KLC_NIR

05|11|2009
epa060_va_epa_frozen.rmxs

Es
El lanzamiento n°60 es una compilación, donde tracks congelados de epa
sonidos fueron derretidos a estado líquido para su transmisión y manipulación. !Gracias a todos los colaboradores por usar sus
refrigeradores en rehacer frozen rmxs¡

En

The 60th release it's a compilation in which frozen tracks from epa
sonidos were de-frozen to a liquid state for transmition and
manipulation.Thanks to all collaborators who used their refrigerators
for remake cool frozen rmxs!

-----------------------------------------------------------------------------------------------

Tracklist

01_digital_volt - sigue la ruta [pirata.rmx]::::::::::06:55
02_tatsu - strategy [tatsu.rmx]:::::::::::::::::::::::06:50
03_algn - chistar [genericos.rmx]:::::::::::::::::::::06:18
04_basstk - pibote [fiat600.rmx]::::::::::::::::::::::05:46
05_daniel jeffs - mati [gozne.rmx]::::::::::::::::::::04:32
06_gozne - portal [daniel jeffs caletaportales.rmx]:::04:24
07_baradit - metro oriental [los updates.rmx]:::::::::06:14
08_francisco pinto - july [baradit.october.rmx]:::::::03:32
09_mrts - traba [jack_plug.rmx]:::::::::::::::::::::::06:50
10_jack_plug - avanza [hans carstens.rmx]:::::::::::::07:21
11_klc_nir - corrode [basstk.rmx]:::::::::::::::::::::05:36
12_fiat600 - empty inside [murcof.rmx]::::::::::::::::10:52

Mastered By basstk
Photographies By lunkon
Designed By baradit & jack_plug

Ir al disco ::: Go to release
link directo a descarga : epa060_va_epa_frozen.rmxs.zip

World

KLC_NIR

1  Another World

2  The Southern Already Been Dried Desert

3  The West Hidden Beneath The Cliff

4  World Far More Than The North

5  The Eternity of The Absurd East

All tracks composed by KLC_NIR

Recorded at I/A Studio in Mar 2009

Mastered by Alok

Instruments: Les Paul Guitar, Synths & Padels, Laptop

Artwork by Hypsis

Cover Design by niuniutu

C 2009 KLC_NIR

www.myspace.com/klcnir

klcnir.blogbus.com

P+C 2009 Lona Records

www.lona-records.com

www.myspace.com/lonarecords

Locd63r    Made in Hong Kong

Thanks to Family, Emma, Alok & Lona Records, Hypsis, niuniutu, Swingso

In Memory of Wang Huan

More Info:

http://www.lona-records.com/discography/locd63r.html

RED_shift是Lona Records及Re-Records為3-CD合輯Red首發而舉行的一次展覧及聯演。
是次RED_shift展覧中會展示出一系列由各Lona Records聲音藝術家、實驗樂家親手製作的超限量特別版CD、藝術品及實驗聲音工具，而部份更在展覧期間接及競投拍賣。當然，少不了的還有Lona Records的標準出品及Red合輯。
同時，Lona Records更請來嘉賓藝術家與Red合輯的藝術家組成Rudra, Reductive Electrodynamics, Sixth Ray and M四隊超級即興樂團，為Red_shift作開幕首演，跨躍實驗電聲與迷幻噪音之間，重新構想大中華先鋒音樂的可能性。這四個三重奏及二重奏之組合陣容均從未公開亮相演出，是次演出亦很可能只此一次，可一不可再。
-------------------------
Opening Performance開幕式: May-16 8:00 PM
Admission:50RMB
Artists:
Rudra(Alok/Wilson/Sin:Ned)
Reductive Electrodynamics(Zen Lu/Alok)
Sixth Ray (Lin Zhiying/KLC_NIR/Wilson Tsang)
M(Yan Jun(颜峻)/Sin:Ned)

Exhibition展覧: May-16 to May-22
Admission: Free
Artists: Alok, Wilson Tsang, No One Pulse, KWC, Sin:Ned

Presented by Lona Records & Re-Records
Proudly supported by We Play! Records & Neo Sound
www.liangchashop.com
-------------------------------------
About Red:
RED是香港獨立音樂廠牌Lona Records的首張合輯。
十六位分別來自香港、深圳、桂林、成都、杭洲、上海、北京以至英國倫敦等地的藝術家及創作單位，應邀對紅這種顏色從最純粹的聲音角度作出詮釋。
超越形式與品類的框架與約制，超越理性與邏輯，從電音到噪音，從極微氛圍前衛主義以至無法分類的形色聲態，跡近瘋狂的一種姿態，RED以強大的陣容及超重量級的三CD陣式，結集近最具代表性的華人實驗藝術家之新作及未發表作品，揭示出大中華先鋒音樂的最尖端面貌。

參與RED合輯之藝術家包括:
Ibid (A. Duncan + Xper.Xr) (倫敦) / 顏峻 (北京) / Torturing Nurse (上海) / 李劍鴻 (杭洲) / 王長存 (杭洲) / 白天 (成都) / Ronez (桂林) / ZenLu (深圳) / Alok (香港) / Fathmount (香港) / KWC (香港) / No One Pulse (香港) / Sin:Ned (香港) / VSOP (香港) / Wilson Tsang (香港) / 檢德大厦(香港)

关于Lona Records:
成立於2003年的獨立音樂廠牌Lona Records，由資深獨立音樂人Alok主理，一直旗幟鮮明地專注於實驗／另類音樂的製作及發行。自2005年底，Lona Records開展了一個3吋singles的系列，四出招惹世界各地的實驗音樂人，讓他們發表自己的實驗成果。在短短一年間，這系列的出品已累積至20多張，合作過的音樂人來自五湖四海，包括英國、美國、意大利、瑞典、挪威、中國大陸等，當然也少不了來自香港本地的朋友。在3吋系列以外，亦出版了多張官方專輯，包括FM3和竇唯的《后觀音》、Jeffrey Bützer的《She Traded Her Leg》和The Yours的首張EP《Abraham》。www.lona-records.com

关于Re-Records：
Re-Records是香港實驗電聲二人組No One Pulse的一個廠牌項目。除了No One Pulse成員的作品及相關藝術項目外，Re的目錄更包括其他藝術家的作品，及Doc (Documentary/Documents)、On (On Location) 及185 (三吋CD-R) 等不同的專門系列。
-------------------
RED_shift: A Sound Exhibition & Performance for the Red Compilation
Jointly presented by Lona Records and Re-Records, RED_shift is an exhibition and live experimental sound performance for the 3-CD compilation Red.
For this special event, guest artists are invited to join force with Lona artists featured in the Red compilation for a opening live performance. Four improvisation trio/duo, Rudra, Reductive Electrodynamics, Sixth Ray and M are formed especially for this event. These super groups, which might not be seen again on stage after this event, will be performing on the opening of RED_shift, to explore a new dimension of experimental avant-garde.

During the week of RED_shift, in addition to Lona Records’ standard releases, limited edition CD, artworks and sound devices will also be available for auction.
-----------------
Opening Performance: May-16 8:00 PM
Admission: RMB50
Artists:
Rudra (Alok / Wilson / Sin:Ned)
Reductive Electrodynamics (ZenLu / Alok)
Sixth Ray (Lin Zhiying / KLC_NIR / Wilson Tsang)
M (Yan Jun / Sin:Ned)

Exhibition: May-16 to May-22
Admission: Free
Artists: Alok, Wilson Tsang, No One Pulse, KWC, Sin:Ned
Venue : Liangcha Shop (凉茶铺)
Address : F3 Block,Enping Road,Oversea Chinese Town, Shenzhen
Presented by Lona Records & Re-Records
Proudly supported by We Play! Records & Neo Sound
--------------------
About Red
Red is the first compilation of Lona Records' Color Series.

Red is a massive 3-CD compilation (including 28 pages A5 size booklet) that goes beyond genre and pigeon holes. In Red, Lona Records invited 16 pioneering Chinese sound artists and musicians from China, Hong Kong and overseas to present their interpretation on the color red.

The result is a radical and eclectic mix of experimental sounds, extreme noises, and atmospheric instrumentations.
About Lona Records
Set up in 2003, Lona Records is an independent label in Hong Kong preoccupied with producing alternative/experimental music.

In December 2005, we launched a series of 3" CDR singles as an attempt to explore the aesthetic boundaries of experimental sound. Each 3" CDR or 3" DVDR features musical/multi-media works by independent artists from across the world, including the U.K., U.S., Italy, Sweden, mainland China, and Hong Kong etc. Each volume is released in a limited numbered edition of 50. From droning to clicks n' cuts, from glitch to avant-garde, from ambient to extreme noise, we venture off the beaten path and bring all sorts of exciting sounds to a worldwide audience.

Alongside the 3" series we also release CDs in larger size and quantity, which include the official album Hou Guan Yin of FM3 + Dou Wei from Beijing , the first official album She Traded Her Leg of Jeffrey Bützer from the United States, and the debut EP and album of The Yours from Hong Kong.

About Re-Records
Re-Records is a "record label" project by experimental electro-acoustic duo No One Pulse from Hong Kong.
With Re, we don't solely aim to be an outlet for releasing self initiated or other affiliated projects, but also for artists and releases we deem interesting.
Other than standard releases, our catalogue includes specialized series such as Doc (Documentary/Documents), On (On Location) and 185 (3" CD-R).

斜阳归

日沉坡

凉茶铺开幕演出

9 May 2009

关于《LOU LAN》系列的一点文字。顺便感谢swingso。

我生活的城市-深圳，是在全球经济一体化和具有自身特性的政治体制背景下发出声响的。我站在2009年的深圳，开始尝试去聆听和梳理这个城市的声音脉络。这个实地录音系列，主要记录了这个代表着中国改革开放的模范城市所展示出来的声音景观，并尝试通过对其声音景观的再次聆听来让人们进一步思考自身与环境的关系。它的信息过剩，线条纷杂，没有历史的声音痕迹，声音都是现在的；这些不完整的声音片断构成了系列中所有的作品。从某种程度上来说，这些声响含括了日常生活的一切：喧嚣与平静。

先看看这个城市，全球经济与自身的政治体制，使它相似于这个星球上的其他大多数城市，而又形成自己奇特的格局：到处是繁华的购物中心，而人口密集的城中村也盘踞一边，形成两种不同的景观，看似相安无事，却在内部爆发着冲突；人们朝九晚五的生活，规律的如同程序严谨的机器人，而道路上的汽车却疯狂和混乱；到处是施工的工地、地铁、房地产，道路修建、城市建设是这座城市不变的节奏--为了改善我们的生活环境，而破坏着现在的生活环境，更多的声响景观随之显现。人们匆忙的脚步、人群的喧闹、汽笛声的聒噪 、昼夜的机械噪音将信息传递到每个人的耳里，人们的生活规律伴随这潜在的躁动，日复一日。

我在的这座城市，在亿万年后是不会被了解的，即使几千年前的楼兰古国，现在，也只存在于我们的想像里。而录音对时间的截取意义又只是现世的，此岸的；承载我们生活空间（城市，国度）的彼岸，给了我创作这个系列的动机。我发现我们生活在一个不存在的现在，我们不存在于此岸或者彼岸。

第一辑，皇岗、落马洲。它是一扇门，隔着两个不同的声响空间。这个隐喻中的门，是通道，人们穿过这道门，通向香港，深圳；通向外部，或者内部；通向新的空间。而且，通向不同的时间，穿越在新的城市（模型）和旧的城市（记忆）间，过渡着未来，或者过去。所以，在这扇门的周围所发出的声音，传递了连接与过渡的信息：无论是在人们等待时的话语里，人群流动时的脚步声与空间形成的天然混响中，还是在无休无止的机械转动噪音里。当然，那些声音也传递出由于规范而形成的秩序的信息，有焦躁，也有平静，一切都在这个空间内部发生着。这扇门是一个开端，门后一切（这里指深圳，也指接下来系列中其他录音专辑）的开端。从我自身的理解来说，门让人忽略了自身的存在感，在门的场所内，我们是生活在别处的，生活在各自的梦里与自己制造的声响之中，我们熟悉这一切，然而这一切对于我们自身来说又是陌生的。我们站在这扇门边，无法感觉自己的存在。好像这些声音带来的，明明是身边的，但又疏离很远，无法置身其中。这也就是那个不存在的现在，是那扇门，是我想象中的“楼兰国”，是我的城市生音，城市声活。

声音的存在与消逝，在时间里起伏着。此起彼伏的话语，工业时代的机器喧嚣与后工业时代里的信息声响，在我们四周飘来荡去，我们身处其中，却无家可归。我们从哪里来？要往哪里去？楼兰孤岛，待何人引渡？(Text/KLC_NIR)

附：

〈楼兰国〉

且末
精绝
拘弥
焉耆
车师
敦煌

3800年前
孔雀河畔的姑娘

金鼓王城之下
人们来来回回

夏末
使者出西域

楼兰孤岛
待何人引渡

转自:

 http://epaper.nddaily.com/H/html/2009-04/08/content_753076.htm

唤醒深圳人沉睡已久的青春激情

　　总第壹期

　　开篇语

　　通过音乐追求真理

　　30岁，这个城市已显出暮色与苍老，在情绪上变得四平八稳，似乎已经没有可以令人激动的事情。创业板要上市了，你激动吗？NO.政府在推“深圳音乐工程”，你激动吗？NO.什么才能让你激动呢？中彩？用2块钱博中几千万，那真是激动人心啊。深圳人要约等于白日梦患者了吗？深圳要光彩地摇身变为幻想之城了吗？

　　与其在生存的夹缝里幻想中彩，不如开动脑筋搞搞自己的创业板。做音乐的人，做个“音乐创业板”如何？用音乐创作不断更新自我好吗？用音乐创作重燃心中梦想好吗？用精湛的现场表演传递给观众一种不一样的声音、一种全新的情绪好吗？

　　当然好。其实我们身边就有这样一群音乐人，他们在默默做着自己的音乐，在与城市深圳一起成长的路途上，自得并欢快地跋涉。他们一直在坚守自己的音乐理想，探索着发出自己声音的多种可能性。只是他们并不被注意到，即使在政府高调地将音乐创作上升到城市形象高度的时候。

　　3月30日，深圳音乐工程启动，全国30多位音乐家应邀来到深圳，他们都算得上是中国音乐界的名家老将。有词作家、有曲作家、有歌唱家。他们以绝对主流的姿态一时刮起深圳音乐采风热。然而另一些蛰住在深圳、以音乐为生活坐标的人，对此却全然不知。他们低埋着头，或在艺术空间或在酒吧里玩自己的。

　　按理说，这应该是一种很好的状态。官家的归官家，民间的归民间，各玩各的，自得其乐。也可以说成这是深圳的包容与多元。真是这样吗？我们城市的文化多元了吗？深圳音乐工程有针对实验音乐的项目吗？深圳作为一个前沿城市，它的流行文化达到应有的水准了吗？引起足够的重视了吗？这种状态是城市文化发展的理想状态吗？一位生活在深圳多年的乐手说深圳的文化发展越来越畸形？他说得有道理吗？

　　众多的问题汇集，也就成了我们策划这组报道的因由。我们将连续用十期跨版做系列报道，希望通过对深圳音乐关键词的梳理，还原深圳音乐生活的真实状态，以至使深圳音乐生态更完整些；我们更希望通过对众多边缘音乐人生活状态与精神旅程的追溯，来唤醒深圳人沉睡已久的青春激情，因为这些乐手在深圳的成长同样也是这个城市的文化胎记；当然我们也希望通过与各方面的音乐推手的对话，为深圳音乐工程的更好实施提供建设性意见，希望通过他们话语的锋芒，为我们城市的文化症候进行呼吸性改良。

　　我们为什么要听音乐？抛除音乐基本的娱乐功能，还因为音乐能让我们更深层次地思考，是打开哲思之门的钥匙。我们是音乐的聆听者，我们希望通对音乐生活、音乐话题、音乐事件的报道，呈现城市深圳的一种轨迹，同样也呈现我们自身的内心。伟大的音乐家通过音乐追求真理。

　　现场烈焰

　　声音和声音的影子在空间里穿梭舞蹈

　　几乎没有人知道他在唱什么，但现场的人都被他的演唱所打动、感染甚至征服。

　　他只是在发音，各种声音，像各种各样的人，散步的人、奔跑的人、舞蹈的人。循环往复，人及人的影子，声音及声音的伙伴。它们形成队伍，绕过鼓，跨过吉他，穿来穿去，变化无穷。

　　你可以想见人的声音的美妙，它是细的，它是尖的，它是高的，它们形成不同叠加的层次，形成4月2日晚上22：00至23：00时间段，一渡堂空间的声音叙事。

　　MichaelSchiefel，一个瘦高个男人，来自德国，魏玛音乐学院的教授。上述对声音的形容都是来自他的现场表演。没有人会知道他突然出现在深圳，4月1日晚，他来到华侨城一渡堂，他说他要表演，于是与在现场的乐手叶尔玻利、文烽进行了半小时小面积切磋。双方都感觉非常棒！于是便有了4月2日晚上这场，看起来同样像是非正式的即兴演出。

　　不过，MichaelSchiefel带来了他的家伙———一台电脑，一台声音循环机。他玩电子，他是一个身体发音器官的控制专家，同时也是一个喜欢拿声音进行玩耍、实验的人。他用循环机把自己前几秒钟的声音录下来，然后当做此时的声音的伴唱，奇特的效果就这样产生了。在单独表演时，他就是他的乐队，在与其他乐手合作时，他还可以是乐队中的乐队。

　　电子、人声、爵士，声音的混合、碰撞、搅拌，产生了现场的激情、欢乐、疏远，以及种种情绪的跳跃。有现场观众觉得他的声音有歌剧的质感，既理性又感性，美得让人陶醉。也有观众这样形容自己的感受：“让我晕晕的直飞上天，表演过后二小时才慢慢落到地面。很好的能量。”

　　当然，能量还来自他似乎是天然的能与他人合作的能力，与缜密的鼓声，与舒缓的琴声；来自他在演唱时还有丰富的肢体语言。从发出第一声丝帛裂开般的声音起，他就有如一个饱含情感的“影子武士”，以声音为剑，同时身体也脱壳而去，舞出令人激动的声音图像。

　　影子是一个人的灵魂吗？如果是，MichaelSchiefel无疑展现了他一小部分灵魂的舞蹈，在那个晚上，在他认为是一个“深圳的世外桃源”的地方，秘密并且张扬地，坦露了自己……

　　重金属

　　深圳成为国外乐队中国巡演不可或缺的一站

　　国外乐队来深圳表演越来越频密

　　3月的一天，在上梅林一家不引人注目的数字影院里，正在播放着一部由深圳导演黄珺尧拍摄的纪录片，片子叫《即兴波兰》。它纪录的是深圳音乐人陆正与香港音乐人李劲松等，在2007年6月应邀去往波兰表演的过程。那次为期6天的演出叫“中国声音艺术在波兰”，而作为镜像计划“波兰声音艺术在中国”，仍在继续。3月20日，陆正告诉记者，6月初与他合作的三位波兰艺术家将来中国，陆正认为他们是当今波兰最为出色的一批电子音乐家，风格涵盖电子音乐、爵士、声音艺术和电影配乐。他将带他们在香港、深圳、佛山、广州、长沙、武汉六个城市与李劲松、深圳的刘淳和香港乐评人出身的Sin：Ned一起完成巡演。

　　波兰———中国，声音艺术使两个国家的年轻人联系得更为紧密，而深圳作为一个聚集点也越来越显出它的重要性。只要对这方面稍微关注的人，都能感受到国外乐队与乐手来深圳表演的频率越来越高，越来越密集。4月9日，挪威噪音艺术家LasseMarhaug将在深圳一渡堂艺术空间表演；4月3日，来自悉尼的钢琴家、作曲家MattMcMahon与旅居香港的美国大提琴演奏家PeterScherr带领一支爵士乐团在同一地点刚刚演出过；4月2日，则是来自柏林的MichaelSchiefel，在一群观众面前大秀了一把人声的极限；3月27日，则是来自夏威夷的雷鬼乐队，用夏威夷Vibe音乐使观众陷入沉醉……这些只是在同一艺术空间，不到一个月内发生的单纯音乐事件。

　　而在深圳的酒吧空间，同样穿梭着众多国外乐队的造访。比如“本色”，它们就曾多次同英、法、德、芬兰、比利时等国家领事馆的文化机构开展合作，把各国最新潮流的音乐介绍到深圳。像英国的“莫奇葩”、“电子淑女”、“英伦魅影女子双人组”等乐队，芬兰的“芬兰未来之声”、“芬兰音乐节”等，比利时的爵士乐队“季节漫步走”，德国的“柏林摇滚三人组”，法国的“HI-TONE”等乐队。就像本色酒吧音乐总监郭翔所认为的，深圳已成为国外乐队中国巡演不可或缺的一站。如果说北京是国外乐队在中国北方演出的首选站，深圳则成为这些乐队在中国南方演出的首选站。

　　深圳向国外推介声音艺术刚萌芽

　　都是国外的乐队来深圳“抢码头”，有没有深圳的乐队去国外，输出带有深圳这座城市特征的声音艺术呢？陆正算一例，但他的声音交流演出基本上是个人行为。据记者了解，深圳的叶尔波利乐队曾在去年受邀参加中德文化年赴德国演出，今年7月受邀还将去参加挪威RidduRiddu音乐节。这基本上也是属于民间行为。而有官方性质的声音输出，记者目前了解到的只有，在今年2月14日晚（美国当地时间），由深圳市对外文化交流协会与深圳广电集团主办，在洛杉矶帕萨蒂娜剧院举行的“鹏城歌飞扬·唱响美国”演唱会，演唱会以推介深圳原创的流行歌曲为主题，此次活动也是2007年10月“鹏城歌飞扬·唱响悉尼歌剧院”的延续。当然，你也可以把李云迪、陈萨，把深圳的合唱团抑或粤剧在国外进行的比赛与演出，都当做深圳声音艺术的输出，但那不属于前卫艺术，不在记者的讨论范围之列，包括流行歌曲的输出，其实也不在记者讨论的范围。如果算在讨论范围之内，也只能说是深圳向国外推介自己的声音艺术的意识刚刚萌芽。

　　在众多的外国政府与国外艺术机构在纷纷向中国推介自己的前卫艺术时，中国不能做出同样的应对，这不能不说是一种遗憾。而作为改革开放的前沿，以先锋城市为发展方向的深圳，不注重前卫艺术的培植与推介，不关注边缘音乐人的动向，何以谈形成先锋城市的特质与品质呢？

　　深圳音乐工程可不可以把实验音乐及众多的民间性质的艺术家的交流演出纳入扶持的项目呢？因为毕竟那种源自民间的、个人的、一对一的交流才是最有效的。在记者接触到的乐手中大多数都有这种体会，他们在表演现场所进行的面对面交流，所获得的音乐灵感与启发是在与观众十分疏远的舞台上所不具备的。但在目前所签约的深圳音乐工程十大项目中，记者并没有看到具有国际性针对音乐交流的项目，这是因为视野的狭窄？或是因为创新意识不够呢？还是要对民间的已有的能拓展深圳音乐国际属性的事件进行有意识或无意识的过滤与忽视呢？当然，深圳音乐工程时间跨度长达5年，或许相关部门正在做着有针对性的国际化音乐交流项目。

　　■关键词：国际化

　　深圳的音乐演出频繁，时常能看到国外的乐队与乐手奔赴而来，深圳的乐队与乐手，也会去国外演出，然而这种文化交流，更具民间性。深圳在音乐交流上民间作为已超越政府。这一现象，或许才能真正体现深圳是一个有音乐的城市，使深圳的音乐形象具有国际属性，而不只是一种宣教道具。

　　■不为人知的金唱片

　　直指人心的《田野录音》

　　这是一张在百度上无法搜到的唱片，尽管你输入“田野录音”字样会有113000个条目。这也是一张声音直指人心的唱片，唱片中老人、小孩，男人、女人，他们的歌唱能让人联想到无限的熟悉场景，天、地、旷野、自然。

　　唱片由深圳人丁路录制。丁路在2006-2009年间录制了大量民族音乐作品，足迹遍布新疆，西藏、甘肃、云南、并且仍将持续扩大其录音版图，这些田野录音的作品将由旧天堂陆续出版。

　　■明日预告

　　主旋律歌曲是其它音乐形态的“杀手”？

　　明日我们探讨的关键词是“主旋律”，众所周知，深圳是主旋律歌曲创作的高发地带。也可以说它一直处于深圳音乐创作的“霸主”地位，有人说它是其它音乐形态的绝对“杀手”。是主旋律歌曲导致深圳流行文化单一吗？它是否真的对深圳其它音乐形式形成了遮蔽？敬请关注。

The new field recording album <Lou Lan> is out in days. It is decided to release as a field recording project about my city. This mini album is the 1st vol. Other recordings will be out in the future.

From: http://ginlabel.blogbus.com/logs/37353905.html

Album: lou lan vol.1 <huang gang - lok ma chau>

Artist: KLC_NIR

1 lou lan
2 huang gang
3 lok ma chau

total time: 15'40"

all tracks recorded and edited by KLC_NIR
all sounds recorded in Huang Gang and Lok Ma Chau area, Feb 2009
photography & cover design by Niuniutu

P+C 2009 GiN Label
www.myspace.com/klcnir
ginlabel.blogbus.com
www.myspace.com/ginlabel

GiN009

More infomation pls contact: ginlabel@live.cn

New Blog for the "ChoP Meeting China Tour" in Jun 2009.

Link:ChoP Meeting China Tour

From 1st Jun 2009 to 14^th Jun 2009,“WEF on tour-ChoP Meeting in China” in 6 cities for 6 music concerts, those 6 cities are Hong Kong, Shenzhen, Foshan, Guangzhou, Changsha, Wuhan in China.

schedule:

2 June(Tuesday):Shenzhen,Mooka space(一渡堂艺术空间)

3 June(Wenesday):Foshan,Niliho Gallery(元丽和画廊)

5 June(Friday):Changsha,Freedom House

6 June(Saturday):Wuhan,Vox Club

9 June(Tuesday):Guangzhou,Ping Pong Art Space(乒乓艺术空间)

12 June(Friday):Hong Kong,Videotage

Artists:

Shenzhen:Eta Carinae+Minoo+Nejmano+Zen Lu+KLC_NIR

Foshan:Eta Carinae+Minoo+Nejmano+Zen Lu+KLC_NIR+Liang Guojian

Changsha:Eta Carinae+Minoo+Nejmano+Zen Lu+KLC_NIR

Wuhan:Eta Carinae+Minoo+Nejmano+Zen Lu+KLC_NIR

Guangzhou:Eta Carinae+Minoo+Nejmano+Zen Lu+KLC_NIR+Dickson Dee

Hong Kong:Eta Carinae+Minoo+Nejmano+Zen Lu+KLC_NIR+Sin:Ned

感谢陆正的手工。

双

声

The Album <SHI> is finally out now. It is released under Chilean net label EPA Sonidos.

Album title: SHI

Artist: KLC_NIR

Label : epa sonidos
Format : Mp3
Released Date: 22 Feb 2009
Style : experimental, soundscape.

Tracklist :
0705/诗(poem)                                              09:23
0706/逝(fade out)                                          08:01
0706/释(release)                                            08:16
0712/蚀(corrode)                                           14:57
0717/矢(arrow/swear)                                    08:18
0718/十(ten)                                                  01:05

klc_nir create winter soundscapes, in which frequencies that insist in pulses at frontiers of audible treshold,a sample-acupunture that plays between the breath & heartbeats of high-constrast impressions.

The name for each track is number plus a Chinese character. All Chinese words pronounce the sound of SHI which is the title of the album collection. All the meanings of these Chinese words are translated in the brackets on the right of the list.

Written & produced by Liu Chun
Mastered by Basstk
Artwork Zen Lu

This audio is part of the collection: epa sonidos

Find out more & download MP3s on:

http://www.archive.org/details/epa055

http://www.epasonidos.cl/055.htm

ChoP vol.4 <SounDual>

KLC_NIR (China) / NEJMANO (Poland)

EPISODE I

1. Soul-gathering/Ant-coast

2. Regulation/Thicked

3. Cloud-stretching/51,201

EPISODE II

4. Road-changing/Old Waves

5. But Nature/Pendulum

6. World-evolving/East from the time

OUTRO

7. Great Goodness /There, after 49 dots

8. Evening Tide Bends/Here

All tracks composed and performed by KLC_NIR(LIU Chun) and Nejmano(Maciek Nejmano)

Mastered by Dickson Dee at Dicksonia Studio Hong Kong

Designed by Hei Lee at Altscape Creative

P&C 2009 We Play!

WPCD006

www.weplayrec.cn   

www.myspace.com/chopart

Titles for ChoP vol.4 <SounDual> in Polish/Chinese. It could reflects different sights of the album in our own standards.

POLISH TITLES:

CHOP vol.4  2UDŹWIĘK

EPISODE I

1. Mrówkowybrzeże

2. Gęstwina

3. 51,201

EPISODE II

4. Stare fale

5. Wahad-low

6. Po wchodniej stronie czasu

OUTRO

7. Tam, po 49 kropkach

8. Tutaj

CHINESE TITLES:

CHOP vol.4 雙聲

EPISODE I

1. 采魂

2. 法

3. 雲疏

EPISODE II

4. 道易

5. 然

6. 物衍

OUTRO

7. 大善

8. 兮伏

Translation in English(Polish on the left/ Chinese on the right):

CHOP vol.4 SounDual/ SounDual

EPISODE I

1. Ant-coast/ Soul-gathering

2. Thicked/ Regulation

3. 51,201/ Cloud-stretching

EPISODE II

4. Old waves/ Road-changing

5. Pendulum/ But Nature

6. East from the time/ World- evolving

OUTRO

7. There,after 49 dots/ Great Goodness

8. Here/ Evening Tide Bends

完成ChoP vol.4的创作，为新专辑命名《雙生》。此次与波兰声音艺术家Nejmano的合作印象深刻：不可多得的经历，他的作品宏大、沉稳、想象力丰富。这张65分钟的声音作品，分为三幕，其中每一幕都有几首分开的独立曲目--互相独立，又互为整体，这也是我与Nejmano的创作初衷。此次我与他分别用中文和波兰文为专辑及曲目命名，某种程度上也能反映我们自己本身对这张专辑的理解。并且还在创作途中对彼此感兴趣的做出了问答。这里将其中的问答附上，keep as a record. 另外，还要感谢Zen Lu提供的ChoP这个计划。

问答原文：

Nejmano’s Answer 

1.       What is your name?

Maciek

2.       What is your occupation?

I am a musican and sound engeeiner

3.       Where were you born? Where was the most influenced place (the environment) to you? Why?

I was born in Poland – Gdansk. It's difficult to say about one place in our live – any place influencing for us somehow. But if I had choose one of them – maybe London City – I remember that was unbeliveble feeling when I saw such a lot of people – mixed cultures, such a lot of colours, many many surrounding sounds – Yes – that was one of the most influenced place in my life.

4.       When did you start love music? And Try to make it yourself?

Hmm – since I remember I was playing on some instruments. I finished music school, music academy, and now I making music – this is what I loving make the best.

5.       When did you started on attempting to make experimental music/sound art? What happen to you that time to make you feel like have to attempt in doing so?

What I doing now, began when I was in Academy playing the clarinet. Then I had already knew that I dont want to be a classical musician, and classical sounds doesnt interesting me as a new sounds, something fresh. Then I started looking for something more than a traditional instruments like clarinet or piano.

I dont like classical way of playing music – composing my own music, looking for new sounds is the only way to express yourself – that was the reason why I experimenting with music.

6.       What do you think of Sound art? What is your definition? And Experimental music also?

Definition of Sound art is simply for me – its strictly expressions in the sounds. If I hear trully emotions in the music this is sound art for me. Exactly as in all of sphere of life.

7.       What kind of things are you interested in, i.e. could be sounds, music, philosophy, behaviors, books, films and other materials which especially can inspired your works directly? Why?

I like very much books, movies, listening other music, but the most inspirations for me is just curiosity of creating.

8.       How do Polish people like music? What kind of music do they listen frequently? What are their attitude to the new music or sound Art?

In Poland there is a lot of people not interesting in music – generally in art, they arent looking for something special for yourself, something new, so their listening, what is in TV or radio – commercial POP, or something.

    But since some time I see that sensibility of younger people is growing up – so we have more & more interesting festivals, more and more rare cd's in the shops. But I think that is just beginning of that.

9.       How do you think about the landscape of music/sound art in future?

I think music now become to be not only music – more often music is connecting with other media – visual art or something. People are still experimenting, looking for new things, so I think this would be direction of music for nearest years. I dont know excatly – I am curios as You:)

10.   I have heard from you that your new album is in processing. How is it like? Could you introduce it briefly?

My first album is almost finished. I think it would be interesting becouse of time of creating. I recorded the material for this album for two years, some tracks are from two years ago, some are from now, so its something like long review:) I want release this album very much, and begin to work for a new material.

11.   What else would you do beside music?

 I work, rest, read a books, meet with friends, watch movies.  

KLC_NIR’s Answer  

1.        What do you think about Poland and Polish people?
 

As I have heard from books, TV, internet and people who have been to Poland, for me, the impression about Poland and Polish people was music and art. Musicians are always indispensably and involved into different areas—classical, modernistic, avant-garde and etc. Poland is special, especially for those creative and imaginative people. Its passion, creative and independence bring up these. The country is happy to support art and artists, as I have heard from one of my friend that there are funds for musicians, good places for performance and universities are opened always for artists to rent equipments and make researches. This is very good. People who living in such a fascinated country, I can imagine how artistic they are.
 

2. What do you think about Polish electronic music? What projects do you know?

 There are many creative and independent musicians to contribute in this field of art. They are much activated and caused many culture exchange events in the latest years. As a result, I am lucky enough to know polish arts. Such as Łódź Biennale, Polish art in China, and now we have ChoP project.

I have laptop, guitar, pedals, pipes and other little instruments I can make sounds. In the past live performances, I have used guitar + laptop + pedals + software effects. It could be more interesting to explore more DIY equipments to use in the future composing and live.

 4. What kind of music do you expect about our Chop – rather chill and easy or rather something experimental and noisy?
 

I would like experimental and Lo-Fi stuff, but not to make it purposely. I hope our project is a random crash. I make what I have thought currently, you make what you are thinking all these days, and then we use cut and paste, distort or recompose each others materials. I think this is a kind of way to exchange our cultures—although it cannot presents all of our both cultures; those sounds/materials which we will have made are the sediment of our outside culture environment and could also reflect the whole culture in some kind of ways. In addition, I do not want to dangle after a specific or interested style on purpose. I want the project is promiscuous, comprehensive, and full of multi-contents reflection. For example, I hope I can perceive the pressure when I listen to the album in a loud volume, or meditate when listening in a faint volume. It can also turn to a proper volume that melts into the sound of environment to balance everything as a whole and let listeners feeling all of these equal sounds. I would like to fall asleep, or awake. Of course, this is an ambition. So, let it be. Cause we do not know how is the album will like, maybe bad than we propose. I do not want to do it once I feel I have pressure, you know, it could turn something really bad sometimes.
 

5. When did you start composing music and why you choose a computer technology to make it?
 

When I was 17 (after I have learned how to play acoustic guitar), I wrote some folk and rhythm songs. It was limited by what I have heard that time. Then after time passes, I am now standing on my position. It is not to make it on purpose, no pressure as I have said already, I only have free and happiness.  Computer is a human invention. It brings positive convenience, but also negative things. For me, the technology helps me avoid the bondage which is to deal with different people. Because I have bands before, members are so intelligent—it is good. However, this changed to uncontrollable, and then the important thing is that the free and happiness has gone. Too much things to associate with, in fact, it is nothing about music! I feel it is no more interesting anymore until I have found the computer technology. It changed my whole world. First, computer is always there for me, it is not gonna agree you or not, what you do with it, it presents from the AMP. This is a brand new freedom and world—I can actually do things like that! That is amazing! It gives me endless inspiration and incentive. Although it is easier to dominate the computer than with people, I am not saying I want to control it completely. Yet I would like to give up such an attempt. I would like to think the computer as a chess player, we play chess, and I prefer this way of cooperate with my computer. The computer and I are both equal. There are only art between us—not other things which outside the art. On the other hand, the computer makes me have to suffer for the painful of my eye and neck indeed,--this is also a metaphor. J
 

6. What electronic musicians are your best? And why?

There are many excellent foreign musicians and Chinese musicians. Such as Dickson Dee, from Hong Kong, China. Not only his work, but also what he has done these years. The developments of most Chinese new music were caused by his effort. Yan Jun, now living in Beijing, hatcher of the most famous experimental music/new music/sound art event in China—<Waterland Kwanyin>, has contributed the literal of new music and provided revelation and enlighten for us. Zen Lu who is living in the same city as me, also one of the founders of the ChoP project, has made lots of abstract and peaceful works. He is a man who blends art into the daily life in deed (you should know how hard it could be in my lovely city). Other foreign artists, such as Otomo, Japanese sound artist, his insists and efforts are the light in the dark. Zbigniew Karkowski, one of your Polish geniuses, the energy in his works were really shocked me when I first listened. It brought me into a new position of thinking about art and other more things. And other more and more good artists… I think artists should have greater thoughts and spirits at first, which beyond their great works. This makes me not only listen to their music works, but also willing to know what their thoughts beyond those works (according to their literature, interview and etc.). As a result, I have the time which I can use in listening is not that much in deed—this is my shortcoming. 

7. What is your favorite book? 

<Castle>, which written by Franz Kafka, and other his novella.
 

8. What is your way to play live – if you improvise or rather you have everything planed.
 

It depends on what kind of live it is. Sometimes I made materials beforehand and have a brief structure in mind, and then to mix and control freely during the performance. Sometimes it depends on what happened in the live. Maybe I will not use what I have prepared. So that should be a very good time, the incentive I can catch, I would improvise afterwards. I hope these two ways to play 50 to 50 during my live. But I will concentrate more on the later one in the future.
 

9. What is Your the best net site?
 

Google, it helps me to know new music and other interested things.
 

10. What do you think – where is the beginning of the electronic music? 

I am not that sure about it. If look back into the history, the beginning of electronic music should be the invention of electricity. Then is the invention of speakers and microphones (pickup). If look into the style, I think the beginning is the 80s dance music maybe. I don’t think I can answer exactly because of my lack of music knowledge. 

Thank you for your questions!

德国实验音乐家R.J. Schrey作品及介绍。新作<The Riddle of Freedom>将于2009年1月于GiN Label出版。Mark as GiN003.

转：http://ginlabel.blogbus.com/logs/32032948.html

Album-<The Riddle of Freedom> by R.J. Schrey is going to release soon. Still handmade 3" cdr format.Really good works. Mysterious space sounds and undefined things. Before the formal releasing information announced, here are some introductions about the artist and his works.

R.J. Schrey is a german experimental underground musician. Born in the 70's. He has released different music under different names or in bands since 1998, but these projects will not be mentioned, because he wants a new start as R.J. Schrey. His solo project started in 2006/2007.

He creates his music with "real" instruments. Synthesizers, electric Guitars, Field Recordings, a few self made instruments and sometimes acoustic drums, piano or other instruments. He uses drum computer sounds here and there. The basic sounds will be mostly recorded on different external multi-trackers. Then these basic sounds will be edited and manipulated. Sometimes with the use of a PC and sometimes by using standalone equipment. It depends on the songs.

R.J. Schrey is a part of the MEDUSADA-Circle/Movement. A circle of a few people in Germany which created this kind of new genre. MEDUSADA is rather an idea.  It contains genres like surrealism, DaDa, (Dark) ambient, Avantgarde, noise, drone, concrète, experimental music in general but also rather "normal" music can have its influence. It simply means :Remove all barriers. It's just the freedom in music or in art in general. MEDUSADA was once known as cONTRA-aRT.

R.J. Schrey's latest two records "The Army of 7" and "The 7 Hidden Chapters"(released on the German label "ContraMusikProduktion") are powerfull dark-noise ambient concept albums. A new album with Kenji Siratori will also have some  harsh moments but also ambient parts. This album will be released in 2009 under the title "Future Embryo" But no one knows where the musical journey ends.

The new mini album "The Riddle of Freedom", released under the Chinese Indie Label - "GiN Label", has again different influences and noise is surely not the main influence.

He just loves experimental music in all its varieties and he likes to create some special moods with his music. The work on the next full lenght has begun, though this may take a while till it will be relesed and it will have more minimalistic moments.

More Info at: R.J. Schrey @myspace.com

New Release-GiN002 <B-Side>.It is the collaboration between Zen Lu and I.

B-Side

Zen Lu + KLC_NIR

1. Burn

    Live recording at Ninliho Gallery, Foshan, 9 Aug 2008

2. Blind Man and the Sun

    Live recording at He Xiangning Museum, Shenzhen,19 Oct 2008

All tracks composed by Zen Lu and KLC_NIR

Artwork by Hypsis

Designed by Zen Lu

P+C 2008 GiN Label   GiN002

ginlabel.blogbus.com

www.myspace.com/ginlabel

Zen Lu: www.zenlu.com

KLC_NIR: klcnir.blogbus.com