Matthewdavid’s bi-weekly Dublab show on Wednesdays. Great improvised New Age sets for the mental cleansing. The show’s title says it all. Besides that, you know, just all the classic ragtime Rags and spiritual jazz that the world offers us.

pbr: Any words for your prospective and future fans in Shanghai and Beijing?

EMW: If you’re already a fan of our recorded music I think you’d get a major fucking kick from our live show. Might be your only chance, who knows! Come out and be a part of it if you can. I am very excited to play for new people in these new places. I will bring my huge well of joy to share with you.

***
Catch Tonstartssbandht on the China leg of their “Classic Asia Tour” with 工工工:

Sep 20: Chengdu, Little Bar
Sep 22: Chongqing, Nuts Club
Sep 23: Shanghai, Harley’s Bar
Sep 30: Beijing, Yugong Yishan

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8.28: Klaus Bru, Simone Schirru, Nicola Lancerotti, 李剑鸿 Li Jianhong, Josh Feola @ fRUITYSPACE http://pangbianr.com/2016_8_28_fruityspace/ http://pangbianr.com/2016_8_28_fruityspace/#respond Tue, 16 Aug 2016 13:33:16 +0000 http://pangbianr.com/?p=6064 ]]>

自XP停业已经一年多了,我们怀念这个待见自由爵士和自由即兴的地方。8月28日,周日,我们在fRUITYSPACE给你准备了一剂怀旧情,拉拢了几位本地与国际的XP校友,带来一些自由形态的单人的、双人的、未知人数组合的噪音配置。

It’s been a bit over a year since XP closed, and we’ve missed it as a site for free jazz & free improv freakout. We’ll prepare a little shot of nostalgia on Sunday, August 28 at fRUITYSPACE, bringing together a few local & global XP alumni for freeform solo, duo, and n-strong noise arrangements.

时间 date/time: 2016.8.28, 9点 / SUN Aug 28, 9pm

场地 venue: fRUITYSPACE (美术馆东街13号, 三联对面)

门票 ticket: 40¥

演奏 performers: Simone Schirru (吉他 guitar), Nicola Lancerotti (低音提琴 double bass), Klaus Bru (C-萨克管 C-saxphone, 电子效果 electronics), Li Jianhong (吉他 guitar), Josh Feola (鼓 drums)

Visiting artist bios:


Simone Schirru – guitar

Simone Schirru is a guitar player, composer and Teacher He graduated in “Jazz Guitar” Academy of Music “G.P. da Palestrina” in Cagliari studying with M. Ferra. Afterwards He got his master degree in Jazz Guitar at “Lemmens Institute” in Belgium studying with P.Hertmans, Frank Vaganée, Ron Van Rossum and Bo Van Der Werf.
He joined the Master Classes led by D. Douglas, S. Coleman, Butch Morris, P. Metheny, A. Braxton, Muhal Richard Abrams, G. Fewell, Roscoe Mitchell, W. Leo Smith, John Scofield etc.

In 2005 and 2008 won the Scholarship of the International Festival of Sant’anna Arresi as best guitar­ player and best Band studying with G. Fewell (Berklee College) and R. Cecchetto.

He played with “Guitto Gargle”, “Cuenta Contemporanea”, the solo project “Improsa Tongue”, “Ajo­jo mandi & the Youngers”, Progetto Nudo, Pixeldrama in many festivals and prestigious places around the world like: Ai Confini tra Sardegna e Jazz (IT), Salon De Musique (IT),Jazz in It (IT), Salon de musique en fete(IT), Udin&Jazz (IT), Salon de Musique Jazz (IT), Musica Sulle Bocche (IT), Jazzando, Musiche dal Mondo (IT), Les Arts Florissant del la Sardigne (Paris,FR), Open City (IT), Englewood Jazz Festival (Chicago,USA), EJE – European Jazz Expo, Jazzin’San Sperate (IT), Marina Caffe Noir (IT), Racconti D’Armenia (IT), Un isola in Festival (IT), Global Futur (IT), Fred Andreson’s Velvet Lounge (Chicago,USA), Chicago Cultural Center (Chicago,USA), Riff Festival (Jodhpur,India), IIT rendevuez Festival (Delhi, India), University of Mumbai (Bombay, India), Biella Jazz Club (IT), AB Ancienne Belgique (Bruxelles, Belgium), JZClub(Hangzhou)
In Belgium is manly active we the well­known soul band “Man on Fire and the Soul Soldiers” playing around the country in many events such “Féte de l’iris”, “1 May festival”, “Yo!Fest”, “Jazz Marathon” and many others. Beside a lot of jazz bands he also played with Kangling, Oghene Kologbo & the World Squad, Nestor Martin, Lorenzo Agnifili Big Band, and his brand new bands “Invisible” and “Elegant People”. He also collaborated in a theatrical events and musical reading.


Nicola Lancerotti – double bass

Born 18/08/1975 in Padova, Italy. In 1994 he enrolled in the Aerospace Department of the University of Pisa and became Engineer in 2003. Progressively introduced to the academic world of music by the hand of Master Nino Pellegrini, he started to learn jazz doublebass at the private school Scuola di Musica “G. Bonamici” in Pisa, in 2000. He simultaneously worked with school combos lead by Andrea Pellegrini with monographic project on Mingus, Monk and Parker. He took part into workshops for talented musicians with Italian doublebass players Paolino Dalla Porta (Pisa, 2000) and Furio Di Castri (Terni, 2001). He took part into a special 2­years course oriented to the “Piano trio language” with pianist Enio Corsaro and drummer Roberto Traverso. Masters Stefano Battaglia, Paolino Dalla Porta and Fabrizio Sferra taught the course. And as a result of their trio’s work over a year time, they were awarded the first prize First Pisa Jazz Contest in 2002. Later that year, he followed the prestigious SIENAJAZZ Summer Workshops. He increased his skills studying jazz doublebass with Master Pietro Leveratto, combo class and refined ear training with Master Pietro Tonolo and theory and analysis with Stefano Zenni. In 2003 he was granted a place for studies on jazz doublebass class at The Hague Conservatory, in the Netherlands. In 2004 he switched to Brussels Conservatory where he studied for two years with Bart De Nolf, Diederik Wissels, Jeroen Van Herzeele, among others.

His performances since 2002 have taken him to play in many jazz and non­jazz clubs in Europe (Italy, Belgium, France, Switzerland, Germany, Latvia) as well as in China and Taiwan with various bands, all of which were rich in sound diversity, techniques and repertoire; from the duo to the Big Band, from gipsy jazz to avant­ garde, including singer­songwriters of French (Brazùk), Arab (Jawhar Basti – winner Octaves de la musique 2014), African (Oghene Kologbo and World Squad), Italian (Giacomo Lariccia), English (Kirsty McGee) tradition or élite­pop (Silver Junkie).

Currently he’s leading his own group, a two saxes­bass­drums quartet with which he’s trying to meet the jazz tradition with the innovation of purely improvised music. As sideman he’s working with ZOLA quartet, KIND OF BLUE TRIBUTE (Bruno Castellucci, Gino Lattuca, Eve Beuvens, Michel Mainil and Thomas Champagne) and some less steady projects.

In 2013 he’s held a series of concerts in Taiwan with a special project with local
musicians and friends he met in Brussels Conservatoire: Hsieh Min­Yen, Chen Kuo Hua, Tseng Tseng Yi (Mike Tseng), Andrew Salim.

He plays regularly or has played with: Eve Beuvens, Jordi Grognard, Jean Paul Estievenart, Paolo Loveri, Bruno Castellucci, Tommaso Cappellato, Hsieh Min­Yen, Chen Kuohua, Andrew Salim, Mike Tseng, João Lobo, Phil Abraham, Jan De Haas, Vincent Bruyninckx, Alain Deval, Thomas Champagne, Augusto Pirodda, Daniele Martini, Nelide Bandello, Giovanni Di Domenico, Gino Lattuca, Didier Van Uytvanck, Mathieu Robert, Guillaume Vierset, Laurent Delchambre, Etienne Plumer, Marco Locurcio, Waso De Cauter, Koen De Cauter, Myrddin De Cauter, Tom Callens, Lionel Beuvens, Fred Delplancq, Fred Becker, Els Vandeweyer, Michail Griener, Robert Menzel, Toon Van Dionant.


Klaus Bru – C-saxophones, electronics

German-born saxophonist Klaus Bru plays the rare C-melody sax and the even rarer C-soprano sax exclusively. He has traveled widely, for real and in music. His artistic output is characterised by its variety, and musical concepts that are not exactly the “out-of-the-box” type. Instead, Klaus Bru prefers to use combinations of “boxes” that differ in size, contrast in contents, and clash in colour: He brings in folk music from Eastern Europe, Turkey, and China, avant-garde ridden improv, cold blooded electronic noises and feedbacks, sounds of breath and saliva, pitches smaller than the distance between two keys on the piano, strange meters and odd tempos, plus – when the time is right – singable melodies that move the heart and soul.

Klaus Bru was born near Lake Constance in Southern Germany. He got drilled as a jazz saxophonist at the Music University in Graz, Austria, graduating with distinction. His teachers included Adelhard Roidinger, David Liebman, Kenny Wheeler. During the first half of the 1990s Klaus Bru lived in Vienna where he worked with the protagonists of the Austrian Jazz scene of the day, ran the successful avant-garde duo “2 Face 2” with keyboardist Martin Stepanik, and played with international artists such as Marc Ribot, Sunny Murray, Anthony Coleman, Jojo Mayer, and David Friesen.

In 1996 Klaus Bru relocated to Berlin, focusing on sound art and electronic music. He produced the acclaimed interactive sound/media/live music installation “Tiefenrausch”, worked with sound artists and film makers, and published a CD of electronica, “Bru: Collective Items”. With Oliver Doerell of Dictaphone/Swod he composed the music for the dance piece “The Lefthanded Man”, which was invited to a dance festival at Taipei’s Novel Hall in 2001.

In 2002, Klaus Bru moved to Taiwan, and started to work as a culture manager for the Goethe Institute Taiwan, and later as the international promoter for the Chinese music ensemble Chai Found Music Workshop. He became infused with the sound of traditional Chinese instruments, and developed a thorough interest in indigenous music from around the world. In 2010, while in San Francisco, he discovered an antique C-Melody Sax in a pawn shop. Since then, Klaus Bru performs exclusicely on C-saxophones, which he often electrifies.

While in Taiwan, Klaus Bru composed film and theater scores, and played with the major exponents of the local jazz and improvisation scene. In 2010, he set up the Folk Rock Jazz trio “I Have A New Band Now” which has toured in China, Taiwan, Austria, and Italy. Together with pianist Shih-Yang Lee he leads the world music improvisation group Ka Dao Yin (엥돕稜), which recorded two award-winning CDs: “Four Characters” won the Taiwan Golden Indie Music Award in 2012, and “Slow” the Taiwan Golden Melody Award (Taiwan Grammy) 2014.

In 2013/14 Klaus Bru stayed in Beijing, China, where he performed with “Orlop”, the noise duo of Americans Stephen Roach, and Adam MacGregor, and with musicians associated with the experimental Beijing Experimental and Underground scene, like Jianhong Li, Aming Liang, and Daiguo Li, Yan Jun, and others.

Since 2014, Klaus Bru lives in London. So far, he has performed with musicians like Cleveland Watkiss, Orphy Robinson, Terry Day, Beibei Wang, Pat Thomas, Kate Shortt, and groups as diverse as White Flower, Formation, or the London Improvisers Orchestra. He also leads his own projects, mostly in the domain of Free Improvisation.

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